PHOENIX — Long-time American songwriter Laura Pergolizzi, also known as LP, brought raw energy and charisma to Phoenix. Originally booked at the Crescent Ballroom, LP sold out the 550 capacity room, forcing the show to move to The Van Buren’s 1800 capacity venue. The bold move proved beneficial as LP sold out the Van Buren, with fans still hoping to score tickets at the box office before the show.
LP may be news to the majority, but she has been gracing the music industry with her songwriting since the late 90’s, writing songs for artists like the Backstreet Boys and Christina Aguilera. Her hard work and consistency paid off big time when she released her first studio album, Heart Shaped Scar, in 2001.
It was clear within the first few moments of the show why LP and her band have fans scrambling for tickets, and promoters moving her show to venues three times the size originally booked. The simple explanation: she’s a star. She has a commanding presence, and the moment she lets that first note slip between her lips, you’re sold. In that moment, you know you’re watching someone born to be on stage.
Taking her time to walk out on the stage, lights dimmed as the band came out, the music began with a slow build creating tension in each eager audience member waiting to see LP and hear her bold voice. The intensity of the crowd matched the tension built from the music until the moment LP came out, and then it’s on. Beginning the show with “Dreamcatcher,” the first track off her latest album, Heart to Mouth, she quickly captured attention from all in attendance.
She gracefully glided across the stage, singing with her incredible range and compelling the crowd to move with her. The music flowed into an explosion of sound and dance. Her writing has an incredible balance of emotion and freedom from your former lover, while at times you can feel her broken heart as if it were yours.
It may take seeing the show live to understand the passion each song has to offer. The show takes each person through a story of heartbreak and raw, pure feelings with songs such as, “I Gave You the Great Unknown,” and her second hit single “Recovery. ” Her lyrics ask honest questions like, “Did you let me go?“, and make real statements like, “I can’t stop sleeping in your clothes.” Her powerful voice soars through the crowd, piercing through each member of the audience. The dynamic vocals are accompanied by a slight quiver in her voice that drives home that heartbreak.
LP not only has the songs to remind you of the love you lost, but she has the ability to get you dancing to the same heartbreak. Along with her great presence is a solid, passionate, and exhilarating band. The dynamism and musicianship they bring to the show support LP with a humility that reflects that they believe in the music they are playing and know they are in the right place.
If there is one takeaway for LP when she leaves the Valley, it’s that Phoenix wants her back, and it would be no surprise to see her in an arena when she returns. This is a show made for everyone: the broken-hearted, the healed, the happy, the lonely, the dancer, the dreamer — LP has something for you.
PHOENIX — Celebrity Theatre was a fitting venue for the return of Styx to the Valley for a two night engagement on January 11th and 12th. Located at 32nd Street and Fillmore, the legendary theatre in the round has hosted the cream of music royalty since it first opened as the Phoenix Star Theatre in 1964. The unique circular, rotating stage and intimate atmosphere have made the Celebrity a staple music hall in Phoenix for nearly six decades. Not one seat in the venue is more than 70 feet from the stage.
The show on January 11th started a little late, most likely a result of the parking delays. The line of cars snaking southbound down the right lane of 32nd street moved at a snail’s pace leading up to the entrance. Folks of all stripes were milling around the theater, ordering drinks and chatting excitedly under the catwalk above the stage. Others lingered outside, chain smoking or vaping, listening for a sign to run back inside for the start of the concert.
From their humble Chicago beginnings in the early 1970’s, to their outlandish high production theatrical arena shows of the 80’s, Styx has been a familiar voice on the radio for generations, with a career spanning over half a century. As the first band to have four triple platinum albums in a row, they are an integral part of the soundtrack of many people’s lives. Their importance to rock music as a whole has been unfairly marginalized for years, and in the words of Julian ‘Frankenstein’ McGrath from Big Daddy (1999), only catching “a bad rap because most critics are cynical assholes.”
The current lineup includes veteran Tommy Shaw on lead guitar, with founding members James “J.Y.” Young and Chuck Panozzo on guitar and bass respectively, with Chuck performing on a more limited basis. Chuck’s twin brother and co-founding member of Styx, John Panozzo, originally played drums, but sadly died of cirrhosis of the liver in 1996. Since then, Todd Sucherman has been the band’s drummer. Playing backing guitar, bass, and vocals is Ricky Phillips of Bad English and The Babys, who joined the band in 2003. Vocalist and keyboard virtuoso Lawrence Gowan is a high-energy showman, but you would have to be in order to replace estranged former frontman Dennis DeYoung, as he did in 1999. A band with a history as rich as Styx merits such a historic venue as Celebrity Theatre.
The house lights suddenly dimmed, eliciting hoots and cheers from the audience. As soon as the spotlights kicked on, the band flew right into “Gone Gone Gone”from their latest album The Mission, released in mid-2017. From the first frenzied notes played on the dueling guitars, the crowd was on their feet. Fans young and old danced in the aisles while others rushed to their seats, full beers in hand. The song does not sound at all unlike the old Styx — high-energy and fun.
Not a moment after the first tune ended, the iconic organ riff of “Blue Collar Man” sternly commanded the grateful crowd’s attention. Each band member’s precision assured the crowd that Styx had not lost a step from their golden age.
Next was their hit “The Grand Illusion”, the title track from their 1977 album. Every flawless note rang out true to the recording, and there is a perfectly reasonable explanation for that: Styx is a band that is perpetually on tour. According to the band themselves, they only take occasional breaks for short periods. Anybody touring that frequently is going to perform their catalogue masterfully.
