Category Archives: Media

REVIEW: OTEP Brings the Kult 45 Resistance to Mesa 8-6-18

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Mesa, AZ Award-winning performer, artist, and activist Otep Shamaya rallied fans at Club Red Tuesday night in an impassioned, politically-charged performance. Heavy metal veterans OTEP (the band) [an anagrammatic name derivative of the word “poet”] recently dropped their eighth full-length album entitled Kult 45 via Napalm Records. According to an exclusive interview with Blabbermouth.net, “This is OTEP like you’ve never heard them before.

Fatal Malady - Photography: Katherine Amy Vega
Clinton Rackley (Vocalist), Fatal Malady
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

Along with Kult 45’s highly anticipated release, OTEP announced a headline tour, to tease their newest work of art; beginning at The Hard Rock Hotel & Casino in Las Vegas, Nevada on July 5th, and ending in Ventura, California on August, 18th 2018. Tour-mates include Dropout Kings, an AZ-based nu-metal band on the rise (who just released a burning hot new album called “AudioDope” this past Friday), and European progressive rock band Ragdoll Sunday. First to take the stage was anime-themed punk rock band Usagi (formerly Unagi Usagi), followed by progressive metal group CharonIncentive a band heavily influenced by iconic black and death metal styles, and groove metal band Fatal Malady, whose skull-faced aesthetic captivated the now overflowing trickle of bodies entering through the back of the venue.

View Photo Albums: 
Fatal Malady & Ragdoll Sunday

Dropout Kings - Photography: Katherine Amy Vega
Dropout Kings |
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

Following a supercharged performance by Dropout Kings, audience members began to chant in unison, “OTEP! OTEP! OTEP!” Drummer Justin Kier could be seen jetting on and off the stage, while crew members worked diligently to set the scene. Illuminated only by sporadic flares of light, Kier stepped forward to address the crowd, breaking the ice with a little marijuana-related humor before being joined by bandmates Ari “The Spartan” Mihalopoulos on guitar, and bassist Andrew Barnes. With time to spare, Kier went on to talk about a new, lesser known project in collaboration with Phoenix’s own hard rock female-fronted foursome Doll Skin, which they’ve aptly named “PETO”, once again utilizing OTEP’s iconic anagram, only this time – backwards. The trio commenced with an ear-splitting rendition of Slayer’s “Raining Blood”, immediately provoking a mosh pit nearly the size of the entire room.

OTEP

Creepy baby doll holding a sign reading "Where are the children?" - Photography: Katherine Amy Vega
Photography: Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

After the music faded and fans had settled into standing-room-only once again, Shamaya exploded onto the platform between two vertically-balanced rifles, adorned with severed baby heads, faux weapons, LGBT symbolism, the U.S. flag, and a variety of other props yet to be revealed. Hanging delicately beneath the deceased infant’s haunting yellow eyes was a crooked sign that read, “Where are the children?” It’s no coincidence Shamaya’s performances have been dubbed “a two-decade invasion of the senses” and it’s clear she has no intention of dulling that edge now.

“We want to empower people,” Shamaya says of Kult 45. “This album wasn’t written to only wake people up, it’s meant to carbonate people with the hope and confidence that they can make a difference.”

Are you ready to riot?!”, Shamaya asked the crowd, growling into the mic with intensity while being met with a reverberating wave of hoots, screams, and howls.

OTEP - Photography: Katherine Amy Vega
Otep Shamaya (Vocalist), OTEP |
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

Beneath a beer-soaked haze of golden strobe lights, attendees raged along to political anthems “To The Gallows” (during which Shamaya fiercely spun a hangman’s noose from the end of her mic), “Battle Ready”, and “Lords of War”, succeeded by what is arguably one of OTEP’s most iconic tracks to date, “Crooked Spoons”. Shamaya playfully pulled from her rifling of props for each new track, punching her fist in the air as a bloody, severed pig head was tossed out from behind the stage.

OTEP - Photography: Katherine Amy Vega
Otep Shamaya (Vocalist), OTEP |
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

Fans roared along to every word of “Blood Pigs” and “Apex Predator”, off OTEP’s earlier albums Sevas Tra (2012) and Hydra (2013), erupting with raw emotion and appreciation for the purpose embedded in each verse. OTEP is a band that’s known for it’s ultra-loyal fanbase, but the reasoning behind that is something so much deeper than fame or catchy music. Shamaya’s ability to continually utilize OTEP’s music as a vessel for societal change through a variety of synchronized creative mediums is seriously impactful and evidently similar to that of legendary musical influencers like Woodie Guthrie, Bob Dylan or Zach de la Rocha of Rage Against The Machine.

OTEP - Photography: Katherine Amy Vega
Ari “The Spartan” Mihalopoulos (Guitarist), OTEP |
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

OTEP went on to make their stance on mass shootings known with newly released track “Shelter In Place”, during which Shamaya aimed a presumably plastic, silver pistol at one of the severed doll heads while chanting with the room, “enough is enough!” Shamaya did go on to clarify her stance however, noting that “guns don’t kill people; people kill people,” before moving into “Zero” off the group’s 2016 album Generation Doom, which was followed-up by a couple of surprise tracks from the group’s self-titled poetry EP Wurd Becomes Flesh  originally released in 2005, one year prior to OTEP’s infamous addition to Ozzfest (2004).

OTEP - Photography: Katherine Amy Vega
OTEP |
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

The audience rippled with excitement as Shamaya waved her rainbow flag high. OTEP moved to close the night with staple track “Equal Rights, Equal Lefts”, prior to transitioning into an anger-charged protest, which peaked to the opening notes of “Wake Up” by Rage Against The Machine; a cover included as the second-to-last track on Kult 45.

OTEP - Photography: Katherine Amy Vega
Otep Shamaya (Vocalist), OTEP |
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

In one final call to action, OTEP ignited fans with an ear-splitting performance “Confrontation” from The Ascension (2007). The props did not end there though; Shamaya had one final trick up her sleeve – a fake severed Trump head. Almost in a single motion, Shamaya plunged the barrel of one of the rifles into the base of Trump’s rubbery neck, twirling him around until the two were facing eye-to-eye, spitting in the mock President’s face before a final punch which sent Trump’s spitclad face soaring out of view.

