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Extreme Reemerge At The Top Of Their Game at The Van Buren (2-23-24)

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Phoenix, AZ — Living Colour could be described as a funk band infused with hard rock, and Extreme, a hard rock band infused with funk. The fusion of these two bands playing the intimate Van Buren venue was magical. The first couple of songs from each band solidified the notion that they were bands that comprised elite musicians with chemistry and executed every musical nuance with collaborative precision. This leg of the “Thicker Than Blood” world tour started with U.S. dates in January, and they’ve had night-after-night to perfect their performance before their arrival in Phoenix.

Both groups emerged on the scene in that bygone era known as the 80s, and their timing couldn’t be better for their resurgence among music lovers craving this nostalgia. It wasn’t just the classic songs that sparked interest in this show. Extreme is touring in support of their new album, SIX, released last June, which has been met with an unexpectedly warm reception. Even the band has been surprised at the response that has shot the album into the top ten in some countries (peaked at 67 in the U.S. so far), and given their music videos millions of views on YouTube. 

Extreme's SIX black LP
SIX double vinyl

The music industry may have turned its back on guitar heroes, but the people have spoken. This was a sold out show. They came out en masse to see two of the finest guitarists on earth (and beyond): Vernon Reid of Living Colour, who sets the pace, and the great Nuno Bettencourt, who exceeds all speed limits.

Living Colour

Corey Glover (Vocalist), Living Colour
Corey Glover (Vocalist), Living Colour
Photography:
Mark Greenawalt © All Rights Reserved

Guitarist Vernon Reid was the first to grace the stage as he strolled out like a long-lost friend, greeting everyone with a smile and a wave, and wearing a Salvador Dali T-shirt and a scally cap hat. Next, singer Corey Glover sauntered onto the stage dressed to the nines, with colorful dreads for days. Next was bassist Doug Wimbish (also known for his Sugar Hill recordings), wearing his signature hat and primed to slap his signature Spector Euro 5-string bass. Noticeably absent was drummer Will Calhoun, but filling in for him was James ‘Biscuit’ Rouse, whose résumé includes stints with Usher, Pharrell, Chic, Stevie Wonder, and more. According to the Living Colour website, Calhoun had some previous commitments for a handful of dates, and this was one of them.

Corey Glover singing at The Van Buren
Corey Glover (Vocalist), Living Colour
Photography:
Mark Greenawalt © All Rights Reserved

They opened their set with “Middle Man” from their 1988 debut Vivid, and “Leave It Alone” from their 1993 release Stain. Opening thoughts were that Glover’s voice was in top form and so very soulful, and that Reid can get a multitude of sounds from a pedal board that looks like the showroom of a music store. He then takes those sounds and turns them into sonic freight trains of blistering solos and iconic style.

Vernon Reid (Guitarist), Living Colour
Photography:
Mark Greenawalt © All Rights Reserved

A couple of cover songs landed in the set: The first was “Kick Out The Jams” by MC5, and it improved on the original. Glover’s voice gives more melody to the verses, but keeps the growl as needed for the payoff lines. Then, they performed a medley of hip hop songs from the Wimbish-led Sugar Hill label, including Melle Mel’s “White Lines (Don’t Do It)”, Sugar Hill Gang’s “Jump On It”, and Grandmaster Flash’s “The Message.”

Doug Wimbish (Bassist), Living Colour
Doug Wimbish (Bassist), Living Colour
Photography:
Mark Greenawalt © All Rights Reserved

Living Colour wrapped their set up with the Grammy Award-winning “Cult Of Personality,” their breakout hit from 1988 with the music video that introduced them to crossover audiences. It was fantastic to see them back on the stage, doing this song and the handful of other songs that defined their unique brand of fusion rock/funk. They’ve still got it.

Extreme

Gary Cherone (Vocalist), Extreme
Gary Cherone (Vocalist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

This band hits the stage with all cylinders firing. Extreme’s high-energy music is amplified by the incomparable showmanship of frontman Gary Cherone, who left no area of the stage untouched. He even climbed the amplifier stacks for higher vantage points, commanding attention with exceptional charisma. His voice seems to have not aged and continues to possess the range for soft, low ballads to the primal screams that teeter on the verge of breaking.

As they opened with “It (‘s A Monster)” and “Decadence Dance” from their double platinum album Pornograffitti, Cherone was dressed in a black snake-skin-pattern sports coat, donning sunglasses with an ‘X’ over the right lens, and sporting his signature headband. His bold look and remarkable stage presence evoked elements of the great Motown performers, and he even mixed in a couple of lines from Sam Cooke’s “Cupid” somewhere in the night.

Gary Cherone (Vocalist), Extreme singing at The Van Buren
Gary Cherone (Vocalist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

Fans were anxious to see if guitarist Nuno Bettencourt could pull off the scorching guitar riffs that he had perfected in the studio, and they were not disappointed. He had set the bar pretty high, yet made it look effortless as his left hand (the one with the black fingernail polish) blurred across the high frets of his Washburn N4 guitar. When “Rise” was released (the first single from SIX), the news spread like wildfire that ‘you have to check out Nuno’s new guitar solo!’ …Did he nail it live? It is a resounding yes, but we had to wait until the encore to hear it. It was worth the wait.

Rick Beato (Everything Music Channel) interviewed Bettencourt on his podcast about the massive response and it’s a great interview.

Nuno Bettencourt (Guitarist), Extreme
Nuno Bettencourt (Guitarist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

Extreme was not resting on their laurels and playing all catalog hits. “#Rebel” was the first of six new songs to be sprinkled into the setlist. Cherone led the audience to sing-along with the angsty lyric “Hey, you got something to say? You talking to me as you’re walking away?” 

Pat Badger (Bassist), Extreme
Pat Badger (Bassist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

Bassist Pat Badger and drummer Kevin Figueiredo may not have been the focal points of the limelight, but their contributions to the Extreme sound and their stellar musicianship did not go unnoticed. Plus, they both multitask with singing vocals while performing their instrumental duties and helping to build the wall of harmonies that elevate each chorus.

Kevin Figueiredo (Drummer), Extreme
Kevin Figueiredo (Drummer), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

The four-part harmonies were spotlighted on the intro to the second song released from the new album, “Banshee,” when they covered Queen’s “Fat Bottomed Girls.” So cool. It’s clear that Queen had some influence on their individual musical journeys. They also included a bit of “We Will Rock You” during their performance of “Play With Me” that goes way back to their debut album. Check out their 20-minute Queen medley from the Freddie Mercury Tribute Concert for AIDS Awareness on April 20, 1992.

Gary Cherone (Vocalist) and Pat Badger (Bassist) of Extreme
Gary Cherone (Vocalist) & Pat Badger (Bassist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

Another musical reference that percolated throughout the evening was the mighty Van Halen. To some, Gary Cherone is just a footnote to the historic singers of Van Halen that comprised Diamond Dave and Red Rocker Sammy Hagar. However, his one ill-fated album with the band did go gold, and he had the opportunity to work with the incredible Edward Van Halen. Bettencourt paid homage to Van Halen with a rendition of “Eruption” before transitioning into “Am I Ever Gonna Change.” Later, during the encore, he played the intro to “Woman In Love” and reverently pointed to the heavens, put his fist to his heart, and said, “Happy Birthday, King Edward!

Gary Cherone (Vocalist), Extreme performing at The Van Buren
Gary Cherone (Vocalist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

There were two acoustic moments during the performance. The first included the whole band doing renditions of the new “Other Side Of The Rainbow” and the classic “Hole Hearted.” Bettencourt put on his $7,000 cowboy hat and told the story about buying it in Nashville. Later in the evening, Bettencourt and Cherone did an even more stripped down acoustic montage that showcased their diverse songwriting skills.

As he took a seat with his acoustic guitar, Bettencourt gave a heartfelt thank you to Living Colour and praised the musicianship of guitarist Vernon Reid. He joked that when he realized that Reid would be going on before Extreme, he called Reid before the tour and asked him to ‘pull it back a little bit.’ He also spoke to all of the aspiring guitarists in the room with this motivational speech:

“Man, I just need to tell you one thing. Whether you’re doing this up here or in a fucking arena or a stadium or a club or whatever it is, that shit don’t mean anything. What matters is that you are playing this guitar. Whether it’s in your basement, whether it’s in a garage, whether it’s online, whether you’re a fucking great cover band… don’t worry about that shit if you’re doing it for the love of it. The success is playing this instrument right here! …This is like a super power, man. Nobody can fuck with you when you have this thing on, I’m telling you right now. And you can hit somebody hard with it if they do try to fuck with you. (smiles) Give it up for all the guitar players in the room keeping guitar alive, especially all you youngsters out there as well.” – Nuno Bettencourt

Then, he proceeded to give a master class on acoustic guitar prowess by playing the acoustic solo, “Midnight Express” from the Waiting For The Punchline album. Bettencourt then introduced the next song from the new album, called “Hurricane.” He discussed the universal experience of losing someone near and dear to us and mentioned that someone in the audience had lost their mother earlier that day. He dedicated the song to that audience member and anyone else trying to heal up from loss in their lives. The emotional lyrics culminate in the chorus, “My heart is in a hurricane, an eye of emptiness and pain, is this the storm before the calm?” 

Gary Cherone (Vocalist) & Nuno  Bettencourt (Guitarist) of Extreme
Gary Cherone (Vocalist) & Nuno Bettencourt (Guitarist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

The mood subtly switched from somber to celebration as the familiar chords of “More Than Words” filled the room. This is the number 1 song that everyone knows, and everyone is singing along with their cell phones raised. Through these two songs, Cherone and Bettencourt traded lead vocal segments, but the magic was in their signature harmonies. Definitely a highlight of the show.

The high-velocity slingshot back into high gear with “Banshee” and the country-hoe-down-on-steroids, “Take Us Alive” that melted into yet another throwback to the Elvis hit “That’s Alright,” another song perfectly suited for Cherone’s persona. Guitar solos throughout the night satisfied the legions of Nuno followers, but the pinnacle show stopper was his blazing shredding on “Flight Of The Wounded Bumblebee” that seems like a million notes in just a minute and a half. This kid is ah-mazing!