After performing “Fooling Yourself,” Gowan spoke: “What a wonderful way to ring in the new year!” Standing at the foot of the stage, he remarked, “My, you’re all so close,” as he addressed the theater’s intimate layout.
The spotlight settled on him at the keyboard as and an iconic piano riff pierced the crowd, igniting their collective nostalgia. “Lady” is one of those songs that everyone imagines will be playing in the background when they lay their eyes on their soulmate for the first time. Again, it’s eerie how well Gowan embodies Dennis DeYoung, both vocally and instrumentally. It was not the first song the whole theater sang in unison, nor would it be the last.
When Shaw approached the mic, he explained the origins of their 16th album, The Mission, before introducing “Radio Silence” for the waiting ears of all in attendance. The opening synth has that instantly recognizable Styx DNA. That this was not a radio single is baffling. In fact, Shaw himself has expressed frustration with the neglect that great classic rock bands experience in the new age of the music industry. It is almost prophetic of the band that you cannot hear a song called “Radio Silence” on the radio. It is a fantastic track and deserves more attention.
The next tune was off of 1975’s Equinox. “Lorelei” seems like one of those songs that everyone knows but has no idea what it is called or who sings it, like an old friend you ate lunch with at work, but never learned their name. Young absolutely nails the lead vocals in place of DeYoung’s studio recording. Another striking revelation was that the bands harmonies were pristine. These are men in their early to late sixties, the oldest being founding member Panozzo at seventy years old.
Shortly after “Lorelei”, Shaw recalled a conversation he had with Young in 1975, and explained how he came to join the band. Taking Young up on his offer to come to Chicago, Shaw brought a song he had been working on. It was a great song, but “it wasn’t a Styx song” according to Young, who Shaw calls “The Godfather of Styx”. From that story, the audience learned how “Crystal Ball” was written, and Shaw was only too happy to demonstrate how beautiful his two-tone sunburst Fender 12-string acoustic sounds. With impeccable timing, a roadie hopped up onto the stage to hand over a Les Paul for the solo before swapping the Jumbo back for the outro.
As expected, the band played a couple more hits with “Light Up” and “Man in the Wilderness” before closing out the first half of the show with another anthem from the Paradise Theater album, “Rockin’ the Paradise.” It wasn’t long before the house lights came back up for a short intermission, when Young promised another hour of music after they returned.
The second half of the show kicked off with another Young-led hit from The Grand Illusion, “Miss America.” Styx is currently rehearsing for a special show in Las Vegas where they will play the entire The Mission album from start to finish. Fans attending this show were treated to a sampling of what is to come when they debuted six of those songs in order from the second half of the album. The suite of songs began with “Time May Bend” and continued through “The Outpost” and this night was the first time they had ever been performed live. They even welcomed the album’s producer and co-writer, Will Evankovich on stage to contribute to the instrumentation and vocals.
Eventually a roadie produced Shaw’s vintage Fender Electric XII and it’s a dead giveaway to the guitar-savvy fans that “Suite Madame Blue” was coming, and it was impeccably played from start to finish. Immediately after, the fans were finally treated to what many were waiting for… “Too Much Time On My Hands” (watch the Paul Rudd and Jimmy Fallon shot-for-shot remake) from 1981’s Paradise Theater. The maniacal keyboard part of the song is indicative of the genius that Dennis DeYoung endowed upon the group; however, this does not imply they are lacking anything from his departure. This band is so well-oiled that his absence is hardly noticeable.
As the applause died down, most of the band left the stage, but Gowan remained and took the spotlight to turn the venue into a “piano bar” with a pair of fantastic covers. The first was a phenomenally accurate rendition of Elton John’s “Rocket Man” for the appreciative audience. The second cover was a beautiful recitation of the intricate operatic section of Queen’s “Bohemian Rhapsody”, and the entire crowd once again sang along to every word. They are truly a fortunate group to have stumbled across such a talented frontman. Gowan alone should be a major factor for anyone even considering going to a Styx show. He alone is absolutely worth the cost of admission.
Still alone on stage, Gowen started into the piano intro to possibly their most famous hit, “Come Sail Away”, which was also featured on The Grand Illusion. The band shuffled back out to bring it home and it seemed to be the perfect crescendo to end the show with, guitars blazing and fans jumping up and down. As the last note is struck from the guitars, and the last cymbal smashed, the band removed their straps and handed off their instruments to the roadies while they made their way off the stage before turning around amid the raucous applause and walking right back out for an encore.
To thunderous applause, they opened back up with “Mr. Roboto,” the drum fills echoing throughout the small space with noticeably fewer audience members, many of whom ran out to their vehicles when they believed the show was over. This is a big deal for one simple reason: They had never performed this song on stage with the full band before this tour. Previously, Dennis DeYoung had always sung a version of it with pre-recorded tracks. Once he left, the band abandoned it for the following decades. The fact that they are playing it as an encore now is kind of ironic.
The fitting final number of the evening was the signature rocker song “Renegade”, Shaw’s self-penned hit from 1979’s Pieces of Eight.
“Oh, mama, I’m in fear for my life from the long arm of the law…”
The acapella opening lines beckoned the crowd once more to accompany the band, offering a fitting and crowd-unifying conclusion to a consistently powerful and nostalgic evening with a gargantuan pillar of classic rock. As any great performers are wont to do, Styx left the Phoenix audience delighted and fulfilled, yet eager for more. Fans might have had their thirst satiated if they bought tickets to the show the following night at the same venue. And if the rock gods will it, perhaps Arizona will be graced with a future performance from the legendary American musical mainstay.
PHOENIX — Many of us have been invited to a pity party and more than likely, we have no desire to attend. When Puddles the sad clown hosts one, however, I recommend you RSVP and make it a priority on your calendar.