OTEP - Photography: Katherine Amy Vega
Otep Shamaya (Vocalist), OTEP |
Photography:
Katherine Amy Vega
© Kataklizmic Design. All Rights Reserved

It was a night of disruption, a night of rage, empowerment, catharsis, emotion and unity. It’s obvious that Kult 45 was intended as more of a social catalyst – a statement piece that simultaneously disrupts and unifies. This is an album that gets people to look; each track furiously spotlights a variety of recurring social issues in the forefront of the United States’ current political landscape. Regardless of whether or not you agree with their stance, OTEP is making one thing exceptionally clear: “Art is resistance. Art aloows us to fight back without violence.”

“This is why we rally, this is why we march, and this is why I write. Because when I look back someday I want to know that I did everything in my power as an artist, activist and citizen.”Otep Shamaya

PHOTO ALBUM

by Katherine Amy Vega
(View separate Fatal Malady, Ragdoll Sunday, & OTEP photo albums)

OTEP, Dropout Kings, Ragdoll Sunday, Fatal Malady, CharonIncentive, & Usagi – Club Red 8-7-18

Flickr Album Gallery Powered By: Weblizar

© Kataklizmic Design. All Rights Reserved.

REVIEW: Shania Twain Is Still The One at Talking Stick Resort Arena 7-30-18

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PHOENIX — If there was any doubt in your mind that Shania Twain could ever make a comeback after being out of the limelight for over a decade, rest assured, she’s back. There are over 18,000 seats in Talking Stick Arena, and it was filled to capacity. The roar of the crowd made them oblivious to microburst thunderstorm hovering overhead outside. Their focus was on the stage waiting for their queen of “country pop” to appear. Queen’s “We Will Rock You” was pounding through the PA, foreshadowing the next surprise. The music stopped and the lights went down, but there was no one on stage. The We-Will-Rock-You beat filled the room again as a spot light landed on a second stage in the middle of the arena, where drummer Elijah Wood flailed her blond hair along with her drumsticks. The sleight of hand continued then as Twain magically appeared, coming down the steps at the back of the arena, greeting her majesty’s minions as she crossed the distance to the stage.

Shania Twain - Photography: Mark Greenawalt
Shania Twain
Photography:
Mark Greenawalt © All Rights Reserved

As she found her way to center stage wearing a black shimmering long dress, she asked, “Are you ready Phoenix?” Behind her was a projection screen that must have been more than 5-stories tall, so that even those in the nosebleed seats could see her up close. Twain kicked off the show with “Life’s About To Get Good”, the first single from her new album entitled Now.

The projection screen was retracted to reveal a truly impressive and dynamic stage set of larger-than-life video cubes. Throughout the song, the show’s cast began to populate the stage, starting with the backup singers and dancers. The musicians were introduced during the second song, “Come On Over” from her third album of the same name, released in 1997.  This was the album that cemented her in country music history by going 18x platinum, and scoring three number 1 singles.

The video cubes doubled as riser platforms and Twain climbed the stairs to tower over the stage floor as she sang “Up!” Her vocals were flawless all night, and it was amazing how she replicated the recordings that were so familiar to our collective memories. Her signature sound, especially in the lower registers, was especially showcased when the energy level dropped for an intimate moment singing the heartfelt “Poor Me”. The song is a reminder of the tumultuous relationship with her ex-husband that seemed to hover like a cloud over her career, but her burgeoning success and musical independence should eventually overshadow that storyline.

Shania Twain - Photography: Mark Greenawalt
Shania Twain
Photography:
Mark Greenawalt © All Rights Reserved

Like a slow wave, everyone had taken their seats during the calm moment of the show. That all changed when the dueling fiddles began “Don’t Be Stupid (You Know I Love You)”. Hands were in the air and everyone was singing along (some more in tune than others). That ended the proverbial Act 1, led to a set change, and Twain’s first costume change.

In the video for “That Don’t Impress Me Much”, you may remember that she wore a sexy leopard print outfit (boots, hooded long jacket, long flared pants, and a little top that revealed her midriff). Well, that was nearly 20 years ago so she didn’t wear that, but she did pay homage with a leopard print dress with a flowing cape-like night robe.

The setlist included 7 songs from the Now album. Next up was “Let’s Kiss and Make Up”, which was reminiscent of her earlier material, and had a calypso feel. The song seemed well-received, and as the end faded, Twain was lowered into a trap door in the stage. A brief drum solo culminated into that We-Will-Rock-You beat again and the crowd was getting revved up. When the guitar riff started though, it was apparent that this was actually an Any-Man-Of-Mine beat.

Costume change number 2 produced Shania Twain in a black cowboy hat, a black leather jacket, a black dress with sheer sides and candy apple red boots. “Any Man of Mine” segued into her breakthrough hit, “Whose Bed Have Your Boots Been Under?” The dancers two-stepped with mannequins made of spring coils that wore red cowboy hats and comically bounced to the music. “Honey I’m Home” continued the country music vibes.

Shania Twain - Photography: Mark Greenawalt
Shania Twain
Photography:
Mark Greenawalt © All Rights Reserved

With such a string of hits there is no question that Shania Twain is a gifted songwriter. The focus of the next two songs shifted from staged theatrics, to melody and lyrics, with “I’m Alright” and “Soldier” from the Now album. The first was a masterclass in weaving in and out of minor and major keys, and the second, a lyrical tribute to our troops that tugs at the heartstrings. She sang “Soldier” while suspended in the air, riding on a open acoustic guitar case, floating across the venue to the center stage by the soundboard.

This was a very special moment, and it gave the folks in the back a chance to be “up front” and see her next costume change into a white dress with a ruffled low-cut collar, a sheer black robe, and white boots inspired by ancient Rome. The great songwriting continued with her number one song “You’re Still The One”. She went back up above the crowd with her magic flying guitar case, but this time she took an acoustic along which reminded everyone that she plays guitar too. This performance was beautiful and moving.