Nuno Bettencourt performing at The Van Buren
Nuno Bettencourt (Guitarist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

The night was seemingly coming to a close as they launched into their signature song from the 80s, “Get The Funk Out.” This was the one that first thrust them into the world stage and heavy rotation on MTV. It was fantastic and the harmonies were fun, with a few expletives added for good measure. The only thing missing was the horn section. As the song ended, the cheers went up and the lights went down as they left the stage. Many assumed that that was the end of the show since it was their obvious show closer… But the house lights did not come on. Some fans started to trickle out of the venue, but the die-hard fans just cheered louder till eventually the quartet returned to the stage.

It is almost unheard of for a band to do new material during their encore. It’s a ballsy move, but boy did it ever pay off. The encore started with the Eddie Van Halen tribute mentioned above, and then continued with “Small Town Beautiful” infused at the outro chorus with the anthemic “Song For Love” from the Pornograffitti album. Had people still carried lighters, the room would have been aglow with their flickering flames. Ultimately, the show closed with rocker “Rise,” featuring the extraordinary guitar solo and the fist-pumping “EXTREME” groove that is absolutely infectious. No one would disagree that this was the perfect choice of an anthem to end the deluge of great music.

Badger, Cherone, & Bettencourt of Extreme live at The Van Buren
Pat Badger (Bassist), Gary Cherone (Vocalist) & Nuno Bettencourt (Guitarist), Extreme
Photography:
Mark Greenawalt © All Rights Reserved

Witnessing bands genuinely expressing their gratitude towards their fans at the end of the night is always heartwarming. Extreme spent several minutes thanking the crowd and tossing out picks, sticks, and setlists, before finally lying down on the stage to take a selfie with all of us fans. Well played, Extreme, well played.

EXTREME Setlist
| LIVING COLOUR setlist

Photo Gallery

Photographer: Mark Greenawalt

Extreme & Living Colour – The Van Buren 2-23-24

Photography © Mark Greenawalt.
All Rights Reserved

REVIEW: Tool‘s Epic Showmanship Takes Fans on a Sonic Odyssey for Night Two at Footprint Center (2-10-24)

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PHOENIX — On an unexpectedly brisk February evening, amidst the peculiar backdrop of lightning streaking across the Arizona sky, an eager audience gathered to experience the second night of Tool in Phoenix, accompanied by special guests Elder, on their simply-named “Winter Tour.” It comes as no shock that Tool effortlessly filled their hometown venue for two consecutive nights. These performances were a delight for fans of progressive rock, as both bands firmly reside within this genre’s realm.

Elder

Elder’s journey began as a trio in 2006, in a quaint seaside town in Massachusetts before eventually relocating to Berlin, Germany. Evolving into the present-day roster of 4 members, lead vocalist and guitarist Nick DiSalvo stands as the sole remaining founding member. The group boasts an impressive discography, including, but not limited to, six full-length albums. 

Comparisons abound between Elder and Tool, and while Elder tends to lean more toward the classifications of doom metal and stoner rock, there are undeniable similarities between the two groups. The 4-song, 40-minute set, which felt more like a mesmerizing jam session by a highly skilled and technically proficient ensemble, seemed to defy the passage of time. The band does not do very much that would be considered new, but what they do is done extremely well. 

Nick DiSalvo of Elder performing at Footprint Center
Nick DiSalvo (Vocalist, Guitarist), Elder
Photography:
Katherine Amy Vega © All Rights Reserved

Even without the elaborate visual show that Tool brings to the table, Elder’s performance—accompanied only by their name on the screen behind them—was very enjoyable. It served as a compelling example of why you should show up early to witness the openers. In fact, DiSalvo thanked the crowd for coming early to see them. They are worth catching when they come to town, and one can only hope they will swing by again sooner than later.

Tool

Among the fans in the arena, there was a palpable sense of anticipation, steadily mounting as the clock ticked towards 8:30. Nearly every attendee had settled into their seats about 15 minutes before the lights dimmed, all eager for what was to come—and with good reason. The opening sequence offered a tantalizing glimpse of the extraordinary spectacle about to unfold before their eyes.

The lights dimmed, the crowd erupted into cheers, and a heartbeat from “Third Eye” began. As Tool’s widely-acclaimed drummer Danny Carey climbed behind the kit, a massive skull moved across the screen from right to left in an arc. A second pass gave the skull muscles and blank eyes, a third and final pass gave it skin, irises, and pupils. By this time, guitarist Adam Jones and bassist Justin Chancellor had walked out, taking up their places in front of Carey.

Maynard James Keenan (Vocalist), Tool
Photography:
Katherine Amy Vega © All Rights Reserved

Tool sets the stage in an unconventional way: The bassist and guitarist stand in front of the elevated drummer, who has quite the legendary kit surrounding him. On each side, slightly set back, are platforms mostly shrouded in darkness. Behind Carey, there is a walkway, serving as the domain of vocalist Maynard James Keenan, who adamantly prefers not to be at the forefront of attention. He has been known to face away from the audience to immerse himself in the right mindset for certain songs, but he did not do so this evening.

As the notes for “Fear Inoculum” began, Keenan could be seen pacing in circles on the stage-right platform. Keenan rarely stops moving during the show, and can be seen frequently crouching down as if he is preparing for an unseen opponent he could employ his Brazilian Jiu-Jitsu skills against, given his black belt proficiency. He also rhythmically slaps his legs or pounds his chest to the beat when not singing. In essence, Keenan is a spectacle unto himself, captivating the audience with his dynamic presence.

Maynard James Keenan (Vocalist), Tool
Photography:
Katherine Amy Vega © All Rights Reserved

There is an old adage that everyone knows by now: The only things certain in life are death and taxes. But nowadays, it seems almost incomplete without adding a third certainty: Maynard James Keenan’s disdain for all manner of cell phone usage at concerts. No matter which side you fall on the issue, there is no denying that as a concertgoer in these times, you are likely to partially watch the show through the lens of someone in front of you as they hold up their phone to record a video. Keenan has no problem letting you know how he feels about this, and in fact he insists that venues eject people who have their phones out. 30 or so people were reportedly kicked out during the prior night’s show for violating this rule, and at least 4 were spotted being escorted from the floor on this night. 

After “Fear Inoculum” ended, Keenan addressed the ban on cell phones by laying into the culture of addiction to false connections, informing people if they could not put their phones away for 2 hours, they should seek help. His reasoning was that he—and the band—wanted everyone to be present in the moment as they were taking the crowd on a journey. With the exception of the few who discovered that yes, it was still chilly outside, and yes, security was dead serious about enforcement of the policy, the audience as a whole respected the artists’ wishes. 

Maynard James Keenan (Vocalist), Tool
Photography:
Katherine Amy Vega © All Rights Reserved

Keenan was not using hyperbole when discussing the journey to come. The show truly is a transformative experience, with visuals that sometimes evoke the sensation of a particularly intense trip on psychedelic mushrooms. A prime example occurred when the screen behind the band abruptly showcased towering, 40-foot-tall aliens peering out at the crowd. Overall, the visuals behind the band are absolutely incredible to see, and there is no denying that they immensely enhance the experience. It should also be noted that Jones is an accomplished makeup artist and set builder—including work on Jurassic Park—and as such, some of the visuals came from him. 

Adam Jones (Guitarist), Tool
Photography:
Katherine Amy Vega © All Rights Reserved

Tool has a decent-sized body of work, with just over 50 songs in total, but the shows tend to have somewhat sparse setlists due to the length of their songs. This show was no exception, with just 11 songs, five of which came from 2019’s Fear Inoculum. There was a 12-minute intermission after the first 7 songs, where seemingly the entire arena made a mad dash to offload trash, visit concessions for some more food or drinks, and/or make a pitstop in the restroom. 

For those who managed to return in time, they were treated to the sight of Carey—sporting a personalized Phoenix Suns jersey and basketball shorts—standing before a colossal gong. After gently massaging the gong’s surface with his drumsticks, Carey took a mallet, pointed back toward the crowd, and delivered a resounding strike. Following this striking display, he settled behind his drum kit and unleashed a multi-minute drum solo, captivating the audience as it was magnificently showcased on the towering screens behind the stage.

Danny Carey (Drummer), Tool
Photography:
Katherine Amy Vega © All Rights Reserved

Carey’s drumming prowess is unparalleled, a true maestro behind the kit. It’s not only enthralling to watch but also a delight to listen to him weave his rhythmic magic. 

Next up was Chancellor, who delivered a relatively swift bass solo. Despite its brevity, witnessing him coax sounds from the bass that seem impossible was incredibly impressive.

Justin Chancellor (Bassist), Tool
Photography:
Katherine Amy Vega © All Rights Reserved

Lastly, but certainly not least, was Jones, who effortlessly shifts between styles, making it a bit more challenging to emulate him. However, witnessing someone defy “traditional” styles in such a remarkable manner is truly awe-inspiring. It’s a sheer pleasure to observe this trio craft music in ways that most can only dream of replicating. 

Adam Jones (Guitarist), Danny Carey (Drummer), & Justin Chancellor (Bassist) of Tool
Photography:
Katherine Amy Vega © All Rights Reserved

There would be a total of 4 more songs, including “Flood,” which saw confetti dropping from the ceiling during the intro. Right before the final set, Keenan informed the crowd – almost resentfully – that since they had been good, they could film the final song. He also brought up the fact that he would be touring with A Perfect Circle and Puscifer, with a return to the valley in April. He then told the audience that they could take out their “stupid” phones, but warned that if they used their flash while taking photos or had their light on while filming, he would come down and “kick them in their vaginas.” As if on cue, someone immediately held up their phone with the light on, which drew Keenans’ wrath, as well as the attention of security.

What other song is better to close the show with than one of the most recognizable songs in rock, “Schism”? The opening notes may not be quite as recognizable as the riff, but almost any rock fan is immediately going to recognize those notes. It is fun to watch Tool live; every facet of the show is nothing short of entertaining, and the journey that Keenan promises to take the fans lives up to his word. As the final notes faded, Keenan left his perch for the first time, fist bumping each of his band mates before exiting the stage and allowing them to take the final bows they deserve. Keenan is an anti-star, if you will, and yet he certainly has the gravity of one. 

Maynard James Keenan (Vocalist), Tool
Photography:
Katherine Amy Vega © All Rights Reserved

Do yourself a favor and go see Tool next time they come to town. And if you are able, go see Puscifer and A Perfect Circle with Primus in Phoenix on April 16th or 17th (SOLD OUT) as well. Especially considering it will be Keenan’s 60th birthday celebration, we have every confidence they will not leave you disappointed. More Tool and Sessanta tour dates on Live Nation.