I was one such lucky attendee amidst several thousand others that packed the Ikeda Theater at Mesa Arts Center. Not knowing what to expect of the next 110 intermission-free minutes aside from a sweet serenade from the 6’8” baritone crooner in a clown costume, I kept my mind, ears, and eyes open.
Three minutes before the show was set to begin, the house lights were still up as people shuffled to their seats. There appeared to be commotion on the mezzanine level as several audience members looked up to see the unmistakable giant, cuddly clown making his way through the sea of people giving hugs, handshakes, and posing for photos. He effortlessly hurdled the chairs and made a concerted effort to greet as many of his party “guests” as he could, before making his way down to the ground level where he popped through the back doors and dashed to and fro, greeting attendees as he made his way up to the stage.
Puddles Pity Party is anything but predictable, and after enthusiastically giving high fives to some of the folks in the front rows, he hoisted himself up onto the stage and awkwardly rolled to his feet despite the fact that there was an accessibility staircase not 10 feet to his left. It was at this moment I realized that things were going to be shaken up into a concoction of splendor and entertainment that would take all of us on a wild adventure of fellowship and laughter.
The festivities began with Puddles amusingly popping a whopping amount of gum into his mouth and loudly chewing as he read an AARP magazine featuring Kevin Costner.
Much like other aspects of the show, these pieces may have seemed trivial at the time, but became integral parts of his act. Perpetually animated and childlike in his movement at times, Puddles — brought to life by Mike Geier — scoots about the stage on his stool and takes his sweet time getting to center stage to watch a montage of his trials and tribulations while appearing on America’s Got Talent. The sad clown with the golden voice sang his rendition of R.E.M.’s “Losing My Religion”, only to be abruptly stopped by a loud buzzer and a giant red X like the one he received while performing for the show. Despite this, Puddles pressed on.
The irony was not lost in respect to a silent comic entertainer who uses only his vocal ability to belt out emotional tunes; however, the heartfelt depth of his singing left the partygoers absolutely stunned. Puddles performed “The Sound of Silence” to a video of ASL translator, Zoey Stormes, signing a moving performance. Though he is a sad clown who expresses tremendous variety of emotion, from melancholy, to gratitude, to wonderment, it’s virtually impossible to be sad while in his presence. Laughter and words of encouragement from the crowd consistently permeated the silence.
Puddles has several obsessions that attendees learn throughout their time with him, two of which are Kevin Costner and coffee. Never have I attended a party that entailed a coffee break, but there is a first time for everything. In fact, Puddles Pity Party contained many firsts, which takes the Vaudevillian style act from being a show to a full-fledged experience. I lost count of how many times Puddles left his wad of gum behind on his suitcase of goodies and plucked it back up to resume chewing. Additionally, I lost count of how many times he rolled himself off the stage to interact with the audience and bring a new friend up to be a part of the show. Attendees were swept away, transformed into an environment where excitement is found in the simple and absurd.
It was when I oddly caught “the feels” from hilarious snippets of robots falling over to the sound of Puddles’ emotional rendition of Coldplay’s “Fix You” that I realized the power and magnitude of this king-sized clown’s voice. No love song directed at a cup of coffee will ever feel so pure and heartfelt as it did in that theater.
Partygoers were just as much a part of the show, and were brought into Puddles’ world of make-believe. One woman transformed into a wolf that Puddles waltzed with. A gentleman enthusiastically sang the karaoke version of “All By Myself”. Another got to be a rocket scientist, and yet another got to stuff his face with cupcakes while being reminded that the word “stressed” spelled backwards is “desserts”. Puddles even had one of the party attendees summon Kevin Costner, albeit after a failed attempt that accidentally summoned Kevin Bacon.
Other celebrities were attending in spirit, as it was impossible to miss the homages to Axl Rose, Freddie Mercury, and the King himself, Elvis Presley. Puddles’ prowess as an accomplished musician was made apparent through performing on his cardboard guitar that asserts “Do Good Work”, to his various beats on both real and video game drum sets, to his unique song mashups.
Geier, affectionately known as “Big Mike”, who has run a burlesque performance troupe out of Atlanta and also performs with the Kingsized Jazz Trio, has the performer gene coursing through his veins. Traveling with Puddles Pity Party, he has made audiences giggle and laugh warmly all over the world while wearing his endearing heart on his ruffled sleeve.
All you would have to do is go on YouTube and search “Puddles” to encounter countless videos of the sad clown with the golden voice. One of his most captivating being his rendition of Sia’s “Chandelier”, which partnered with Scott Bradlee’s Postmodern Jukebox and also performed on America’s Got Talent to agape jaws and an uproarious standing ovation.
The party on Friday was no exception and the crowd had their phones out to record video of his most notable serenade, as is encouraged. This did not stop Puddles from giving his adoring fans the up-close and personal show they were hoping for, as he grabbed one phone to sing to it and place it in the hand of another individual while picking up their phone and passing it on until there were multitudes of attendees who had incredible footage of Puddles and the cell phone of their fellow party-goer. The laughter that ensued afterward while people scrambled to find each rightful owner was memorable. If anyone can bring people closer together with their fellow man, it’s most definitely Puddles the sad clown.
If you have the opportunity to attend a pity party put on by Puddles, I highly encourage it. How a sad clown can make everyone in a room light up with laughter is a special kind of magic that can only be felt and seen by experiencing it firsthand.