Two lucky fans were picked from audience once Twain landed her flying trapeze, and were escorted with her up on stage for some light conversation and a once-in-a-lifetime selfie. This part of the show was a bit awkward, but we were soon back to the music and mischief as the Sun’s gorilla mascot came out and lifted Twain onto the piano as she broke into the song “More Fun”, another song from Now that hints of Beatlesque influences.

Shania Twain - Photography: Mark Greenawalt
Shania Twain
Photography:
Mark Greenawalt © All Rights Reserved

An amazing blue laser show filled the arena as the music began for “From This Moment On”. A video of an ever-evolving lotus flower played on the screen, while Twain emoted the lyrics, alone on the stage. It was like the best karaoke version ever without the band on stage, but it would have been even more fantastic if Bryan White would have been there to duet with her — no such luck. Another costume change had her in a glimmering black catsuit with a flowing black overcoat.

That was the end of the slow stuff, and the stage set became more robust as the video cubes would rise and fall and become characters in the show. Lasers and illuminated costumes for the dancers added to the festival of light as Twain belted out “I’m Gonna Getcha Good!”

Bastian Baker - Photography: Mark Greenawalt
Bastian Baker
Photography:
Mark Greenawalt © All Rights Reserved

Swiss singer/songwriter Bastian Baker was the opening act for the show, and Twain invited him back to the stage to sing the duet “Party for Two” with her, and then he stuck around to play guitar on “Swingin’ With My Eyes Closed”.

Twain removed her top layer and strutted around in her catsuit that looked like a superhero outfit and showed off her figure. She turned on the sex appeal with “(If You’re Not In It For Love) I’m Outta Here”, and ended it with a bang of graffiti canons that poured over the audience and left them in suspense for an encore. Panning around the arena, everyone was out of their seats and it didn’t seem they could get any louder…but they did.

Da-Da Da Da-Da Da-Da

Those seven notes that kicked off the anthem for women and lead into the line, “Let’s go girls,” produced 10,000 primal screams from fans. “Man! I Feel Like a Woman!” did not disappoint. This was the last costume change, and it gave an appreciated nod to the video with all-black thigh high boots, long-sleeve gloves, a choker, and of course a short skirt. Like the massive eruption at the end of a fireworks display, this song left no holds barred as the lasers, video screens, dancers, musicians, and Shania Twain left it all out on the stage.

Bottom line, she’s back NOW.

Photo Gallery

Photographer: Mark Greenawalt

Shania Twain – Talking Stick Resort Arena 7-30-18

Flickr Album Gallery Powered By: Weblizar

Photography © Mark Greenawalt. All Rights Reserved

REVIEW: Covet Blossoms on Stage at The Rebel Lounge in Phoenix 7-22-18

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PHOENIX – Covet, touring with special guests and friends HOLY FAWN and Vasudeva, bloomed in a magnificent way at The Rebel Lounge and shared their sublime sounds during the hottest period of the unrelenting desert summer. Luckily, nobody was a pile of goo by the time the show started.

This esoteric collection of musicians was a sight to behold, sharing a fascinating mix of influences from genres such as post-rock, math rock, ambient music, alternative rock, indie rock, experimental sounds, and many more. While stage banter and lyrics may have been at a minimum, fans certainly have a lot to talk about after witnessing this stunning bouquet of musical aptitude.

HOLY FAWN

Kicking off the evening was local band HOLY FAWN, self-described as “four creatures making loud heavy pretty noises.” They certainly lived up to their description, as the noises varied from gentle electric sounds to earth-shattering riffs and screams. They were also the only band of the evening to feature some vocals in their songs, but for the most part, they fit right in with a heavy focus on unique instrumentals.

HOLY FAWN - Photography: Rodrigo Izquierdo
HOLY FAWN
Photography:
Rodrigo Izquierdo © All Rights Reserved.

HOLY FAWN began their set with some ambient music playing over a dark stage covered in laser lights. The darkness and the soothing sounds made for some great ambiance, but soon it was time to rock. Without really announcing themselves, HOLY FAWN made their way to the stage from the merch booth area — not a long walk at all in the cozy, intimate Rebel Lounge. One member said “alright, let’s do this,” as they prepared for the show.

As HOLY FAWN began to play along with the ambient music, their energy slowly rose until climaxing with some epic, loud sounds. The vocals were hard to discern in The Rebel Lounge, but the music was still enjoyable. It was all about the instruments, with some screaming thrown in every once in a while for good measure.

Vasudeva

Vasudeva took the stage shortly after HOLY FAWN, and they brought a different sound to the room. Their approach is purely instrumental, and each band member can play their instruments brilliantly. Watching all three of them on stage is a beautiful sight, and it is clear they love playing music together. Not only is their music beautiful and enjoyable, but so is their presence on stage. Their commitment to the craft is hypnotic.

Vasudeva - Photography: Rodrigo Izquierdo
Vasudeva
Photography:
Rodrigo Izquierdo © All Rights Reserved.

Vasudeva spent most of their time on stage rocking out and sharing their captivating sounds with the crowd, but they were sure to add a quick “thank you” after each song was over. They were also sure to throw in a few other tidbits, such as “this is dope,” “this is so cool,” and “righteous.” They were also sure to thank Covet for asking them to go on tour together. Vasudeva said, “Our friends Covet are on after us. Give it up for them! We’ve been touring with them for about a week now. Wish it was longer.”

Each member of Vasudeva was really into the music and the performance, and they finished their set with an energizing finale. While many people may have come to The Rebel Lounge to see Covet, Vasudeva certainly gave them their money’s worth. The crowd was prepped for more scintillating instrumental music, but it was clear that everyone had immensely enjoyed the show so far. Unfortunately for Vasudeva fans, merch was sparse; as they said, “we’ve been on tour for a while, so we’re running low on merch. We have 2 records left. It’s crazy.” That didn’t stop people from rushing to buy things later, though.

Covet

At long last, it was time to effloresce. Similar to how HOLY FAWN began, there was ambient music playing — a prologue to the epic odyssey that was about to commence. Covet took the stage by gentle storm, with David Adamiak coming out to join the ambient music and add some bass currents to the mix. Shortly after that, Yvette Young and Forrest Rice joined him on stage to a ton of applause.