View Tool’s Phoenix Setlist (Feb. 10) on Setlist.fm

Photo Gallery

Photographer: Katherine Amy Vega

Tool & Elder – Footprint Center 2-10-24

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

REVIEW: The HU’s Thunderous Finale of the Warrior Souls Tour at The Van Buren (10-26-2023)

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PHOENIX — On a late October evening in Downtown Phoenix, in a venue named for the street it sits next to – Van Buren – an audience gathered to witness an incredible night of musical diversity, and the final stop on the “Warrior Souls” tour. Three dynamic bands would take the stage this evening, bringing the desert night to life with powerful metal riffs and the pulsating rhythms from these unique bands: The HU, Blind Channel, and NERV. The HU is renowned for blending Mongolian tradition and metal, transporting the audience to far off horizons. Finnish nu metal band Blind Channel ignited the stage with incredibly kinetic music, and the hybrid genre band NERV left a lasting impression with their performance. It was an evening where boundaries were transcended, and as a result, the crowd was left craving more.

NERV

NERV performing at The Van Buren
NERV
| Photography:
Rodrigo Izquierdo © All Rights Reserved

NERV bills itself as a genre-bending rock band, which is an apt description, as their music crosses boundaries between emo and metal, and some pop mixed in for good measure. Formed in 2016, the Sacramento, CA-based band is rather new to touring life, as they have only toured three times since forming. They released their first album We’re All Patients Here in October of 2022. However, while newer to the touring life and new to the majority of the audience, the band managed to do something that all openers dream of: win over an audience who has never had any exposure to them. 

Dillon Jones - lead singer of NERV - singing in Phoenix
Dillon Jones (Vocalist), NERV
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Lead vocalist Dillon Jones and guitarist and back-up vocalist Scott Buchanan took turns bantering with the audience, with Buchanan immediately gaining fans by wearing a Steve Nash Phoenix Suns jersey on-stage – unfortunately, the Suns would fall to the Lakers shortly after the NERV set ended – and both Jones and Buchanan made sure there was never a dull moment or awkward pauses during their set. Buchanan brought up the Arizona Diamondbacks’ improbable World Series run, which drew loud cheers. Jones also mentioned that singing karaoke until 2 in the morning was a really bad idea, apparently alluding to an incident earlier on the tour where the group had a little too much fun – if that’s even possible. 

Buchanan and Jones are joined onstage by guitarist Jordan Grokett and drummer Tyler Clark, and the band put together a 30 minute set that was, in short, extremely enjoyable, and left many hoping for more from the group. Jones has vocals that switch from a buttery-smooth emo style to a gritty sound that would fit in well with Breaking Benjamin, as well as other giants of metal. There is a bright future for this band, and if spotted on a bill as an opener, it is well-worth your time to show up early. You will not be disappointed.

Blind Channel

Blind Channel
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Up next was Blind Channel, a Finnish nu metal band that formed in 2013, and represented Finland in the 2021 Eurovision contest. They would finish in sixth place in the competition with their song “Dark Side.” The organizers of the Eurovision contest asked the band not to flip the audience off – something that did happen during this show, with both the audience and the band playfully flipping each other off – as the Eurovision contest is a family friendly show, so to get around this, the band painted their middle fingers red. 

Niko Moilanen (Vocalist), Blind Channel
Niko Moilanen (Vocalist), Blind Channel
| Photography:
Rodrigo Izquierdo © All Rights Reserved

The show started off with “Happy Doomsday,” sung to the tune of “Happy Birthday,” with the band wasting absolutely no time in cranking the energy all the way up to 11 as soon as they started the show off. The band was heavily influenced by Linkin Park, and watching co-vocalists Joel Hokka and Niko Moilanen sing using screams that would have made Chester Bennington proud, it becomes very apparent just how influential Bennington and Mike Shinoda were.

In fact, “Scream” from their 2018 album Blood Brothers was dedicated to Bennington following his tragic passing. The lyrics make it very clear just how much they admired Bennington: “My hero, where did you go?/You still echo deep inside my bonesYou gave a choice to those who wanted to bleed/You gave a voice to those who wanted to scream.” The band also did a cover of “Numb” on video, but the song was never released as a standalone. 

Hokka and Moilanen are joined onstage by guitarist Joonas Porko, bassist Olli Matela, drummer Tommi Lalli, and DJ/percussionist Aleksi Kaunisvesi.

Blind Channel's vocalist Joel Hokka head banging
Joel Hokka (Vocalist), Blind Channel
| Photography:
Rodrigo Izquierdo © All Rights Reserved

The band expressed gratitude for being in town, for being on the tour, and made sure to inform everyone where they came from. The band is known in the EU, but had not made a name for themselves stateside. They call themselves the “Backstreet Boys of the metal scene,” and in fact ended their show with a short singalong to the song “Everybody (Backstreet’s Back),” which may have been a bit confusing to anyone who is unfamiliar with the band and unaware of their nickname. There is a bit of a boy band element with the group, so it does fit, but they are far more than a boy band. 

Blind Channel performing in Phoenix
Blind Channel
| Photography:
Rodrigo Izquierdo © All Rights Reserved

Blind Channel, like NERV, should be a must-see when spotted on a bill. The blast of pure energy and fun that comes from this group had a profound effect in bringing up the energy level of the crowd. You could not help but have a great time with these guys. The stage presence, the interactions, the ability to get the entire room to do what they asked with absolutely no hesitation (at one point asking the entire audience to crouch way down until given the word to go back to normal), were remarkable. It is just genuinely fun music with a band that is very good at what they do.

The HU 

The HU performing at The Van Buren
The HU
| Photography:
Rodrigo Izquierdo © All Rights Reserved

To say the crowd was buzzing, ready for The HU would be a bit of an understatement. The HU (which translates to the Mongolian root word for “Human being”) burst onto the scene in 2016 and has grown steadily in popularity ever since.

They are unique in that they only sing in Mongolian, including their Metallica covers, which are arguably significantly better than the originals due to the depth of sound that the traditional instruments provide, as well as the throat singing that provides a unique sound that builds on the growl of James Hetfield. Part of this success comes due to their extensive touring, including quite a few tours throughout the US. They are relatively frequent visitors to Arizona – frequent, that is, for a band that is based in a country half a world away from the Sonoran Desert. The band visited twice in 2022, once this year, and will undoubtedly be back many more times. 

Enkush (Vocalist, Morin khuur), The HU
Photography:
Rodrigo Izquierdo © All Rights Reserved

The band expands on tour, from the four core members up to a total of eight, which allows them to bring their immense depth of sound to life. The band uses traditional Mongolian instruments and Tuvan throat singing, or Khöömei, as well as the more modern electric guitar and electric bass. 

Temka (Tovshuur), The HU
Photography:
Rodrigo Izquierdo © All Rights Reserved

The core band consists of:

  • Galbadrakh “Gala” Tsendbaatar, the lead vocalist and one of the throat singers, who also plays the morin khuur. This instrument is known as the national instrument of Mongolia and is sometimes called a horsehead fiddle.
  • Nyamjantsan “Jaya” Galsanjamts, another throat singer, who plays the tsuur, an important instrument in Mongolian music culture, as well as the tumur hhuur, which is similar to a jaw harp in the US.
  • Enkhsaikhan “Enkush” Batjargal, who is also a throat singer and plays the morin khuur.
  • Temuulen “Temka” Naranbaatar, responsible for backing vocals and playing the tovshuur. The tovshuur is a handmade instrument with two or three strings and may resemble a guitar at first glance.

The four touring members include:

  • Unumunkh “Ono” Maralkhuu, who plays percussion, tumur hhuur, and provides backing vocals.
  • Jambaldorj “Jamba” Ayush, the guitarist and backing vocalist.
  • Nyamdavaa “Davaa” Byambaa, the bassist and backing vocalist.
  • Odbayar “Odko” Gantumur, the drummer.

The HU played a 15-song set, drawing mostly from their 2022 album Rumble of Thunder, including “Black Thunder,” “This is Mongol,” and “YUT Hövende,” which they dedicated to the indigenous people around the world, but especially to those affected by the Maui wildfire.

Jaya (Vocalist, Tumur hhuur, Tsuur), The HU
Photography:
Rodrigo Izquierdo © All Rights Reserved

The lyrics of their songs are often about war and the old ways, with references to war in the song “Wolf Totem.” The wolf is a sacred symbol in Mongolia, with the Mongols considering them the messengers of heaven, and folklore holds that the great Chinggis Khaan – known to the west as Genghis Khan – came from a union between a wolf and an elk. As such, the song sounds like a war chant, one that would strike extreme fear into the hearts of any unfortunate foe who happened to hear it coming over the horizon, while simultaneously giving the army the ability to run through walls for their leader. 

Gala (Vocalist, Morin khuur), The HU
Photography:
Rodrigo Izquierdo © All Rights Reserved

Throat singing was banned during much of the 20th century by the communist regimes that held the areas that the Mongolians call home due to the fact it was considered “backwards,” and the desire to eliminate all traditions and rituals from a culture before being forcibly assimilated by every communist regime in history. This changed in the 80s, and there has been an explosion of throat singers since the ban was lifted, allowing the general public to once again take part in their traditions. 

There is another layer to the greatness that is The HU: The music videos are absolutely gorgeous, showing off the beauty of the Mongolian steppes, telling an incredible visual and audio story. Each music video, each song leaves you wanting more. 

The same can be said about the shows: they are loud, they are fun, and if you are a fan of metal, you will absolutely have an amazing experience. The show ended with a cover of Metallica’s “Sad But True,” the only song in the encore, and the perfect end to an incredible show. 

The HU performing at The Van Buren
The HU
| Photography:
Rodrigo Izquierdo © All Rights Reserved

The HU and NERV have not yet announced new tour dates, but Blind Channel will spend much of spring 2024 touring Europe. While there are no current tours or local shows announced, it is well worth your while to listen to the catalogs and music videos from these extraordinary bands.

Photo Gallery

Photographer: Rodrigo Izquierdo

The HU, Blind Channel, & NERV – The Van Buren 10-23-26

Photography © Reagle Photography
All Rights Reserved

REVIEW: The Darkness Envelops & Excites Fans at Marquee Theatre… Again (10-7-23)

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Tempe, AZ — The Darkness returned to Arizona for a triumphant show as they celebrate the 20th anniversary of their debut album Permission to Land, and the special reissue collection that was released the day prior to the show: Permission to Land…Again. They last graced the Marquee Theatre stage in March of 2022 on their “Motorheart” tour. This October 2023 show was the 4th date of the US leg of the world tour celebrating their debut, and they played a setlist full of their biggest hits from that album and beyond. The Comancheros, a country/southern rock band from Missouri, opened the show with an infectious energy that warmed up the crowd for the high-octane headliner.