Tempe, AZ — At face value, thinking about a period of seventeen years does seem like a long stretch of time. Contrarily, Minus the Bear frontman, Jake Snider, has a different take on the idea because about halfway through the set on their farewell tour at the Marquee Theatre last night, Snider gave the audience some insight into their seventeen year-long career as a band, “Seventeen years feels like almost no time has passed. We appreciate all of you for being here. We’ve got the best fans of anyone.”
This served as a beautiful footnote at the end of the influential band’s creative streak consisting of 6 studio albums and 12 EPs, as well as countless national and international tours. They’ve been highly influential in the math rock genre and are largely considered pioneers of the style, their beginnings predating many noteworthy math rock bands like This Town Needs Guns and Chon.
They clearly expressed their gratitude to the audience, and the feeling was undeniably mutual as the sounds of cheering and clapping rarely died down over the course of the evening. Every crowd has its black sheep though, demonstrated towards the end of the show as one inebriated concert-goer threw a full can of beer at bassist Cory Murchy. To the relief of many, the band didn’t hold the rudeness of one person against the rest of the audience as Snider calmy chimed in over the mic “Please don’t throw your f*ucking beer can at us. Thanks, we love you guys.”
The unforgettable night began with an excellent introduction of the complex music to come thanks to the opening act, Tera Melos. The Sacramento, California-based band pummelled the audience with a frenetic 40 minute set that never once let up in energy.
It all began when Nick Reinhart, the guitarist/vocalist/keyboardist of the band, gave the other members a quick, nearly imperceptible glance, and then they were off with their first song, “Don’t Say I Know”. The band continued their set without uttering a word or letting out a breath between songs while only occasionally looking at each other for brief acknowledgement of what was coming next. This was astounding because of the technicality and otherworldly sounds emanating from Reinhart’s guitar; it takes incredible musicianship to even follow what’s going on as a listener, let alone a Tera Melos band member.
Interspersed between songs were spastic, electronic guitar lines that could often be described as computer beeping in 5/4 time. Some of these sounded reminiscent of dubstep while others bordered more along EDM territory. It was surprising to many fans in attendance that it was coming from a guitar, as well as those more familiar with the band as you’d frequently hear someone new shouting “What?!” or “How?!” from around the room as Reinhart stomped on a new combination of guitar FX pedals.
Another highlight of their incredible set was “Slimed”, with Reinhart screaming “Something about my face, always makes me sick!” as the band followed along perfectly without missing a note. On these merits alone, Tera Melos is not, nor will they ever be, a band to be missed.
Minus the Bear
After fans had about 20 minutes to recover between sets from the mind blowing experience of Tera Melos, Minus the Bear picked up right where the opening act left off.
The band’s embrace of classics like “Pachuca Sunrise”, “The Fix”, and “The Game Needed Me” from their second album Menos Del Oso scattered throughout the set among more recent favorites, such as “Last Kiss” from their final 2017 release, VOIDS served as an anachronistic tribute to their incredible evolution as a band over time. It was a nice touch and always kept you guessing as what was to come next. The band’s sound was also finely tuned to the venue’s sound system, a huge relief considering anything less would have proven unacceptable for a band so musically polished themselves.
Guitarist Dave Knudson was a finger-tapping machine, only taking both his hands off the guitar neck to kneel down and adjust knobs on his plethora of FX pedals. If Knudson and Reinhart were to face off in a gladiator-esque guitar FX duel, it would be impossible to tell who would come out on top. Knudson and keyboardist Alex Rose were the icing on the cake of the intricately layered music, as bassist Murchy and touring drummer Joshua Sparks provided a solid backbone for the songs to breathe new life into the hearts of many listeners.
While farewell tours will always carry bittersweet connotations, this inspiring show served as a proper send-off for some of math rock’s founding fathers with the grateful support of an up-and-coming math rock band. It’s hard to picture it going any better than it did, and many fans stayed until the very end of the show, absorbing every beautiful moment. The legacy of Minus the Bear will live on through not only their own music, but in the hearts and minds of fans worldwide and other math rock bands reinventing the sound that was so new only seventeen short years ago.
Photographer: Mark Greenawalt
Minus The Bear & Tera Melos – Marquee Theatre 12-7-18
PHOENIX — Hailing from Perth, Australia, The Faim dropped into Crescent Ballroom on headliner Hands Like Houses’ “U.S. Tour 2018”. With a whopping 5-band line-up (including Arlington, The Faim, Devour the Day, Emarosa, and Hands Like Houses), Phoenix was treated to an explosive set of just 30 minutes, which left the crowd hungry for more! On the dimly-lit stage, the band brought an unanticipated level of energy and a performance undoubtably worthy of headlining at an even bigger venue.
With a big sound and big backing, it was entirely evident that The Faim will be going far, and doing it fast. At the time of our interview, it was still unknown when the band would grace Arizona with their presence. Since then, The Faim has released multiple songs and music videos, their Summer is a Curse EP (released September 7th), toured the states, and are embarking on a world tour in 2019. Current tour dates can be found on their website.
This honestly doesn’t seem real. Selling out/upgrading shows on the other side of the world is a fantasy we’ve never expected. This is a testament to all of the incredible support and dedication from our amazing supporters all over the world. This love is unforgettable x pic.twitter.com/Rxyxh5e6FG
PHOENIX — Justin Courtney Pierre returned to Arizona for an intimate underground show at the historic Valley Bar Friday night, revitalizing fans with a colloquial performance of his latest solo-album In The Drink. Since Motion City Soundtrack’s “So Long, Farewell Tour” in 2016, it had been unclear when and if Pierre would continue making music in the future.