Covet - Photography: Rodrigo Izquierdo
Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

As Covet says, they are “just 3 people making music” — this is the best way to describe their performance on stage. Rather than one person taking center stage, with the others supporting them, Covet is a group of musicians who somehow share the spotlight evenly. What could easily devolve into a discordant mix of conflicting instrumentals becomes a truly majestic melody.

Covet - Photography: Rodrigo Izquierdo
Forrest Rice (Drummer), Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

Rice, the drummer, truly rocked The Rebel Lounge into oblivion. His performance was spectacular, and by the look on his face, he loved every second of it. He gave the music so much energy, and his massive smile could pierce even the darkest of sorrows. Meanwhile, Young was in the zone, hyper-focused on plucking the strings on her collection of beautiful, unique guitars. Tying it all together was Adamiak, traipsing around the stage with his bass guitar, really getting into the music and the moment.

Covet - Photography: Rodrigo Izquierdo
Yvette Young (Guitarist), Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

Young has made waves in recent years with her unique style of playing the guitar, and she has also recently been featured in a few interesting articles that reveal some insights into her artistic powers. While she plays many instruments, the way she plucks the guitar strings is quite unique; the sounds this technique creates are fascinating and entrancing. Not only does this show off her sheer mastery of guitar, but her immense creativity as well. It is no wonder she has been called a true “Renaissance woman” by many. 

Covet - Photography: Rodrigo Izquierdo
David Adamiak (Bassist), Covet
Photography:
Rodrigo Izquierdo © All Rights Reserved.

Adamiak brought his own creative spin to the show as well. While he merrily wandered all over stage, he made sure to engage with the audience whenever possible. If he didn’t make eye contact with every single person in The Rebel Lounge, it must have been close! He also seemed to have a great time making silly faces at people, as well as jumping out at the crowd from time to time to really rock out. At the end of the show, he made sure to dispense plenty of high fives to those at the front, too! Rice ran up to join him in the high fiving at that point, so there was plenty of love to go around.

Covet had such a pleasant presence on stage and infected the entire crowd with their joy. Along with spreading the music love, they also shared some beautiful stories and useful information. They referred to HOLY FAWN and Vasudeva as their “ultra homies,” told a story about the importance of staying hydrated, and thanked the audience profusely for joining them that evening. As Adamiak said, “thanks for staying out so late with us, on a Sunday night of all nights.” He repeated similar sentiments at the end of the show.

effloresce - Album Cover

At the end of the show, Covet performed “Howl” from their new album effloresce, which just came out on July 13th; this song is a great way to send a crowd on their way, as it is full of phenomenal energy truly worthy of a grand finale. After, Adamiak said “you guys make us really happy” and mentioned they’d all be by the merch later if anyone wanted to say hi. However, the crowd chanted “one more song” for a brief time after they had left the stage, so the grand finale wasn’t so final after all.

They came back on stage, and Adamiak said “y’all are a bunch of sweethearts, thank you.” As he was letting his hair down, he added, “we’re gonna do one that doesn’t require hair ties.” Then, “on a very serious note,” he introduced the song “Ares” as their actual final song for the evening. While not quite as thunderous as “Howl,” it is still a superb way to end a show.

When the show was over, Covet, Vasudeva, and HOLY FAWN were all hanging around the merch area waiting to greet fans, sign merch, and say some farewells. For fans of HOLY FAWN, the farewell isn’t so long either — earlier in the show, Adamiak also added that HOLY FAWN will be having an album release at The Rebel Lounge on September 21st, so mark that one on your calendar!

Photo Album

Photos by Rodrigo Izquierdo

Covet, Vasudeva, & HOLY FAWN – The Rebel Lounge 7-22-18

Flickr Album Gallery Powered By: Weblizar

Photography © Reagle Photography
All Rights Reserved

REVIEW: Dorothy’s Phoenix Show – A Flawless Night in the Valley 7-15-18

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PHOENIX –  Dorothy took the stage at the Crescent Ballroom last Sunday night, infusing the summer air with earthy incense and the vibes of psychedelic hard rock. The band, originally from Los Angeles, is currently on their “Freedom Tour 2018,” promoting their second album, 28 Days in the Valley. Dorothy is named after front woman and vocal powerhouse Dorothy Martin. Her vocal style can be compared closest to Grace Slick, but her energetic stage presence can be compared to Janis Joplin.

When Dorothy took the stage, all that could be seen was their faintly lit silhouettes. In the dark, with her back to the audience, Martin lit a huge incense stick to fill the ballroom with its sweet aroma. She held on to it, waiving the incense over the stage as the flame grew and the band started the intro to the song “White Butterfly.” The band was then illuminated by the stage lights.

Dorothy - Photography: Mark Greenawalt
Dorothy Martin (Vocalist), Dorothy
Photography:
Mark Greenawalt © All Rights Reserved.

Martin was decked out in black lace bell bottoms and a burgundy, burnout velvet, kimono jacket; she had a mat placed at the base of her microphone to protect her feet as she performed barefoot. Fans that pointed at the stage kept the band cool, and blew Martin’s hair away from her face, adding to her carefree appearance.

Dorothy - Photography: Mark Greenawalt
Dorothy Martin (Vocalist), Dorothy
Photography:
Mark Greenawalt © All Rights Reserved.

As the band smoothly transitioned into their second song, “Naked Eye,” Martin picked up her tambourine. She played while the incense and fog machines worked overtime, pouring a thick haze around the band, and transporting the audience to what felt like Dorothy’s basement jam session in the 1970s.

During “Ain’t Our Time to Die,” the quiet cymbals mixed with Martin’s vibrato really mirrored Janis Joplin’s vocal style as she exclaimed, “You’ve got to believe baby, it ain’t our time to die!”

Dorothy performed many tracks off their first album, ROCKISDEAD; such as “Raise Hell,” “Down To The Bottom,” and rock anthem “Wicked Ones.” In the middle of performing “Wicked Ones,” Martin left the stage, and guitarists Nick Perri and Leroy Wulfmeier rocked out, taking the audience on an auditory journey down the rabbit hole as the stage lights flashed pink, purple, and blue.

Dorothy - Photography: Mark Greenawalt
Dorothy
Photography:
Mark Greenawalt © All Rights Reserved.