The Comancheros

The Comancheros perform energetically at Marquee Theatre
The Comancheros
| Photography:
Rodrigo Izquierdo © All Rights Reserved

They began with their powerful song “Mississippi”, which electrified the room, and they followed up with a string of other hits, including “Long Hair”.

The Comancheros rock Marquee Theatre
The Comancheros
| Photography:
Rodrigo Izquierdo © All Rights Reserved

The band asked the audience if there were any beer drinkers and hellraisers in AZ while holding beer cans up in the air, then drank it up and kicked into their song titled “Beer Drinkers”.

The Comancheros raising beer at their Tempe concert
The Comancheros
| Photography:
Rodrigo Izquierdo © All Rights Reserved

They continuously engaged with the audience throughout their set and completed it  with the songs “We Own the Night,” “George Jones,” “Cowboy Song,” “Drum/Gun/Chariot,” “Shoot Me Down,” and “Bird/Time Machine”.

The Comancheros vocalist and guitarist Tanner Jones
Tanner Jones (Vocalist, Guitarist), The Comancheros
Photography:
Rodrigo Izquierdo © All Rights Reserved

The Darkness

"Welcome to The Darkness" theatrical poster
“Welcome to The Darkness” theatrical poster

On October 2nd, just five days before this show, The Darkness announced the launch date of their feature-length documentary, Welcome to the Darkness, that adds to their extensive discography with seven studio albums since their start in the early 2000’s. The film will arrive in cinemas for one night only on November 9th, and will then be available on Blu-Ray and digital download on December 4th. 

The Darkness kicked off their set with a high-powered rendition of “Black Shuck.” Fans were immediately singing along and dancing fervently. The band followed that up with a string of their biggest hits, including “Get Your Hands Off My Woman,” “Growing on Me,” and “The Best of Me.”

The Darkness vocalist Justin Hawkins
Justin Hawkins (Vocalist, Guitarist), The Darkness
Photography:
Rodrigo Izquierdo © All Rights Reserved

Lead singer Justin Hawkins was in top form, delivering his vocals with power and precision. He showered the audience with guitar picks, ensuring the youngest fans got their concert memento by stretching and throwing as far as he could to get closer to them from the stage.

The Darkness frontman throwing a guitar pick to the crowd
Justin Hawkins (Vocalist, Guitarist), The Darkness
Photography:
Rodrigo Izquierdo © All Rights Reserved

He had the crowd in the palm of his hand with his witty banter and stage presence. Guitarist Dan Hawkins, bassist Frankie Poullain, and drummer Rufus Taylor were also on fire, playing with some truly impressive musicianship.

The Darkness performing at Marquee Theatre
The Darkness
| Photography:
Rodrigo Izquierdo © All Rights Reserved

During their performance, the engagement with the audience was ongoing, including a sing-a-long with a member of the audience, also named Justin (with Hawkins grinning after the audience member shared his name). The frontman also saw a group of 4 British fans in attendance, all dressed up in Union Jack patterned suits, with their companion in a full American flag outfit, wearing a bald eagle head mask that got thrown onto the stage. The drummer put it on and wore it while playing an entire song, before throwing it back to the audience member that threw it to the stage.

Fans of The Darkness in British and US themed costumes at Marquee Theatre
Fans of English rock band The Darkness donning British and US themed costumes at Marquee Theatre concert
Photography:
Rodrigo Izquierdo © All Rights Reserved

They closed out their set with a rousing performance of their signature song, “I Believe in a Thing Called Love”. The crowd went wild, with smartphones raised from almost everyone in attendance, prompting Justin Hawkins to stop and playfully ask the audience to ‘place themselves in their place, and to not record the performance’ before starting back up and, delighting the audience with a fantastic show, giving it his all. 

Justin Hawkins of The Darkness doing a headstand in front of their drum kit
Justin Hawkins (Vocalist, Guitarist), The Darkness
Photography:
Rodrigo Izquierdo © All Rights Reserved

For their encore, they emotionally played “I Love You 5 Times” before the vocalist announced they had one song remaining, and with a mischievous grin stating, “but is a pretty f***ing long song.” The Darkness closed the set with “Love on the Rocks with No Ice”. The shower of guitar picks continued as the band did their goodbyes, with no pick left behind. 

Justin Hawkins smiling widely as he plays the guitar, with Frankie Poullain playing bass in the background
Justin Hawkins (Vocalist, Guitarist) & Frankie Poullain (Bassist), The Darkness
Photography:
Rodrigo Izquierdo © All Rights Reserved

Overall, The Darkness put on an incredible show at Marquee Theatre. They played a setlist full of their biggest hits and deepest cuts, and they delivered a performance that was both energetic and entertaining. If you have the chance to see them on this tour, you will be lucky to witness one of the best live bands in the world, with (at the time of publication of this article) just 9 more dates left for the US leg, and 36 upcoming world tour dates before coming back to the US in 2024 for the Monsters of Rock cruise festival in Miami, Florida. 

If you’re a fan of rock music, then you need to see The Darkness live, and they’re sure to put on a show that you’ll never forget. Make sure to catch a screening of their feature documentary on November 9th, or look for it on Blu-Ray on on its December 4th release date.

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Photographer: Rodrigo Izquierdo

View Separately: The Darkness* | The Comancheros

*includes additional photos

The Darkness & The Comancheros – Marquee Theatre 10-7-23

Photography © Reagle Photography
All Rights Reserved

REVIEW: Ben Folds Creates More Beautiful Moments with Tall Heights for Die-Hard Fans in Mesa (8-15-23)

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Mesa, AZ — In the moments before the start of Ben Folds’ performance at the Mesa Arts Center with support from Tall Heights, the line for the merch table stretched back through Ikeda Theatre’s lobby and out the door. As the audience poured in for the evening’s show, so many eras of Ben Folds’ career was present across t-shirts, some clearly dating back the 28 years of his career (one attendee was sporting an early Ben Folds Five t-shirt that was surely coveted by many of the long-time fans). Special shoutout to the Ben Folds glasses-cleaning set, the most audience-specific piece of merch sold, this side of Taylor Swift friendship bracelets and Cypress Hill rolling papers. Throughout the entryway, die-hard fans shared memories of their favorite Ben Folds show, detailing their favorite moments. 

Tall Heights

Tall Heights
Tall Heights with touring member Paul Dumas (Drummer)
Photography:
Katherine Amy Vega © All Rights Reserved

Boston’s Tall Heights pulled double duty, serving as both the opener for Folds and also as a part of his backing band. The two-piece group, consisting of guitarist Tim Harrington and cellist Paul Wright, has been building a steady following since their 2009 debut album on the strength of their gorgeous melodies and the duo’s lush harmonies. They opened their set with “Back to Autumn” and “Murmuring State” before introducing themselves to the crowd and making note of the delicious empanadas they’d eaten that day – presumably at downtown Mesa’s gem Republica Empanada less than half a mile away from the venue. 

Paul Wright of Tall Heights
Paul Wright (Singer, Cellist), Tall Heights
| Photography:
Katherine Amy Vega © All Rights Reserved

The duo covered Blink-182’s “Dammit” – a captivatingly ethereal rendition that surprised, amused, and delighted the audience. They released their reimagined version of this song in 2022. After playing “Only,” the duo talked about getting to tour with Folds and how they were recruited by him to play on his latest album, which in turn inspired them to get to work on their own new album.

Tim Harrington of Tall Heights
Tim Harrington (Singer, Guitarist), Tall Heights
| Photography:
Katherine Amy Vega © All Rights Reserved

They then debuted a brand-new song “Still Feel the Same,” so new in fact that they had the lyrics printed and out on stage with them. When the crowd immediately embraced the song and gave it a long round of applause after, Harrington laughed and said “you are so sweet. I was shitting my pants the whole time, and it was not because of the empanadas!” 

Tall Heights
Tall Heights
| Photography:
Katherine Amy Vega © All Rights Reserved

After a haunting rendition of their “Spirit Cold,” Harrington implored the crowd, since “Still Feel the Same” was so new, “If you took a video of the song, don’t post it on social media, and you already have… you know what? Fuck it. We’re not famous enough for anyone to care if something gets leaked early.” They closed their set with a completely unplugged, standing performance of “To Be Young.” 

Ben Folds

Ben Folds with touring band, including Tall Heights
Photography:
Katherine Amy Vega © All Rights Reserved

For being such an incredibly dynamic performer, Folds is so humble and gracious in between. Even his arrival on stage came with a brief pause at the front of the stage for a quick smile and nod before he went to his piano, and opened his show with “Exhausting Lover,” “Winslow Gardens,” and “Clouds With Ellipses” from his new record What Matters Most (his set would feature eight of the album’s ten songs), all of which sounded great. The new album is a must for those who don’t already have it. 

Ben Folds
Ben Folds
| Photography:
Katherine Amy Vega © All Rights Reserved

After “Losing Lisa” off of Rockin’ the Suburbs, Folds shared with the crowd that during the pandemic he had an online song-writing course he taught and that one assignment involved students in the class using headlines to inspire songs. He himself got two songs out of it: “Fragile” (inspired by a story of a would-be burglar who was caught by the family, started to cry, and then gave them $200 before quickly leaving their home) and “Kristine from the Seventh Grade” (drawn from an article by a woman explaining why she wouldn’t remove her shoes in homes that ask you to remove shoes). “This is funny,” he added before starting the song, “but I put it in a minor key.” Indeed, it was amusing, eliciting laughter throughout, as it told the tale of a former school friend. She had given herself over to online conspiracy theories and near-constant anger at the world.

Ben Folds
Ben Folds
| Photography:
Katherine Amy Vega © All Rights Reserved

One of the reasons why Ben Folds’ fans are so loyal is in part because of his incredible song writing. While his songs can be many things: funny and sad, uplifting and sorrowful, heartwarming and heartbreaking, they are all deeply rooted in an unmistakable humanity. Though we may at times laugh at his protagonists, be they him, a surrogate, or a character he’s created, it is in response to something we can all connect to and understand.