“Post-MCS I just really wanted to focus on the art,” Pierre told Billboard during a recent interview, “so, I built a team of people around me that I can utilize for all the other stuff – the production, the business. What’s nice about this is I don’t have to ask anybody for permission or get four people to agree on whatever we’re doing. I can just do my ideas whether they’re stupid or not, for better or for worse. I thought, ‘OK, so if this is the only record I ever do, great. I’m just gonna do it exactly the way I want it.’“
Produced by Motion City Soundtrack bandmate Joshua Cain, In The Drink is heavily influenced by the sound of the 90’s, classic guitar and, as Pierre puts it, (in direct reference to noted inspirations Swervedriver, Polara, Guided By Voices, and Frank Black’s “Teenager of the Year”) “a lot of movement going on”.
During a coinciding interview with boutique pedal company ZVex, Pierre went on to explain the experimental nature of his work which he revealed, lead him to his newfound love affair with the ZVex Fuzz Factory 7, as well as the ZVex Effects Vertical Vexter ’59 Sound, which he utilized throughout Friday night’s performance. When it comes to guitar, this singer-songwriter prefers a more improvisonal approach – toying with different combinations until his fancy footwork yields a sound he likes.
Pierre’s tourmates for his latest solo album include old friend and master of effects – guitarist Thomas Rehbein, sensational vocalist and guitarist Lydia Liza, emotive bassist Shannon Burns, and relentless drummer David Jarnstrom.
“I’m listening to Flaming Lips in my headphones to drown out all this other bullshit”, Pierre joked before jamming out the opening notes to “I Don’t Know Why She Ran Away”, following opening tracks “Undone” and “Anchor”. “Just kidding!”, he laughed – noting that the night’s opener had been unable to make it due to an undisclosed transportation issue. As a result of that last minute change, the night became increasingly conversational. Fans shouted back and forth as Pierre responded between tracks from on-stage, speaking on everything from his struggles with alcohol, to new “dadhood”, and even his strong distaste for Burger King. Pierre casually guided the audience through an evening of impromptu storytelling between each new track from In The Drink, but not without some nostalgic surprises along the way.
Preceding the Farewell Continental portion of the evening, a tribute to Pierre and Rehbein’s passion project since 2008, “My Girl Margo” off a “special upcoming EP” got fans jumping for more. With the night’s energy at its peak, “Total Devastation” had diehard JCP fans weak in the knees.
Next up was a new Farewell Continental song that’s not yet been recorded. “It’s called ‘Tossing and Turning’”, Pierre told fans, “It’s a motif I’ve used before and I’m aware of that,” he laughed, “And I like to remind people, it’s supposed to sound like this.” Farewell Continentaltakes the undeniably esoteric undertones of In The Drink one step further, culminating a uniquely chaotic blend of power-pop-meets-classic-rock. The band finished out a lively performance of “Do You Wanna Tangle” also by Farewell Continental, before abruptly leaving the stage where only Pierre was left to tame the spotlight.
Without question, the moment we’d been waiting for since 2016 had finally arrived; it was time for a little Motion City Soundtrack. Pierre explained that since the band had chosen not to continue making music two years prior, he’d decided to play only MCS songs which he’d “brought to the party” so to speak. Members of the crowd shouted out track after track in hopes of hearing their longtime favorites. Pierre responded by teasing onlookers with a candid rendition of “Stand Too Close” before breaking for a quick story – “The Caffeine Story” he called it: “Listen, listen. I haven’t had a drink of alcohol in over nine years, and a few years after that I quit caffeine. And now I have nothing.”
As fans applauded, “Atonia” began rumbling out from the speakers. Fans sang along loudly as Pierre pieced together a nostalgic solo tribute session including “When You’re Around” and “LG FUAD”, to which the entire bar sang aloud. “Okay, now I am going to invite the band back to the stage,” Pierre announced before launching into a cover of Guided By Voices’ “Motor Away” which he credited as one of his favorite songs to date. “Some of these guys just heard it for the first time today,” he told fans as they hooted and hollered at Pierre to “do it again!”
The evening closed out with “Shoulder the Weight”, “In the Drink”, and “Goodnight Hiroyuki” – the last three tracks off of Pierre’s latest solo expressional, sending fans off with a phantasmal intermingling of sludgy, otherworldly tones. Rehbein could be seen sliding his guitar back and forth against everything from the guard rail to the speakers and even Liza’s guitar while her robust, angelic voice offered a sweet contrast to the whirlwind of instrumental experimentation unfolding on stage. “This is it. I love you all, except Kevin!”, Pierre exclaimed.
Following a staggering twenty track setlist, fans continued to swarm the stage in hopes of one more. Band members could be seen handing out copies of the setlist, and even notes from practice sessions to outstretched hands eager to claim their prize. Following the performance, Pierre stayed true to his reputation of being the down-to-earth artist we’ve all come to love and hung out to greet and take photos with anyone and everyone who chose to stick around. Although he was lacking in words (as he announced that he would not be speaking, in order to protect his voice), Pierre’s charismatic demeanor radiated off of him as fan after fan stepped up to meet the man of the hour.
After two years of wondering, Pierre took us back to the driving spirit and endearing authenticity behind what made Motion City Soundtrack great. It’s that permeating willingness – to care and connect with his fans, to tell the stories that need to be told, and if there’s one thing for sure, it’s that we absolutely cannot wait to see what this performer is up to next.
Tempe, AZ — Underoath, touring in support of their latest release Erase Me, brought remarkable energy to Marquee Theatre. When asked about one of the opening bands, The Plot in You, local fan and concertgoer, Curtis said, “I’ve never seen a band play so hard,” which is an apt description for every band that took the stage on this night. In addition to The Plot in You, Underoath’s supporting acts on the “Erase Me Tour” include Dance Gavin Dance and Crown the Empire.