When they played their tenth song of the night, “Who Do You Love?”, Martin dropped to her knees and reached her arms to the ceiling while bellowing the song’s lyrics, “Hey I’m your reason for lying! Hey, I’m your reason for dying! Hey, I’m your reason to live! Who do you love when your love’s a-run dry?”

Dorothy filled their 90-minute set with soulful vocals, gritty guitar playing, and all original songs off both of their full albums. Martin’s easy-going and genuine personality was apparent as she spoke to the crowd like friends. She jokingly said that if she wasn’t out performing, she’d just be at home with her cat watching X-files. At the end of the show she hugged her mic stand while smiling into the crowd, almost as if she were trying to metaphorically hug the audience for showing her band love.

Dorothy - Photography: Mark Greenawalt
Dorothy Martin (Vocalist) & Leroy Wulfmeier (Guitarist), Dorothy
Photography:
Mark Greenawalt © All Rights Reserved.

For Dorothy’s final song, everyone left the stage, aside from Martin and Wulfmeier. Wulfmeier, in his Homburg hat and perfect mustache, sidled up to Martin and they performed an acoustic rendition of the love song, “Shelter.” Martin finalized the night by yelling to the crowd, “Go make love to your wife!”

Opening Act: Charming Liars

Charming Liars, a London-based band that relocated to Los Angeles in 2013, opened the set for Dorothy. This is their fifth time performing in Arizona, according to guitarist Karnig Manoukian.

Charming Liars - Photography: Mark Greenawalt
Kiliyan Maguire (Vocalist), Charming Liars
Photography:
Mark Greenawalt © All Rights Reserved.

Charming Liars’ set was filled with punchy, punctuated drums and dreamy guitar chords, which was pronounced in “Insomnia,” “Outta My Head,” and “Closer.”  Their style leans toward very danceable, club-like rock songs. Vocalist Kiliyan Maguire has strong vocals and the ability to produce an amazing falsetto. His passion and energy got the crowd excited, especially when they played new material such as the song “Time to Start,” which was only the fourth time it has been performed by them, according to Maguire. The Charming Liars website states that the band had been endorsed by Sir Elton John when he featured their songs on his Apple Music “Rocket Hour” radio show.

The phenomenal performances of both bands at Crescent Ballroom that night showcased their original music, thought provoking lyrics, and solidified their potential to rise up to the top. And, if there was one message conveyed through the music that evening, a message we can apply to everyday living, it must be; love fiercely, but take no shit.

Catch both bands on the “Freedom Tour 2018” until August 26.

Photo Gallery

Photographer: Mark Greenawalt

Dorothy – Crescent Ballroom 7-15-18

Flickr Album Gallery Powered By: Weblizar

Photography © Mark Greenawalt. All Rights Reserved

PHOTOS: SINister 2 – A Sexy Fetish Party (NSFW) 7-14-18

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PHOENIX — Burning Hot Events brought back our horribly delightful photo booth to the 2nd annual SINister: A Sexy Fetish Party (21 +) at Joe’s Grotto, featuring two stages of entertainment including live bands, sideshow, burlesque & more. As always, the rambunctious crowd from the goth & fetish community were eager to pose for the camera!

To purchase your photos, contact us and we will get back to you promptly.
Photos are available as full resolution downloads and prints!

Photo Gallery

Photographers: London Snow & Katherine Amy Vega

Photo Booth – SINister 2: Sexy Fetish Party 7-14-18

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Photography © Kataklizmic Design. All Rights Reserved

REVIEW: The Melvins Bring Sludge Metal Back to Phoenix with Basses Loaded 5-31-18

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PHOENIX The Melvins concluded the spring portion of their ambitious two-part 2018 tour schedule to promote the April 20th release of their album, Pinkus Abortion Technician, at The Crescent Ballroom on Thursday, May 31. Los Angeles-based rock band All Souls warmed up concertgoers with songs from their newly released self-titled album.

Rockers of all ages flooded the intimate venue to experience the heavy, experimental sounds of one of the most influential and notable grunge/sludge metal bands to pave the way for the likes of Nirvana and Pearl Jam. The drinks flowed and the smell from the food being run from the kitchen to Cocina 10 permeated the venue as All Souls hit the stage.

All Souls - Photo Credit: Rodrigo Izquierdo
Antonio Aguilar (Guitarist, Vocalist), All Souls
Photography:
Rodrigo Izquierdo. © All Rights Reserved

After a quick introduction, they jumped right into the music with their melodic, guitar-heavy sound that ranges from deep and dark, to grunge, to downright ethereal. All Souls, comprised of Drummer Tony Tornay, (formerly of Fatso Jetson), bassist Meg Castellanos and guitarist/vocalist Antonio Aguilar (both formerly of Totimoshi) as well as guitarist Erik Trammell (formerly of Brothers Collateral) proved that, though they’ve only been together for 3 years, they’ve uncovered a winning combination of musical talent to generate a polished sound worth listening to on repeat. At then end of their set, Trammell thanked the Melvins for a “blissful” five week tour together to which Meg added that it also included a broken foot. This concluded the band’s stint with the Melvins, who take a small break and then tackle another ambitious 5-week tour schedule to include four nights in Canada.

Following All Souls’ performance was the anxiously awaited Melvins who planned to take listeners on a musical trip through their discography that spans 34 years. Their newest creation to add to their collection is Pinkus Abortion Technician, which pays homage to the likes of The Beatles and The James Gang. The album brings bassist Jeff Pinkus from the Butthole Surfers back on a collaboration once again to create a whole new sound along with fellow bassist, Steven Shane McDonald, who joined the band in 2015. The Melvins have toured with two drummers and also with two lead guitars, but having two basses is a first. Being the experimental musicians they are and willing to take a chance, they brought forth a sound rarely experienced. The walls reverberated with what felt like a collective heartbeat, a depth of sound that had audience members moving their heads in unison.