Ben Folds
Ben Folds
| Photography:
Katherine Amy Vega © All Rights Reserved

“Still Fighting It,” a song written about his son Louis, has been a live-show staple for years and always a highlight. I mean, who of any age can’t relate to the line: “Everybody knows it sucks to grow up”? “What Matters Most,” the title track from the new album, and “Landed” both deal with missing friends, whether from death or confusing estrangement. These songs were performed back-to-back, making for a poignant one-two punch.

Ben Folds with touring band, including Tall Heights
Photography:
Katherine Amy Vega © All Rights Reserved

“If you know Regina’s parts, go ahead and sing along,” prompted Folds before playing “You Don’t Know Me,” his duet with Regina Spektor from Way To Normal. The audience took Folds’ cue and responded majestically. One of the hallmarks of any Ben Folds show is audience participation. For a time after the release of Rockin’ the Suburbs, his first album away from Ben Folds Five, he embarked on a solo tour that featured only him and a piano each night. He made the audience a part of the show, directing them to add harmonies or, in the case of “Army,” stand in for the trumpet and trombone parts.

Ben Folds
Ben Folds
| Photography:
Katherine Amy Vega © All Rights Reserved

As Folds and the band arrived at the first instance of Spektor’s vocals, it clearly surprised and delighted Folds to hear her parts sung so loudly and enthusiastically from all corners of the Mesa Arts Center, even briefly stopping the song at one point to express how much it pleased him. “How cool is that?!” he marveled. Following a spirited run through of Way To Normal’s “Effington,” Folds ran the audience through a quick three-part harmony rehearsal to accompany the performance of “Not the Same” — Folds’ ballad of a high school friend who dropped acid at a party and climbed up into a tree where he stayed all night before climbing down the next morning and promptly becoming a born-again Christian. Throughout the song, Folds stood, playing many of the parts one-handed so he could keep his right hand free to direct the audience through the harmonies. For a song that is somewhat somber in tone, it managed to be one of the evening’s highlights, especially as a scan of the audience revealed universal expressions of glee. 

Ben Folds
Ben Folds
| Photography:
Katherine Amy Vega © All Rights Reserved

As Folds began to set up “Moments,” the final track on the new album and what would be the pre-encore closer, an audience member called out “Rock This Bitch,” Folds’ long-running live show staple improvised song. Folds obliged the request, playing an Arizona-specific version of the song and once more assigning the audience vocal parts. Folds came back out and performed “Annie Waits” solo (eventually joined by Tall Heights, who added some of their incredible harmonies at the tailend of the song). They followed with full-band runs through “Still” and “Zak and Sara”. 

Ben Folds
Ben Folds
| Photography:
Katherine Amy Vega © All Rights Reserved

“Moments” was the evening’s pinnacle. It was, after all, a night about living in the moment, being present for life. As the lyrics go “We try to hold these moments as they glow/We’ll breathe them in and then we’ll let them go.”

Ultimately, it is these moments — shared moments with strangers — that are what matter most (yeah, that’s right, I worked in TWO references to Folds’ stellar new album in one sentence). There is something so real, so uplifting, and ultimately something so life affirming about a Ben Folds concert that it should never be missed. Despite arriving as strangers and departing as strangers, a Ben Folds audience in between is a community drawn into the experience, singing along to every word, providing harmonies, laughing, crying, and being present. We held in the moments like one of life’s most precious breaths before letting it go into the night, a community forever but strangers once more.

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Photographer: Katherine Amy Vega

View Separately: Ben Folds | Tall Heights

Ben Folds & Tall Heights – Mesa Arts Center 8-15-23

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

REVIEW: Nickelback Ignites Footprint Center with Brantley Gilbert & Josh Ross (7-12-23)

PHOENIX – The “Get Rollin’ Tour” made a tour stop in Arizona last Wednesday night, featuring Nickelback, Brantley Gilbert, and Josh Ross. The music was a mix of country and rock, and fans of all ages came ready to party. The show was held at Footprint Center, which serves as home to the Phoenix Suns, Phoenix Mercury, and the Rattlers. The arena has had many names since opening in 1996. A few previous names that may sound familiar are Talking Stick Resort Arena, US Airways Center, and America West Arena. It was once the home of the Phoenix Coyotes in the late ’90s. It’s also the venue for various events such as professional wrestling, Disney on Ice, and concerts.

Josh Ross

Josh Ross is a Canadian country singer, and he opened the show and warmed up the crowd with his eight-song setlist. His cover of “Iris” by The Goo Goo Dolls had everyone singing along, with their phones’ flashlights waving in the air.

Brantley Gilbert

Brantley Gilbert - Footprint Center
Brantley Gilbert (Vocalist, Guitarist)
| Photography:
Kara Blakemore © All Rights Reserved

Brantley Gilbert is a country rock singer from Georgia, and he knows how to put on a show with flair. He opened with “Kick It In The Sticks,” and he brought the heat – pyro and fog continuously blasted on stage.

Ben Sims (Drummer), Brantley Gilbert
| Photography:
Kara Blakemore © All Rights Reserved

We live in a world where we can’t punch anyone in the face anymore. I went to my social media, but I forgot my passwords. So, I decided to write the trolls a song instead,” Gilbert said before playing “Bury Me Upside Down” from the album So Help Me God.

Before singing “Son of the Dirty South,” Gilbert explained how he wrote the song with Jelly Roll, and that they both take pride in being boys from the South. He aimed to transform Phoenix into the dirty South for a few moments – a vision readily embraced by the enthusiastic crowd.

Noah Henson ( Guitarist), Brantley Gilbert
| Photography:
Kara Blakemore © All Rights Reserved

Gilbert played seventeen songs in total, including five covers. The audience cheered and sang along with every song. His energetic performance and ability to connect with the audience were amazing. His voice is a perfect blend of rock-infused country music, and fans loved his raw and authentic stage performance.

Nickelback

Chad Kroeger of Nickelback
Chad Kroeger (Vocalist, Guitarist), Nickelback
Photography:
Kara Blakemore © All Rights Reserved

The Canadian rock band Nickelback formed in 1995 and is still going strong, despite anything their haters might say. Chad Kroeger is the band’s lead vocalist, Ryan Peake is their rhythm guitarist, keyboardist, and backing vocalist, Daniel Adair is the drummer, and Mike Kroeger is the bass guitarist. The tour is supporting their seventh and newest album, Get Rollin’, which was released in September 2022.

Mike Kroeger (Bassist), Nickelback
| Photography:
Kara Blakemore © All Rights Reserved

Before the band steps on stage, a yellow CGI van with a red stripe appears on the big screen. It’s the symbol of their current tour. Then posters of each band member flash on the big screen with the words “Wanted Dead or Alive.” The crowd is on their feet and screaming when the video ends, and the CGI van turns onto an exit, and the highway signs read, “Phoenix, 12 parsecs.”

The first song is “San Quentin” from their newest album, and the audience is ready to rock out. After the song, Chad Kroeger addresses the crowd, asking, “Let’s see if you remember the words to this one.” They begin to play “Savin’ Me” from their album All The Right Reasons.

Ryan Peake (Gutiarist, Backup Vocalist), Nickelback
| Photography:
Kara Blakemore © All Rights Reserved

The yellow CGI van returns to the screen, racing down a dark road before they play “Animals.” A guitar riff fills the air as a fiery phoenix lands on the CGI van and transforms it into a sexy muscle car. Blasts of pyro pop, and screams are heard all around the arena in excitement. As the song concludes, Chad Kroeger thanks the audience for their energy and excitement. He says, “It’s crowds like you that make me want to do this for the rest of my fucking life. Cheers.” He then drinks a shot with the crowd and adds, “It’s an honor and a fucking privilege to play for you.

Chad Kroeger (Vocalist, Guitarist), Nickelback
| Photography:
Kara Blakemore © All Rights Reserved

I’m going to play a song that would probably get us canceled today. But then again, they’ve been trying to cancel us for twenty years,” Chad Kroeger jokes, and they play “Figured You Out” from their album The Long Road.

Nickelback covers Steve Earle’s “Copperhead Road,” and to surprise the audience, Gilbert and Ross return to the stage to sing along. The crowd eats it up, and the dark arena fills with phones filming the three singing and jamming together.

After playing “High Time,” Chad Kroeger chuckles and says, “We snuck a new one in on you. Has anyone heard it?” The fans respond with cheers, affirming their familiarity with the song. Proving after twenty-eight years that their loyal following still listens to and loves them.

Chad Kroeger (Vocalist, Guitarist) & Daniel Adair (Drummer), Nickelback
Photography:
Kara Blakemore © All Rights Reserved

Chad Kroeger picks a lucky lady from the audience to come up and sing a fan favorite, “Rockstar.” The woman is starstruck as she is welcomed to the stage and handed a mic. But she soon gets into the song, sings a bit, and dances as the band plays around her.

When playing “Those Days,” movies, TV shows, bands, and MTV logos from the ’80s appear on the big screen as the band reflects on the simpler times of growing up.

Mike Kroeger (Bassist), Nickelback
| Photography:
Kara Blakemore © All Rights Reserved

Chad Kroeger smiles at the crowd and says, “You’ve got my vote for the best crowd on tour. Phoenix is fucking amazing.” Just before singing “How You Remind Me” from their album Silver Side Up.

The band thanks the crowd and steps off stage for a few minutes while the crowd cheers and cries for an encore. Nickelback returns to applause and cheers before playing “Gotta Be Somebody” from their album Dark Horse.

Chad Kroeger (Vocalist, Guitarist) & Daniel Adair (Drummer), Nickelback
Photography:
Kara Blakemore © All Rights Reserved

Chad Kroeger speaks to the crowd a final time, saying, “I’m going to be honest with you, as I normally am, incredibly honest to a fault. Earlier today, we did an interview with somebody from a foreign country, and they just started asking us all these shitty fucking questions, and it absolutely ruined my fucking day until I got on this stage, and I heard you.” He pauses as fans cheer and fists shoot up into the air. He continues, “And you turned it all around. I want to thank you from the bottom of my fucking heart, Phoenix. Thank you. I want to take you with me to every fucking city so you can give lessons on how a rock ‘n roll crowd is supposed to behave. I’m in such a good fucking mood right now. Phoenix! Let’s have some fun!” They wrap up the night with tons of pyro and the powerful song, “Burn It to the Ground.”

The “Get Rollin’ Tour” was fiery and left the audience with memories they’ll treasure for a long time. This tour is the perfect blend of country and rock and should not be missed.