We love Tempe. We love that this tour is just getting started. We love that it’s not cold here. We’ve had lots of coffee so we’re in a great mood all around. See you tonight Tempe 🙌🏽🙌🏽 pic.twitter.com/mEZnptkmQ6
Dance Gavin Dance stunned the audience with one of the most polished, musically proficient, and engaging sets of the night. It wouldn’t be a stretch of the imagination to say that they stole the show with their absolutely commanding presence on the Marquee stage. Lead clean-vocalist Tilian Pearson and unclean vocalist John Mess made an excellent team, trading off between Pearson’s angelic high notes and Mess’ primal, guttural screams. Their body language couldn’t be more different and yet it’s so complimentary to the other performer that it comes off as a natural contrast. Pearson dances across the stage with a snake-like charm, moving his body in fluid motions reminiscent of Michael Jackson while Mess stands firm like a monument, tightly focused on the crowd and his microphone and he delivers his powerful vocals.
Guitarist Will Swan was an indisputable highlight in a band full of unrelentingly talented musicians. His hands move so fast as to seemingly blur at times and aside from throwing his head back and forth in bobble-head like fashion to the music, he stands completely still. For a performer to remain almost entirely stationary while still bringing so much energy to the band’s sound is truly an incredible feat. His effortless transitions between finger tapping on “Chucky Vs. The Giant Tortoise” to speedy flurries of dissonant power-chords hint at a subtle mastery of his instrument.
Before leaving the stage, Pearson thanked the crowd for being so welcoming and quickly added “you guys are f*cking crazy!”. This was apparent being in the crowd and witnessing what some concert-goers were capable of without getting thrown out of the show, although this was nothing compared to what came next.
As stagehands went to work striking the other band’s props and equipment, people marveled at the visual spectacle coming to life before their eyes. The drums and keyboards sat atop a giant riser on stage-right and left respectively, which was illuminated by ubiquitous screens that covered most of the stage. Dozens of rotating lights mounted on stage trusses strongly indicated that the audience was about to witness epileptic-rainbows of flashing color fill the room.
As Underoath’s set begin, the lights went dark and shortly thereafter, the screens and lights came to life. The screens cast blindingly-delightful floods of color into the retina of adoring fans who screamed their hearts out. The electronic hum of Christopher Dudley’s keyboards set the foreboding tone of the hour as drummer and vocalist, Aaron Gillespie began the intro to “On My Teeth” at machine-gun speeds. The energy was increasingly palpable as lead vocalist, Spencer Chamberlain ran on stage so fast as to almost fly into the crowd upon entering.
The night continued with this level of energy until it suddenly increased at an unstoppable pace when the band broke into an old favorite, “In Regards To Myself”. People lost their minds and formed mosh pits that felt tumultuous yet far friendlier and safer than most. Eventually following this were other notable song highlights in “Desperate Times, Desperate Measures”, “Reinventing your Exit”, “Rapture”, and “It Has To Start Somewhere”.
Chamberlain commanded the crowd with the ease of a sorcerer manipulating matter as he moved his hands in a circle and instructed them to mosh. He also had an admirable way of engaging the audience on deeply, personal levels when he went into a beautiful speech about his own experiences with drug addiction and how he used music as one form of therapy and a creative outlet for his emotions. He credited Gillespie as the one he called first when he was at his lowest point in life and realized he needed to get help. After that he implored the audience to applaud as he expressed his heartfelt gratitude to his bandmate and close friend. It all felt really genuine and inspiring as he concluded his speech with “You’re not weak for seeking out help when you need it.”
Overall, Underoath and Dance Gavin Dance both proved beyond a shadow of doubt that they are musical forces to be reckoned with and can still draw enthusiasm from crowds after 10+ year careers doing what they obviously love to do. It will surely be exciting to see what the future holds and what comes next from each of these talented bands.
Tempe, AZ — On Sunday night, Garbage played at the Marquee Theatre as part of the “20 Years Paranoid” tour celebrating the 20th anniversary of the release of their Version 2.0 album. Opening for them was Rituals of Mine, a Los Angeles-based duo previously known as Sister Crayon.
At the start of the show, it wasn’t clear that Ritual of Mine’s self-described electronic/downtempo R&B sound would appeal to the packed house of late-to-middle-age Gen Xers. But as Terra Lopez sang “To Show You Violence,” the mood in the theater shifted from one of silent, reserved judgement to silent awe. Her indisputably powerful and clear voice resounded throughout the theatre to the applause of a crowd won over.
Rituals of Mine recently collaborated with Tricky and The Glitch Mob, and the duo is now working on their sophomore LP. They will also accompany Garbage throughout the entire U.S. anniversary tour. “This is a dream for us,” Lopez told the crowd. While Rituals of Mine isn’t a new act, the tour along with their recent collaborations could expose the group to a much wider audience.
“It is a privilege to share our stage with them,” Garbage frontwoman Shirley Manson said later during the show, “’cause not all musicians are good people, you know what I’m saying?”
When Garbage finally took the stage, they opened with “Afterglow,” followed by “Deadwood,” and “Temptation Waits”. To the delight of the audience, Depeche Mode’s “Personal Jesus” was mixed in midway through “Wicked Ways.” By the time “Special” began to play, the crowd was fully amped.
“This is an incredible surprise for us… We never ever know what we’re getting, and it is always extraordinary and it’s fun,” a breathless Shirley Manson told the screaming crowd. “We’re here to celebrate a record that was immensely influential for us as people. It took us all over the world.”