The Melvins - Photo Credit: Rodrigo Izquierdo
The Melvins
Photography:
Rodrigo Izquierdo. © All Rights Reserved

The band came out to experimental pedal and guitar sounds that primed the audience for the journey they were about to embark on for the next few hours.The musical journey began with visceral and gritty “Sesame Street Meat” off their 23rd studio album from 2014, Hold It In, on which bassist Jeff Pinkus collaborated. Drummer Dale Crover was immediately seated and fitted with his over-the-ear mic, while outgoing bassist McDonald dazzled with a series of high kicks. Bassist Jeff Pinkus took stage right, where he remained the majority of the evening deeply engrossed in his music and showing an occasional glimmer when his guitar hit the light just right. Guitarist and lead vocalist Buzz Osborne restlessly moved about the stage as though energy were traveling through him in a higher capacity than he could possibly emit. Next stop was 25 years in the past with “At A Crawl”, followed by a zig zag to “Kicking Machine” from 2008’s Nude With Boots, which brought the crowd to a higher level of excitement when a mosh pit ensued. Next were two covers: David Bowie’s “Saviour Machine” sung by Steve McDonald and Red Kross’ “What They Say” which had all-hands-on-deck vocally.

Buzz Osborne took front and center once again with “Anaconda” off of their 1991 album, Bullhead. Next up, Buzz got into character over dead silence and sauntered up to the mic with a smirk to tell everyone, “Well… well… well, I’ll be moooving down to Floriduh,” to kick off the Butthole Surfers’ “Moving to Florida” with a mix of their new song “Stop Moving to Florida” off Pinkus Abortion Technician.

The Melvins - Photo Credit: Rodrigo Izquierdo
Buzz Osborne (Guitarist, Vocalist), The Melvins
Photography:
Rodrigo Izquierdo. © All Rights Reserved

Other notable mentions are McDonald’s long locks blowing in the wind of the fan off on stage left, his Superman move of pulling his blazer open to show his sparkly “punk rock” written across his chest, and one cannot forget the slower tempo of “Don’t Forget to Breathe” off of the new album, with credits for writing going completely to Pinkus.

The Melvins - Photo Credit: Rodrigo Izquierdo
Steven Shane McDonald (Bassist), The Melvins
Photography:
Rodrigo Izquierdo. © All Rights Reserved

The Melvins ended their energy-fueled, seventeen-song setlist by taking fans all the way back to the beginning with “Eye Flys” from their debut album Gluey Porch Treatments. Drummer Dale Crover’s elbows were moving at seemingly lightning speed, reminding everyone why he was worthy of a shout out during Nirvana’s 2014 Rock and Roll Hall of Fame induction.

As the crescendo of the last notes of the night filled the room, shook the ground, and flooded the ears of each fortunate audience member, Crover stood up and dropped his drumsticks to a crowd of sated fans who uproariously applauded. Drenched with sweat and playing with the same amount of gusto as the first moment they set foot on stage, it was evident that the Melvins have the masterful talent of a band that has been around for 34 years and the ambition to put on a show for their fans like a band that is just up and coming.

Photo Album

Photos by Rodrigo Izquierdo, Burning Hot Events

Melvins – Crescent Ballroom 5-31-18

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Photography © Reagle Photography
All Rights Reserved

REVIEW: Raising The Roof with Tech N9ne at The Van Buren 5-13-18

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PHOENIX— It was a Sunday night that just so happened to be Mother’s Day, but they still came out in droves to see Tech N9ne and his cast of labelmates at The Van Buren in Phoenix. Rapper Aaron Dontez Yates, a.k.a. Tech N9ne, brought his semi-automatic speed rhymes to the house in support of the 2018 release Planet. The album was just released in March and instantly shot to number one on the independent album chart. This was spurred by the charting single and video for “Don’t Nobody Want None”, a solid track with beat boy throwbacks to analog synths lifted from Hashim – Al-Naafiysh (The Soul), scratching, and breakdancing in the video. This concert was a four-hour marathon and it was high energy from eight to midnight… and that’s probably when the after-party was just getting started because they showed no signs of slowing down.

The “Planet Tour 2018” is a family affair with artists on the roster of the Yate’s Strange Music record label including Joey Cool, Mackenzie Nicole, and of course Krizz Kaliko, along with a few friends of the family with King ISO and Just Juice. Phoenix was the 24th stop on this 60-city tour and it was a sold-out show with standing room only.

King ISO and King Kash

The show opened with King ISO and King Kash sporting orange prison jumpsuits, wrist shackles, and sacks over their heads.  Then it was 100-mile-per-hour rhymes for twenty minutes culminating in their signature “1s in the air for Mental Health and Suicide awareness”. Showing true fan appreciation, each act took time at the merchandise booth to meet and greet the fans and sign anything from t-shirts to body parts during the break.

Joey Cool

Next up was Joey Cool, just signed to Strange Music last October and supporting his debut self-titled album. He and Yates both hail from Kansas City and collaborated on “Life Sentences” from the Special Effects album. Tonight Joey was joined on stage by DJ Tiberias who played the only instrument all night when he picked up the bass for the new single “Under Pressure”.

Mackenzie Nicole

In the three-hole was Mackenzie Nicole introducing songs from her new album The Edge on Strange Music. Nicole’s set was a refreshing break from the angst and monotonous beats of the opening rap acts and introduced melodic pop music to the crowd. The expectation was that the Tech N9ne crowd would boo a Taylor Swift-inspired artist singing to tracks and syncopated video, but the crowd adored her and she seemed genuinely surprised at the enthusiastic response from Phoenix. She later told Burning Hot Events, “I loved this Phoenix crowd, this was the best show yet!” Although the music seemed a little out of place for this concert, Mackenzie Nicole has a great signature voice and the songs were instantly familiar.

Just Juice

Another break. On the stage are two larger-than-life video screens flashing the winged snake logo of Strange Music. Expectations are high for internet sensation Just Juice, but instead, we are greeted by his unknown MC sidekick. So sure he was a comedian doing his schtick, but he did get the crowd fired up with an overused countdown dance for a crowd yell.  Finally, Just Juice appears in a white jacket and his trademark bucket hat. Props to his mic skills and lyrical tirades, but the banter between songs about his doubters and haters in high school got old. He’s young and shows lots of potential, and it was awesome that Tech N9ne gave him the opportunity to be on this tour, but his set was uninspiring. The audience, on the other hand, were on their feet and connecting and gave him a warm Phoenix welcome.