Photo Gallery

Photography: Kara Blakemore

Nickelback & Brantley Gilbert – Footprint Center 7-12-23

Photography © Electric Eye Photo AZ
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REVIEW: Ringo Starr and His All-Starr Band — a Memorable Evening of Rock ‘N’ Roll Intimacy at Celebrity Theatre (5-20-23)

PHOENIX — Thinking of the history of popular music, especially rock ‘n’ roll history, I’ve always been fascinated by the idea of people who were “there.” Every legendary artist started small, as even the biggest artists of all time had those early shows before it all blew up, and inexplicably there were people — average everyday people — who were lucky enough to be “there” to see those struggling performers before they turned into superstars.  

Still walking around are those who saw Elvis play local shows in Memphis, Bob Dylan play coffee houses in New York or, most mind-blowing of all to me, The Beatles play The Cavern Club in Liverpool. For the rest of us, those artists existed bigger than life, playing the biggest stages in the world. Unless you were one of those lucky individuals in The Cavern Club, or The Star Club in Hamburg, they only existed as mega stars, playing the biggest venues the 60’s had to offer. 

We would never get as close or as intimate as those lucky individuals who were there for those early days before they were legends, that is unless you were lucky enough to catch Ringo Starr and His All-Starr Band at Celebrity Theatre on one of two nights at their Phoenix stop on the tour. The Celebrity Theatre is a rare wonder that has no such thing as a “bad seat,” with its smaller intimate setting in the round with a rotating stage dead-center. It is certainly the most up-close anyone is likely to get to any of these legends since they first began their careers in bars and small clubs. 

Celebrity Theatre’s illuminated sign welcoming concertgoers to the sold out Ringo Starr & His All-Starr Band show on 5-20-23
Photography:
Mark Greenawalt © All Rights Reserved

Ringo Starr and His All-Star Band

The “All-Starr Band” concept was originally conceived in 1989 by Ringo, with the idea that he would put together a band, not just of professional hired guns to help him perform many of his hits across his storied career from The Beatles to his many incredible solo records, but instead pack the band with fellow legendary performers who also had a bottomless well of hits from which to pull. 

Ringo Starr & His All-Starr Band
Ringo Starr & His All-Starr Band
| Photography:
Mark Greenawalt © All Rights Reserved

Over the years, the Ringo’s All-Starr Band has included members of The Band, Bruce Springsteen’s E-Street Band, The Eagles, The Who, Dr. John, Todd Rundgren, Peter Frampton, and the “fifth Beatle” Mr. Billy Preston. This, the 15th iteration of Ringo’s All-Starr Band, included Edgar Winter, Hamish Staurt from Average White Band, Steve Lukather from Toto, and Colin Hay from Men at Work. The band is rounded out with Warren Ham who has played with Kansas and Toto (nice pairing) on saxophone, flute, and keyboards and Gregg Bissonette, who has played with seemingly everyone (seriously, look him up) on all things percussion. 

Ringo Starr & His All-Starr Band
| Photography:
Mark Greenawalt © All Rights Reserved

What of course makes the All-Starr Band so fun is that any given member could step up to the microphone and have enough hits at their disposal to play the show all by themselves. All of this results in a kind of jamboree of fun, as members take turns stepping into the spotlight for a song, only to then pass the spotlight to the next member, as the show rotates around the already rotating stage (if you’ve never been to the Celebrity Theatre, you need to get there for a show). 

Steve Lukather, Warren Ham, Ringo Starr
Steve Lukather, Warren Ham, & Ringo Starr
| Photography:
Mark Greenawalt © All Rights Reserved

Ringo opened the show with a raucous cover of Carl Perkins’ “Matchbox,” a staple of The Beatles early live shows and later showing up as a single off of the Long Tall Sally EP. It was followed by “It Don’t Come Easy,” arguably Ringo’s most soulful vocal performance from his solo records. After blazing through “What Goes On” from The Beatles’ Rubber Soul, Ringo seceded the spotlight and moved to the drums. 

Ringo Starr (Vocalist, Drummer)
| Photography:
Mark Greenawalt © All Rights Reserved

This began what makes the All-Starr Band concept so much fun every time: each performer taking turns stepping up to the microphone to perform one of their own hits. Leading off was Edgar Winter who played his now 51-year-old hit “Free Ride,” which sounded as fresh and fun that night as it did the first time any of us played it in our cars with the windows down and the volume up.

Edgar Winter
Edgar Winter (Vocalist, Keyboardist)
| Photography:
Mark Greenawalt © All Rights Reserved

This was followed by Steve Lukather leading the band through “Roseanna,” with the crowd spiritedly singing along and pumping their fist in time with the chord changes, Hamish Stuart playing a ripping version of Average White Band’s “Pick Up the Pieces,” and Colin Hay taking the band through an extended version of Men At Work’s hit “Down Under” that included a fun call-and-respond with the crowd. “I wrote this song in forty minutes, and it’s sustained me for forty years,” he told the crowd prior to starting the song. 

Steve Lukather
Steve Lukather (Vocalist, Guitarist)
| Photography:
Mark Greenawalt © All Rights Reserved

At that time, Ringo returned from behind the drum kit for a run through of “Boys,” his first vocal performance on The Beatles first album Please, Please Me, “I’m the Greatest” from Ringo (a song written for him by John Lennon), and “Yellow Submarine,” which a quick scan of the theatre revealed that every generation of fan in attendance — from those who were there from the start with The Beatles to little kids who have since grown up with the band through their parents and grandparents love for them — was joyfully and exuberantly singing along. Following this, as the crowd was still on their feet, cheering and clapping, Ringo waved to the audience and left the stage. “Don’t worry. He’ll be back,” Edgar Winter playfully reassured the crowd. 

Ringo Starr (Vocalist, Drummer)
| Photography:
Mark Greenawalt © All Rights Reserved

With Ringo gone, the band performed Average White Band’s “Cut the Cake,” the title track from their third album. “I’m going to hand it over to Edgar Winter now to unleash the beast,” he said at the song’s closing. Winter’s performance of instrumental classic “Frankenstein” allowed the band to have fun on what turned out to be a jam session that impressively highlighted the drumming skills of Gregg Bissonette. Throughout the song, which stretched to nearly ten minutes, Bissonette worked in drum breaks that steered the song into a range of hits by other artists, including “Come Together” by The Beatles, “Rock ‘N’ Roll” by Led Zeppelin, and appropriately enough, “In-A-Gadda-Da-Vida” — the seventeen-minute Iron Butterfly classic in which the recognizable drumming comes during the lengthy instrumental break in the song. By the end of the jam, Bissonette, very deservedly, got one of the biggest pops from the crowd. 

Gregg Bissonette
Gregg Bissonette (Drummer)
| Photography:
Mark Greenawalt © All Rights Reserved

Ringo returned to the stage, and before going into “Octopus’s Garden” (rivaling “Yellow Submarine” for one of the most crowd-pleasing moments of the night), he introduced each member of the band, heaping praise on them as he did. It was followed by his solo hit “Back Off Boogaloo.” Next up was Colin Hay to perform Men at Work’s ode to anxiety “Overkill.”

Colin Hay (Vocalist, Guitarist)
| Photography:
Mark Greenawalt © All Rights Reserved

Every song we’ve played tonight is one you know, but I’d like to debut my 30-minute jazz odyssey,” Steve Lukather joked with the crowd, adding, “If you get really stoned first, you might just get into it,” before launching into “Africa” — Toto’s mega-smash that will live on for generations to come. The performance featured some incredible backing vocals from Colin Hay. 

Ringo Starr (Vocalist, Drummer)
| Photography:
Mark Greenawalt © All Rights Reserved

After going one more round with each performer, including Hamish Stuart with the Isley Brothers’ “Work to Do,” and Ringo playing The Beatles’ “I Wanna Be Your Man.” Edgar Winter took a moment to pay tribute to his brother Johnny Winter before playing “Johnny B. Goode,” a song the brothers used to play together growing up, as they each first learned to play the guitar. It was immediately followed by Colin Hay playing “Who Can It Be Now?” and Steve Lukather on Toto’s  “Hold the Line.”

Hamish Stuart (Vocalist, Bassist) with Colin Hay and Edgar Winter
| Photography:
Mark Greenawalt © All Rights Reserved

The evening closed as it began, with the tour’s namesake Ringo Starr on vocals for his solo classic “Photograph,” the Johnny Russell hit “Act Naturally”, made famous by Buck Owens and even more famous by The Beatles version on Help!, and finally and very fittingly given the vibe of the tour and the mutual respect and camaraderie amongst the performers, they closed the evening “With a Little Help From My Friends.” As the song came to a close, they shifted to a cover of John Lennon’s “Give Peace a Chance” to send the crowd home happy, still singing along in their own acapella as they exited the Celebrity Theatre and out into the warm Phoenix night.

Ringo Starr
Ringo Starr (Vocalist, Drummer)
| Photography:
Mark Greenawalt © All Rights Reserved

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Photographer: Mark Greenawalt

Ringo Starr & His All-Star Band – Celebrity Theatre 5-20-23

Photography © Mark Greenawalt.
All Rights Reserved

REVIEW: M83 Brings a Double-dose of The Dreamy Vibes of ‘Fantasy’ to The Van Buren (4-10-23)

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M83 Setlist

PHOENIX — M83, an electronic group from France named after the galaxy Messier 83, performed at The Van Buren with experimental artist Rachika Nayar opening the show in a line-up consisting of only the two acts. The night of focus here is April 10, which was the original tour launch date scheduled in Phoenix and became the second night after it sold out, resulting in an add-on of April 9.

Rachika Nayar

Rachika Nayar performing at The Van Buren in Phoenix, AZ.
Rachika Nayar
| Photography:
Katherine Amy Vega © All Rights Reserved

Opener Rachika Nayar, a composer and producer from Brooklyn, New York, set an ambiance that helped prime the audience for the vibes of M83. With the stillness of the crowd that portrayed an uncertainty of how to behave during this sensory electronic set, and a respectful patience, the performance came across almost like a pre-show DJ set.

Rachika Nayar performing at The Van Buren in Phoenix, AZ.
Rachika Nayar
| Photography:
Katherine Amy Vega © All Rights Reserved

Nayar has a muted stage presence, and she remained stationed at her equipment throughout the set, not speaking until the end when she expressed gratitude in an unassuming tone and wished a friend in the audience a happy birthday.