Version 2.0, the band’s sophomore album released in 1998, was immensely successful, quickly gaining Platinum status in the U.S. and selling more than four million copies worldwide. It received two Grammy nominations, including “Album of the Year” and “Best Rock Album”. And in 1999, the single “Special,” was nominated for “Best Rock Performance by a Duo or Group With Vocal”.
Garbage has often credited Version 2.0 with solidifying their place in 90s rock music. In June, they reissued a special edition of the album that included 10 B-sides, several of which they played during their show at the Marquee, including “Lick the Pavement” and their cover of Big Star’s “Thirteen.” The group also has plans to record a new album for release in 2019.
One of Garbage’s last visits to the Valley was during a show at the Arizona State Fair to promote Strange Little Birds. Maybe it was the venue — the Veterans Memorial Coliseum has seen better days — or maybe it was just the changing state of affairs in the world at that time, but Manson seemed drained, world-weary and even a little sad. They delivered a powerful performance, but you couldn’t help leaving with the impression that maybe they weren’t coming back.
By contrast, Garbage was more alive than ever on stage at the Marquee. Manson seemed to have a renewed energy and vigor that made you forget you were singing along to songs that are now 20 years old.
During “Push It,” nearly the entire front of the house was jumping up and down with Manson and screaming the chorus. The stage was backlit with playful rainbow hues for “When I Grow Up.” Then, at the end of “Can’t Seem to Make You Mine,” Manson joined Duke Erikson at the keyboard to play glissandos back and forth across the keys.
“Despite what they will tell you, this is not a celebration of nostalgia,” Manson told concert-goers early in the evening. “It is a moment in which to collect you all in one space and feed off that mental energy that you just provided for us.”
But there was something undeniably nostalgic about the sound clips from familiar old movies interspersed between each song. Before “Hammering in My Head,” a clip of Rutger Hauer’s iconic monologue from the final scene of Bladerunner played: “I’ve seen things you people wouldn’t believe. … All those moments will be lost in time, like tears in rain. Time to die.” And before “Medication” they played a clip of HAL 9000 repeating: “Take a stress pill and think things over.”
Perhaps the most poignant messages of the night came after Garbage returned for their encore. “No life is very easy,” Manson told concertgoers. “Remember that today’s just a day. Tomorrow will be better. And if tomorrow isn’t better, maybe the day after that might be,” Manson said before dedicating “The Trick Is to Keep Breathing” to any fans who might be struggling.
They followed it with one of the band’s latest singles, “No Horses,” which Manson took some time to speak about.
“We must focus on the things that are precious. Not the things that are of the most financial value, but the things that are truly truly precious that make our world beautiful, that make us want to live, that make us want to breath and thrive. And this is what this song is about,” Manson said.
“It is about the fact that we must never fuck up our planet and our beasts and our animals and the things that don’t make money and that, above all else, human beings are our biggest and most important resource.”
Garbage closed the show on a high note with “Cherry Lips (Go Baby Go),” a song that Manson called their ode to the LGBQT community, which she has been a very vocal supporter of over the years.
“It’s good to be free, and it’s good to be a nonconformist.
So this one goes out to you.”
Photographer: Rodrigo Izquierdo
Garbage & Rituals Of Mine – Marquee Theatre 10-7-18
PHOENIX — The Valley of the Sun was transported back in time to the halcyon 90’s Sunday night as Goo Goo Dolls kicked off their “Dizzy Up the Girl” Anniversary Tour at The Van Buren. The four-time platinum certified album contains thirteen songs, four of which made it into the top 40. As the tour name suggests, Dizzy Up The Girl was the primary focus of the show, taking up the entirety of the first of two sets from the band, being played from beginning to end. It certainly did not feel like two decades had passed since its release, as thick crowds of people covered every square inch of the venue for this sold out show.
There was a tangible current of excitement in the air, and people were becoming antsy and murmuring to one another about their impatience for this much anticipated show to start. Each time a new melody would boom from the speakers, or a guitar was tweaked backstage, the excitement could be felt as it was mistaken for the beginning of the show.
The lights dim and the stage goes dark. A melody begins to play as lights begin to dance in unison to the music across the platform, engulfing the instruments in various colors as vocalist Johnny Rzeznik, bassist Robby Takac, and current touring members: guitarist Brad Fernquist, keyboardist Jim McGorman, and drummer Craig Macintyre moved slowly towards them. A sea of light from cell phones rose up from the crowd to capture the initial moments of the show. As each found their way to their place on stage they wasted no time heading straight into the opening chords of the albums first song “Dizzy.”
Following an intense performance of the first song, they effortlessly flowed into the following song on the album which also happens to be the second most popular song, coming in at #9 on Billboard’s Top 100 Pop list from 1992-2012. The beginning notes of “Slide” glided out of the speakers and it was like a fire had been lit inside the venue. Screams and cheers rang out as Rzeznik sang the words that any true Goo Goo Dolls fan would know. Goo Goo Dolls exuded a palpable “rockstar” energy. At points during the song, the audience was so jazzed up and into the music that they began to drown out the band with their singing. Not wanting to be outdone, this caused a chain reaction of events as the five progressed powerfully through the next seven songs on the album without any breaks in between.
While talking about the anniversary of the album, Rzeznik tells the audience about the iconic girl on the album cover, saying that everyone wants to know who she is. Thinking there would be an intricate story involved, he surprises everyone by saying they have no idea who she is, other than the assistant of the photographer despite casting models for the shoot. Even without a great story, the crowd loved it and snapped right back into their trance as they sang their hearts out from song to song, dancing with the strangers next to them and thrusting their drinks and hands in the air. This was the general reaction throughout their set, with a vibrant light show and dozens of black latex balloons floating around during another hit single, “Black Balloon.” Set one was brought to a close at the conclusion of the last song on the album, “Hate This Place.”