There was ample time to buy t-shirts and swag, down some cold beer, and from the smells in the air there may have been some medical marijuana patients in the audience getting prepared for the main event.  The intermission mixtape was filled with favorites that had everyone rapping in place and getting amped.

Tech N9ne

Eventually, the groundswell culminated as the lights went down and the “Klusterfuk” mixtape heralded the coming of The G. Two 12-foot screens flash with the beat and an 8-foot crystal ball glows purple from within with the blood-red winged serpent logo locking in that brand identity. The video to the right explodes with Yates as ‘The King’ adorned in brown medieval robes in a deserted misty forest. On the left screen, he is ‘The Clown’ and wearing all white and donning the skull cap touting the “A” for anarchy. Fans scream as the crystal ball turns to reveal ‘The G’ dressed in all red except for the white jersey number, and obviously, that number is “9”.

Tech N9ne - Photography: Andrea Stoica
Tech N9ne
Photography:
Andrea Stoica © All Rights Reserved.

What the fuck’s up Phoenix!?,” he shouts, “I…am…what? Fresh out of fucks!” It was on. This was what everyone came for. This is really when the SHOW started. One-hundred mile-per-hour chopper style flowing with his hand in the air and each finger typing the lyrics into the sky. The Clown and The King are the on-screen backup singers for The G and this power trio continues to entertain with “Comfortable” and “No Reason (The Mosh Pit Song).”

Tech N9ne - Photography: Andrea Stoica
Tech N9ne
Photography:
Andrea Stoica © All Rights Reserved.

Just when it seems like we’ve reached the pinnacle of excitement, Krizz Kaliko hits the stage and takes it up another notch, prancing back and forth like a caged panther. The virtual trio becomes a quartet as they launch into “Riotmaker”, “Dysfunctional”, and “Einstein.” The G takes a knee and lets out a primal scream to end the song while explosive smoke cannons erupt. He gets to his feet and shouts, “Happy Mother’s Day, Mom I love ya” and he exits the stage.

Tech N9ne - Photography: Andrea Stoica
Tech N9ne & Krizz Kaliko
Photography:
Andrea Stoica © All Rights Reserved.

Then it was Kaliko’s turn to take center stage to hammer out “Anxiety.” He was also dressed in all red except for his white spider logo on the front of his jacket and a white towel that he waved around like a magic wand. As the song faded, he exited the stage. Eerie music played and a chant began: “long live the clown.” There was an explosion on the left video screen and the clown was gone, replaced by a twerking dancer in lingerie and a medical gown.

Symbolically jumping from the screen, Yates reappears donning the clown mask and the white uniform. We were in Clown Town now and the set includes “Tormented”, “URALYA”, “Straight Out The Gate”, and “Starting To Turn” (note, this one was awesome), “So Dope (They Wanna)”, and then he dedicated the show to his mother and shot into “Blackened the Sun”.

Tech N9ne - Photography: Andrea Stoica
Krizz Kaliko
Photography:
Andrea Stoica © All Rights Reserved.

Kaliko was back on stage and did a dope medley of songs that included homages to Hall & Oats “I Can’t Go For That”, to “Rock Me Amadeus”, and host of song snippets that kept everyone entranced. Krizz Kaliko can obviously rap, but his singing voice was even more impressive and he was leaving it all out on the stage. The twerker on the left screen had gone away and The King was replaced on the right screen with another twerker wearing very little medieval garb in front of a throne made of dead wood.

A choir of angels heralded the coming of The King. Yates dressed in his priestly robes and gave a schooling demonstration of speed and enunciation that is unrivaled. This set included “Sriracha”, “He’s A Mental Giant”, “Worldwide Choppers”, and wrapped up with “Speedom (WW2)” that featured Kaliko and Eminem on the Special Effects CD.

The last act of the show was aptly titled “House of Hits” and Yates returned to the stage in all black and admitted that they’d been ‘sippin’ all day and they’d be sippin’ all night.’ The feel of the show transformed from “why so serious” to “let’s get delirious” and all of the opening acts took turns collaborating.  King ISO rocked “Bad Juju” and Mackenzie Nicole brought vocal prowess to “One More”. The party was in full swing, both the audience and performers were showing signs of being under the influence, and what better time to break into “Caribou Lou”; the song that inspired the Tech N9ne craft beer “Bou Lou”!

Tech N9ne - Photography: Andrea Stoica
Tech N9ne & Krizz Kaliko
Photography:
Andrea Stoica © All Rights Reserved.

The song selections covered the entire Tech N9ne career, which led us to 2018 and to the song that’s ignited the interest of the newcomer fans, “Don’t Nobody Want None”. He was out of breath as any normal human being would be at the end of a four-hour show, but it wasn’t over yet.  There was some drinking on stage and the full cast of characters came out for the finale of “Hood Go Crazy” and the last rites of the 14-second “Stamina” from the Anghellic CD. What an awesome way to end the show as everyone on stage recites the final words, “Tech N9ne”!

Tech N9ne - Photography: Andrea Stoica
Tech N9ne
Photography:
Andrea Stoica © All Rights Reserved.

One last shout out to this crew for being genuine and for respecting the fans.  They had been doing these long nights since the beginning of the tour for the past two weeks, and they still took time at the end of the show to meet and greet everybody at the merchandise booth… not just the elite VIP, but every fan. That’s cool, and it makes them even more appreciated. Phoenix may have been just another stop on Tech N9ne’s tour across the planet, but he showed that he genuinely cared about the fans in this town and that will be remembered for a long time to come.

PHOTO ALBUM

Photographer: Andrea Stoica

Tech N9ne – The Van Buren 5-13-18

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Photography © Andrea Stoica. All Rights Reserved

REVIEW: Taylor Swift Blows Away Opening Night of Reputation Stadium Tour in Glendale 5-8-18

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Reputation Album Cover - Click to Buy

GLENDALE, AZ – Taylor Swift kicked off her Reputation Stadium Tour in gorgeous Glendale, Arizona. Swift’s sixth studio album Reputation came out late 2017, and she’s worked tirelessly for months to perfect the album’s tour. Fans, or “Swifties” as they like to be called, poured into the University of Phoenix Stadium. They came armed with stuffed snakes, homemade signs declaring their love for Swift, and creative shirts with Swift’s image or impactful lyrics from different songs. Some fans had signs referring to Swift’s “Rep Room” hoping they might get lucky and be selected to meet Swift later that night. Inside the venue, Charli XCX and Camila Cabello warmed up the fans.