Rachika Nayar has released two albums: Out Hands Against the Dusk and Heaven Come Crashing — both featuring heavily mutated and digitally-processed guitar, along with the fragments EP featuring raw guitar. All 3 of these records are available as MP3 downloads and/or as vinyls to add to your prized collection.

M83

Anthony Gonzalez (Vocalist, Guitar), M83
| Photography:
Katherine Amy Vega © All Rights Reserved

Touring in support of Fantasy, which was released last month, M83 opened with the deeply relaxing and ethereal “Water Deep,” continuing with the chill vibes emanated by Nayar, unlike many other acts that will typically burst onto a performance as they start their set.

Anthony Gonzalez (Vocalist, Guitar), M83
| Photography:
Katherine Amy Vega © All Rights Reserved

Fronted by 43-year-old Anthony Gonzalez, M83 has existed for about 24 years. Gonzalez is not a glamorous showman, yet his prowess shines for him. More than just a singer, he is a renaissance man responsible for lead vox, guitar, synths, keys, bass, percussion, mixing, arranging, and producing. 

Joe Berry (Synths, Sax, EWI), M83
| Photography:
Katherine Amy Vega © All Rights Reserved

M83 transitioned to a danceable energy with the upbeat title-track from Fantasy, which was the 8th song in a setlist of 20 (including the encore). “Fantasy” hearkens back to the primary energy of the Junk album — a personal favorite that I have kept on heavy rotation after being lucky enough to experience it live on their April 13, 2016 tour stop at Comerica Theatre (which, while I knew of M83 before that point, was what impacted me so much as to cement me as a fan).

Joe Berry (Synths, Sax, EWI), M83
| Photography:
Katherine Amy Vega © All Rights Reserved

It was during “Fantasy” that Joe Berry stepped away from the synthesizers and pleased the crowd with the EWI. The stage lights brightened and bathed the band in many more colors, and it was especially in that moment that the slow-roll of the night proved worth the wait. Though I may be biased as a sax player myself, I am confident in my opinion that anyone would be in agreement that the show really gets ripping once Berry starts wailing on the saxophone.

Kaela Sinclair (Vocalist, Keyboard), M83
| Photography:
Katherine Amy Vega © All Rights Reserved

Kaela Sinclair commands attention as the siren of a soprano vocal that is a signature and integral part of M83’s sound. You can also catch her sultry, haunting, and powerful vocals outside of M83 as a solo artist.

The band’s show ebbs and flows from there, following “Fantasy” with “Laura”, which channels the 80s prom night air that much of M83’s music exudes. Afterward, they brought some of their highest energy with “Don’t Save Us From the Flames.” “Noise” from 2003 release Dead Cities, Red Seas & Lost Ghosts served as a segue to “Wait” from Hurry Up We’re Dreaming (2011). Delightfully, “Solitude” from Junk was next, and the bopping “Sunny Boy” from Fantasy after that.

The tracks that go heavier on the guitars for a dramatic electronic-meets-rock sound are absolutely soul igniting. The live band is rounded out with Julien Aoufi on drums, the skills of guitarist Théophile Antolinos, and bass rhythms from Clément Libes. These 3 musicians were shrouded in smoke and lights in the background as the front of the stage was filled with the synths and keyboards, along with Gozales, Sinclair, and Berry.

Anthony Gonzalez (Vocalist, Guitar), M83
| Photography:
Katherine Amy Vega © All Rights Reserved

It comes as no surprise that the crowd’s energy climaxed during the encore as the group launched into the highly recognizable “Midnight City”, which has received heavy radio play since its release in 2011. If you are a regular listener of ALT AZ 93.3, you’ve heard it a lifetime’s worth. One can only long for more of M83’s superior tracks to hit the mainstream to give respite from the overabundance of formulaic, forgettable, and overplayed tracks of other artists that pervade popular music today. 

Kaela Sinclair (Vocalist, Keyboard), M83
| Photography:
Katherine Amy Vega © All Rights Reserved

This night of music was nourishing to the spirit with a perfect blend of chill time and outright fun, which was quite apparent by the invigorated energy that was effortlessly perceptible from the crowd leaving the venue following “Outro.” 

M83
| Photography:
Katherine Amy Vega © All Rights Reserved

See the full M83 setlist from April 10, 2023 at The Van Buren here:

Setlist

Burning Hot Events highly recommends catching this tour. There is ample opportunity to do so, as it has just started, and the band has dates scheduled all across North America up through May 16th. Check out the tour dates here:

Tour Dates


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Photographer: Katherine Amy Vega

M83 & Rachika Nayar – The Van Buren 4-10-23

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

REVIEW: Taylor Swift Kicks Off Hotly-Anticipated Eras Tour at State Farm Stadium (03-17-23)

Glendale Swift City, AZ — In the five years since her last tour, Taylor Swift has released four albums and, according to her banter during the show, six re-recorded albums, with Red and Fearless already released and the remaining four presumably forthcoming. Her tour kick off at State Farm Stadium, with support from Paramore and Gayle, wasn’t just a concert but an immersive experience. Is there any other artist whose opening night would have Variety posting song-by-song tour updates on Twitter?

It is hard to put this in perspective, but think of the biggest artist you can and they arguably could not touch the massive scale and grandeur of this show. To put it more directly, Taylor Swift is the biggest artist in the world right now. No one can touch where she is at this point in her career. While it was a night celebrating the various eras of her career, Swift spent the night honoring her massive fan base, using wristbands given to everyone in attendance to not only light up every corner of the show, but to put a mini spotlight on every one of her fans. 

Gayle

Take a moment and remember where you were or consider where you’ll be at 18. If you’re Nashville-by-way-of-Plano, Texas singer Gayle, you are stepping out onto a massive stage, both literal and figurative, in front of 70,000 people on the opening night of the most highly anticipated tour in several years – perhaps decades – and performing with a confidence that artists a decade older only wish they could possess. She opened with the punk-beat driven “Everybody Hates Me,” and her set covered the various singles she’s released since 2020 and included a blistering cover of Alanis Morissette’s “You Oughta Know.” She closed her set with her latest single, the anthemic “abcdefu.” Mark it down now: Gayle is going to be huge some day. Her set was nothing but a preview of that because while she may have been opening the show last night, someday that stage will be hers. 

Paramore

To scan the dates on this tour, across the board, Swift has a murder’s row of openers, including Haim, Phoebe Bridgers, Beabadoobee, Muna, and Girl in Red. Glendale was blessed to get Paramore, making the evening an unofficial Nashville celebration between Gayle, Paramore, and Taylor Swift, as all three were born of Music City. They opened their set with “This is Why,” “Hard Times,” and “This is What You Get,” with singer Hayley Williams moving all around the massive stage and down the runway that extended well-past what would be the 50-yard line if the stadium was set up for a football game. 

Stopping before the next song, Williams spoke about the honor of opening for Swift on this tour. “We’re here tonight to celebrate Taylor, but we’re also here to celebrate… Vampires?” With that, the band launched into their song “Decode” written for Twilight. Afterwards Williams told a story about meeting a woman in Nashville many years before who told her about her daughter who was getting into music; the daughter who turned out to be Taylor Swift. Williams had her number for years and finally reached out to her following the now-notorious MTV Video Music Awards incident in 2009. 

During the band’s performance of “The Only Exception,” the audience used their cell phones to light up the stadium in a spontaneous and gorgeous moment. They followed it up with “Still Into You” and “Rose-Colored Boy.” Williams made her way down the catwalk once more, before stopping and turning to the band. “Let’s play that one song we said we’d never play again”, she instructed the band. “You know the one”, she added before they played “Misery Business.” With that, Williams thanked the audience and reminded everyone that we were all there together to celebrate Taylor Swift. They closed their set with “Ain’t It Fun.” As Paramore exited the stage, the massive screen switched to a tour graphic of a collage of Swift’s various eras. 

Taylor Swift

Setlist

While tours can start anywhere, it felt like Glendale had an honor bestowed upon them by Swift choosing it as the kick off for this tour: her first tour in nearly five years (her Reputation Stadium Tour ran from May to November in 2018) and her first live performance since she played the City of Lover album release concert in Paris on September 9, 2019. There was not one person out of the 70,000 people in attendance who took for granted how special these moments were. While many people took the break between Paramore and Swift to try to rush to the merch stand (which was practically decimated by the end of the show) to snag a tour shirt or the sweet tour poster that was exclusive to the opening night, when the graphic switched from the collage to a two-minute countdown, accompanied by a giant clock approaching midnight, everyone rushed back to their seats. 

The cheers started with the countdown and grew louder and louder with each passing second. When the timer hit zero, the clock struck midnight, and the stage went briefly black, there was a roar that likely eclipsed any the stadium had heard before, even at the Super Bowl – which the stadium hosted just a little over a month ago. Individually appearing, various rooms hinting at the different eras of Taylor Swift’s career filled the screen. As each room materialized, the audience recognized it with a pop of excitement before it floated away, making way for the next one, providing a tantalizing glimpse into the evolution of her music. 

Finally, a large door in the center of the stage rolled up, pouring out white light, and from it came a parade of Swift’s dancers covered by a large sails swooped over their bodies that they then each unfurled, one by one, into giant peacock-like tails. As they moved in cadence to the center of the massive catwalk, they encircled a portion of the stage, collapsing in the sails for a moment before pulling back to reveal Taylor on an ascending riser as she went into the first song of the tour: “Miss Americana & the Heartbreak Prince” from Lover. This was her first live performance of the song – in fact, her set included 12 songs making their live debuts. 

Photography: Kevin Winter/Getty Images for TAS Rights Management

Though some might argue this point, Taylor Swift is the biggest artist in the world right now. She has moved into a rarified position of success that places here alongside luminaries such as Madonna, Bruce Springsteen, Prince, and Beyoncé; artists whose tours will sell out the moment tickets are available, and artists whose tours are more than just live performances of their catalogs but something more akin to a cultural event. “I just want to welcome everyone to the Eras Tour,” she greeted the crowd after her performance of “Cruel Summer” from the Lover era portion of the show. “We are going on an adventure, one era at a time, across the 17 years that I’ve been making music,” she told the crowd. “Thank you from the bottom of my heart for making it here tonight,” she added, acknowledging the effort fans went to to get tickets to the show. Demand was so high that this night ended up being the opening night of the tour, after tonight’s show on March 18th sold out so fast that she added last night’s show. 