“Thank you! Hang on a sec, we’ll be right back,” Rzeznik said as the band left the stage for a short intermission. Before long, the musicians were back on stage ready to keep the party going for the second part of their set. Already having played thirteen songs, the band proceeded to double the experience and play thirteen more for set two, entitled “Deep Cuts”. Fans went down several paths of memory lane while the band played some of their biggest hits outside of their most popular album. “Better Days”, “Can’t Let It Go”, and “Two Days in February” were all played with acoustic guitar, evoking a range of emotions from their followers.
The remainder of the show was more amped up, wanting to bring the audience back to full volume before they ended with a two-song encore including “Big Machine” and a mindblowing performance of “Flat Top”. Right before that, though, Takac addressed the audience a final time with a simple “Thank you guys for coming out to celebrate with us tonight. Truly truly truly means a lot,” no doubt with mutual feelings in the hearts of fans. As the show ended after 26 songs, people could be overheard talking all around about how wonderful the show was and how much it meant to them to be there for it. For over twenty years the Goo Goo Dolls have brought several beautiful songs to life, and if this tour has anything to say about them, no amount of time can weaken the love their fans have for them, or their music.
PHOENIX — For the fourth stop of their Fall 2018 tour, Death Cab for Cutie returned to Phoenix to promote their ninth album, Thank You for Today. In the first album since 2015, the band comes back strong in their signature indie pop songwriting and foggy vocals. The band has already released three singles since the August 2018 album release date, building anticipation for their tour. Death Cab for Cutie added two new members to the band after the departure of guitarist and producer Chris Walla. The two new members, guitarist Dave Depper and keyboardist Zac Rae, seem to bring a new cohesive energy to the band, which made for a polished and low-key performance at the sold out music venue in Phoenix.
When the show started at 8:00PM, opening power-pop band Charly Bliss welcomed the crowd. Lead vocalist Eva Hendricks bounced around the stage, swinging the white fringe from her short shorts. Her spunky attitude infused the crowd with energy, starting off the night with a positive jolt of indie pop rock, reminiscent of the early 2000s.
Joining her on stage was guitarist/vocalist Spencer Fox, drummer Sam Hendricks, and bassist/vocalist Dan Shure. At the end of their set, they generously thanked the audience and anticipation crescendoed for the main act, Death Cab for Cutie. Charly Bliss’ debut full-length album, Guppy, was released in April of 2017.
As the stage washed with ambient purple light, the four members of Death Cab for Cutie took the stage clad in black.
Lead vocalist Ben Gibbard jumped right into their new song “I Dreamt We Spoke Again”, washing the audience in his unique melancholy vocals. Guitarist/vocalist Depper complemented Ben’s voice in creating a beautiful harmony, while drummer Jason McGerr, bassist Nick Harmer, and keyboardist Rae rounded out the sound; making for a solid performance that reflected the band’s years of refinement.
Without pause, they began “Summer Years”, and then picked up the pace with the following song, “The Ghosts of Beverly Drive.” After the third song, Gibbard addressed the audience, introducing the band and briefly thanking those in attendance.
After a few more new songs, they went into “Gold Rush,” the fresh-sounding first single released from their new album. Recognizing the song from heavy rotation, the crowd erupted in cheers and voices rising up in unison. Reactions were similarly enthusiastic when the well-known notes of “Title and Registration” from Transatlanticism reached their ears.
The next few songs were a mix from earlier albums, including “Company Calls,” “No Sunlight,” and “What Sarah Said.” The chill vibes of their show would make for a great date night, or an escape from the work week. Gibbard occasionally dances about the stage facing the drummer and side stepping to the beat. While their performance was strong and their live sound comparable to their albums in every sense, the band’s minimal audience interaction and dependance on old songs might cause a loss of interest in newer listeners. There seemed to be a lack of connection that was sorely needed between the band and the audience. All members could benefit from some storytelling. Their lyrics are so beautiful and meaningful, the audience would surely love to hear some stories behind writing them.
A piano was rolled onto the stage for, “I Will Possess your Heart,” and Gibbard temporarily switched his guitar for the keys. The following song, “Autumn Love”, includes some beautiful lyrics such as, “If there’s no beacon tonight to guide me, I’ll finally break the shackles of direction and let the headlights lead me anywhere that they wanna go.” The depth of their latest album was described in a Facebook post on the date of release, which refers to it as “a record that reflects upon and asks questions of the past”, and “also a record about the future. Looking forwards and backwards simultaneously, from summer to autumn.”
As they finished out the set they finally addressed the audience once again, giving a big thank you to Charly Bliss for being a great opening band. Of course they had to play one of their biggest hits, “Soul Meets Body”, and the crowd went wild, nearly everyone singing along. At the end of the song, Gibbard triumphantly held his guitar up in the air like a trophy. The last song, “Marching Bands of Manhattan”, left the audience still wanting more, cheering into the emptiness as the stage went black.
It only took a few minutes before Gibbard returned, playing an acoustic version of their hit “I’ll Follow You Into the Dark.” It was at this moment that Gibbard opened up to the crowd with some cheerful banter, and he asked the audience to sing the second verse of the song. Afterwards, the rest of the band joined Gibbard on stage and played not one more, but three more songs: “Your Hurricane”, “Crooked Teeth”, and they finished the night with “Transatlanticism”.
With a generous 24-song setlist, Death Cab for Cutie brought a unique and beautiful energy to The Van Buren, and a recording-quality sound. The title of Thank You for Today no doubt resonated with die-hard Death Cab for Cutie fans.