Charli XCX sang in a bright bubblegum pink raincoat and pants delighting fans with seven songs, two being cover songs – “I Love It” by Icona Pop, and ending with “Fancy” by Iggy Azalea. Cabello then took the stage, singing nine songs while wearing a white corset with glittery see-through sleeves and black pants with thigh-high slits. Cabello closed her set with her well-known song, “Havana”.

Swift started with a bang. First, “Bad Reputation” by Joan Jett and the Blackhearts played over the sound system, followed by a video introduction addressing Swift’s reputation. Swift then emerged on stage singing “…Ready For It?”, the first track of her latest album, to the stadium of screaming fans.

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Swift spoke to the crowd before the third song saying, “I wish you could see yourselves. You’re beautiful; more than beautiful… What would that be?” fading into the song “Gorgeous”. Swift later said, “I’ve done fourteen shows in Arizona in thirteen years. Not all of them were in arenas like this. Most were in shopping malls, clubs, then opening for other artists. Now I’m doing stadiums like this, breaking the record with 60,000!”

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Using state-of-the-art production on three different stages, the center being the largest at 110 feet tall, Swift exceeded expectations for those thousands of fans. Colorful confetti rained down on fans, and another round of confetti was designed as mini newspapers with “Reputation” in bold, and “Taylor Swift” written all over it. There were firework-like flares, amazing choreography with sixteen dancers, and of course no show is complete without pyro.

Creatively, Swift had a tilted stage to go along with her song “Look What You Made Me Do”. This song’s music video gained over 43.2 million views during its first twenty-four hours on YouTube, breaking the record for the most-viewed music video in one day.

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Before Swift went into “Delicate” she gave the crowd an uplifting speech, “Wow I missed you guys. Since I was sixteen I’ve lived on a schedule, make an album then go on tour. Over and over, five times in a row. This time I decided to break that record with this last album. I decided I wanted to see who I would be and what my life would be like if I didn’t have a spotlight on me all the time. It was important for me, but I really missed you.” Swift shared some profound thoughts on how brave it is to pursue relationships, knowing that there’s an incredible chance to find mutual love, and also the risk of heartbreak. “It’s just delicate, you know?” As she sang “Delicate”, she was lifted in a sparkly, swirled cage, to her second stage in the back of the stadium.

When she landed, she happily asked the hungry crowd, “What’s going on back here?” She then broke into “Shake It Off” with tourmates Chari XCX and Cabello joining her. Smiling, Swift spoke again, “How is it going on this side of the stadium?” She mentioned following what her fans were saying on social media and trying to put together what they wanted for this tour. She said, “One of my favorite things about you guys in fifteen years is the music industry tells you what they [the fans] want. You can’t sing with that person or make a pop album because your fans are Country and would never understand. And I would say to them, ‘I’m pretty sure I know them better than you do.’ You stuck with me with my musical change. Thank you for that. I still write the same way. I pick up an instrument and the words come.”  

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

After “Blank Space” Swift ran off the stage across the field seating, touching fans’ hands along the way, to her third stage. There she asked fans, “Do you like my dress?” She was greeted with cheers as the song “Dress” began. Swift transitioned to “Bad Blood”, making the entire crowd dance. During each song, the light up bracelets each fan received pulsed with the beat.

Swift had giant blow-up snakes on all three of her stages, a snake-themed mic, and she was lifted from the third stage to return to the main one in a floating snake ribbed cage. Later in the show, Swift explained the reason behind the snake theme, which every Swiftie knew. She explained that someone called her a snake on social media, along with other things. “I went through some really low times because of it. I didn’t know if I’d be able to do this anymore.” she said. “Thank you for taking the time to get to know me. For seeing me as a human being,” she concluded. Swift played a blend of “Long Live” and “New Years Day” on a sleek black piano with the word “Reputation” written in gold.

Swift got everyone on their feet with “We Are Never Getting Back Together,” the lead single from her fourth studio album, Red. That song quickly became a hit and reached the top slot on iTunes’ digital song sales chart just fifty minutes after releasing, earning the “Fastest Selling Single in Digital History” for Guinness World Record.

Taylor Swift - Photography: Katherine Amy Vega, Kataklizmic Design
Taylor Swift
Photography:
Katherine Amy Vega © Kataklizmic Design. All Rights Reserved.

Swift ended her incredible twenty-song setlist with “This Is Why We Can’t Have Nice Things” with a real water fountain on center stage. With beloved songs both old and new, Swift left her “Swifties” screaming and wanting more. Her opening night in Glendale was specular, and even if Swift is an artist who started in Country music and moved toward pop, that only made her a bigger sensation. Swift may even be one of the biggest pop stars in today’s music industry, and she doesn’t care about her reputation anymore. Swift told the crowd goodnight and high-fived her dancers before leaving the stage. The show ended with the words, “And in the death of her reputation, she felt truly alive” on the screens.

PHOTO ALBUM

by Katherine Amy Vega

Taylor Swift – University Of Phoenix Stadium 5-8-18

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© Kataklizmic Design. All Rights Reserved.

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Impromptu Interviews with The Wrecks & All New Hopes at Graduate Hotel 5-4-18

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TEMPE, AZ – We caught The Wrecks after their incredible acoustic performance at ALT AZ 93.3’s Graduate Hotel Sessions. Before they needed to take off for their show, we spoke to them about their impression of the crowd, and going from opening to headlining free concerts at Tempe Marketplace.

Rising local band All New Hopes were just voted for Song of the Week on ALT AZ 93.3’s “Homegrown with Mo”! They told us about their upcoming EP release, fellow locals they love, their dream show, and what it was like to win Song of the Week.

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

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Photography © Mark Greenawalt. All Rights Reserved