Though it is difficult to process this, primarily because she seems so forever young, Taylor has been releasing albums for 17 years now, and the tour is called the “Eras Tour” because across those 17 years are distinct eras of her career. If you want to talk about the company she keeps, how many artists have had a career so long and so successful that it can be defined by distinct eras of the career? That would be Madonna, Bowie, and Prince, but beyond that, though, there are no others that immediately come to mind. “I’ll be your host this evening. My name’s Taylor.” 

Even if she had simply built the tour around playing songs from each album, from each era, it would have been an incredible concert experience, but her stage show cannot be understated. It was the most singularly impressive stage show, perhaps ever. Every aspect of it was designed to add depth and nuance to the performance of each show. From the massive screen that projected visually stunning videos to accompany each song to the catwalk that was so long and so wide it felt like an airplane could have safely landed upon it. In fact, as she heaped praise on everyone involved with the production of the show, she regularly mentioned the crew, who deserved a moment to take a bow themselves, as the show featured multiple massive set pieces and some of the quickest costume changes any artist has pulled off without missing a beat in the show. 

Of the many impressive set pieces, during the Evermore era, an exquisite grand piano, covered in moss rose up from the stage in front of a grandiose willow tree onscreen. As Swift took a seat at the piano to perform “Marjorie,” and even her microphone at the piano looked like it was a part of a tree branch, fashioned into a microphone. What other artists have that attention to detail? “We have so much to catch up on,” she said to the crowd after the song faded. In the five years since her last tour, Taylor has released four records, which in itself is an impressive feat to marvel, and three of the first four eras covered during the concert spotlighted some of those albums: Lover, Evermore, Reputation, and re-recorded versions of Red and Fearless, with many of the songs making their live debuts. 

For “Tolerate It” a full dining room table was brought out the video behind it projecting an impossibly long dining room descending deep into a vanishing point of blackness, emphasizing the distance between Taylor and a lover in a quickly-fading relationship. She sang at one of her dancers, standing in for this disengaged boyfriend, as he looked everywhere but at her. She sang at him, crawling across the table in an aggressive plea to get his attention. Her show is made up of so many living music videos. Next up was the Reputation era, with electric performances of “…Ready for It?,” “Delicate,” “Don’t Blame Me,” and “Look What You Made Me Do,” before a brief stop in the Speak Now era for “Enchanted.”

Photography: Kevin Mazur/Getty Images for TAS Rights Management

Though there was no point of the show that lacked for even a second in vibrancy and emotion, the Red era was nonetheless a highlight of the show, with even Taylor acknowledging how special it was, “You might be able to tell by the aggressive color blocking, but we are now in the Red era,” she told the crowd after “I Knew You Were Trouble.” She also made light of her re-recording of it as a part of her “Taylor’s Version” series of albums, as she reclaims her early albums that in effect had been stolen for her. “I’d like to play one more song from it, if you have 10 minutes to spare.” The mention of “10 minutes” made clear what was coming, as she closed out this era with a gorgeous solo performance of the new 10-minute version of “All Too Well,” from the “Taylor’s Version” of Red. Though it would be hard to pinpoint exactly, it felt like a pinnacle emotional moment for Swift and every person in attendance. 

Though this show was described by Hayley Williams as “a celebration of Taylor,” Swift used it in many ways to celebrate her fans who have loved and supported her across those 17 years. A recent Forbes article identified her fanbase as being “mostly” white female millennials, but to look around the 70,000 fans packed into State Farm last night, you realize truly what makes Taylor’s appeal so special: it isn’t just one thing. Just before her performance of “All Too Well,” she took a moment to greet the crowd, saying “Welcome all my guys and gals and non-binary pals,” which elicited a huge cheer from the crowd. Her shows have potentially the most-inclusive audience in music at the moment. Everyone felt equally represented and equally welcome at the Eras Tour. From those white, female millennials to every gender, race, nationality, orientation, and so on. Spotted in the crowd, at one point was a tattooed man with a sparkly, sequined shirt that said “This Hardcore Dad 💓Taylor Swift,” as he walked to his seat with his wife and children.

It was indeed a celebration of Taylor but most definitely a celebration of the fans. To understand the relationship she has with her fans, as one fan put it, “Taylor manages to communicate and really connect with her fanbase on such a personal level, making her one of the most relatable and inspirational artists of our generation.” These sentiments were felt and echoed from every corner of State Farm Stadium. 

During the Folklore era, Taylor told the crowd about starting to write the album “about 2 seconds into the pandemic,” and treated the writing process like a living journal of her life and experiences during that time. My albums have been excruciatingly autobiographical, she added with a laugh, before the more serious acknowledgement that this often meant her work was “dissected like a live public autopsy,” being minded for details about her personal life. 

Her Folklore era was performed on one of the night’s most impressive set pieces: a full cabin that she performed in, around, and on top of throughout the songs from that album. She performed “Invisible String” while sitting on the roof of the house, like a woman staring at the stars and contemplating life. After coming down to the second story of the cabin (yes, it had an up and downstairs), she told the crowd about how she’s spent her career trying to teach men how to apologize in one of the funnier but true moments of the show. “If they’d only listen, I have laid out for them in three minutes exactly how to do it,” before her performance of “Betty.” 

The 1989 era had some of the biggest dance numbers of the night. Of the many people who deserve a mountain of credit, Taylor’s dancers brought an extra kick of life to each song throughout that era. It should be noted at this point that she had well past the two-hour mark of the evening and had played 30-plus songs of her catalog, ranging from the hits to some deep, deep cuts, with all gracefully appreciated by the crowd who sang along and cheered every number. In this stretch of the show, even the most-recently converted Swifties were singing and dancing along to “Shake It Off” and “Bad Blood,” which was accompanied by fire bursts from different points in the arena adding a shot of warmth felt by all. 

Never one to stick to a particular style or tone, she followed the adrenaline kick of the upbeat 1989 bangers with two solo acoustic numbers. With the dancers off the stage, she pulled on her acoustic guitar and told the crowd that on each stop of the tour, she intended to play a different song during this portion of the show, so that each crowd got something special. The tour kick off Glendale crowd were treated to a beautiful take on “Mirrorball” from Folklore. She followed it up with her sole song from her 2006 self-titled debut “Tim McGraw.” 

Afterwards, in one of the most impressive moments in an evening full of them, the sounds of incoming flood waters poured from the speakers around the stadium, growing louder and closer with each wave. Taylor, with a brief worried moment on her face, said, “Uh-oh,” and dove forward, disappearing on the stage. An aerial camera ran the length of the catwalk showing Taylor “swimming” beneath the incoming flood waters. On the big screen were images of tidal waves crashing down on the stage and signaling the final era of the evening: the Midnights era. 

Photography: John Shearer/Getty Images for TAS Rights Management

As this was the kick off of the tour, the seven songs making up this era were all making their live debuts. It also brought back her impressive array of dancers who went for it on every song with joy spread across their faces. As the show surpassed the three hour mark and passed 40 songs, Swift, the dancers, and her backing band showed no lack of energy and enthusiasm, as they ripped through “Lavender Haze,” “Anti-Hero,” “Midnight Rain,” “Vigilante Shit,” “Bejeweled,” and “Mastermind.” At 42 songs, she asked the crowd, “Do you have time for one more?” The cheers indicated that of course they all did, and honestly would have stayed all night if she just wanted to finish performing the rest of her discography that she hadn’t gotten to yet. She closed out the evening with “Karma” and took a final bow with the dancers before finally exiting the stage. 

Taylor Swift has had a 17-year career and still somehow feels like she has not yet reached her apex mountain. Even some of the most successful artists had their time in the spotlight come and go in less than 17 years and have moved into the legacy point of their career, but not Taylor. She is firmly in the conversation for biggest artists of all time. She is truly, firmly in rare company in the history of pop music across all eras. This is her moment and yet it is still just the next era of her career. No doubt, she still has yet to peak and will for sure some day play another Eras Tour to celebrate the next 17 years. The crowd at State Farm Stadium will line up for those tickets too for sure. She might have to add a third night for it.

Setlist

REVIEW: Panic! at the Disco Exacts Vengeance on the Footprint Center (10-23-22)

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PHOENIX – Panic! at the Disco returned to the Valley of the Sun for the first time in over 4 years; the longest absence from the state since the group was formed. At one point – between Valentine’s Day 2014 and March 29th, 2017, Panic! at the Disco (Panic) visited the Phoenix area a whopping 7 times, so the 4 year absence – in part due to the pandemic – meant that the fans in this area were hungry for the pageantry that comes with a Panic stage show. Opening for Panic was Jake Wesley Rogers, who catapulted into the public’s eye in 2012 when he competed – and was unfortunately eliminated in the quarterfinals – on America’s Got Talent. Following Rogers was MARINA, a Welsh-born singer/songwriter who started on her path to stardom across the pond in 2005. 

The three artists visited the valley on the “Viva Las Vengeance” tour, in support of the latest album – of the same name – from Panic! at the Disco. Together, the three bands promised to put on one entertaining show. The stage was a bit different than what most are used to with a square catwalk surrounding a standing room only pit for the lucky few who were able to score those prize tickets. If one were to stand in the middle of that area, it would only be around 15 feet from the stage in all directions, making it an incredible place to view this show.

Jake Wesley Rogers

Setlist

Jake Wesley Rogers
Jake Wesley Rogers
| Photography:
Katherine Amy Vega © All Rights Reserved

As his accompanying band started up, Rogers emerged wearing a white, sparkly suit with ruby red high heeled boots. It was a triumphant entry, his hands held high as he spun around before he took a seat at the piano.

Jake Wesley Rogers
| Photography:
Katherine Amy Vega © All Rights Reserved

Rogers may not be the most recognizable name on this tour, but he was an excellent choice to join Panic! He was an entertainer though and through, projecting some Freddie Mercury vibes when he whipped off his jacket, revealing a tank top. It would be easy to get lost in the majesty of his stage presence, but he is not only great at setting a scene and then chewing it right up, he is also a staggeringly talented vocalist. 

Jake Wesley Rogers
| Photography:
Katherine Amy Vega © All Rights Reserved

At one point, he performed a cover of My Chemical Romance’s “Welcome to the Black Parade,” to the delight of the crowd. The mix of his vocal talents and his ability to impressively emulate Gerald Way shows that Rogers is the consummate entertainer, and we will likely see him quite a bit more on tours – perhaps even headlining on the scale of Panic – in the future. 

Jake Wesley Rogers
| Photography:
Katherine Amy Vega © All Rights Reserved

Mid-set, he introduced himself and explained he was from Missouri, “You know…the Bible Belt,” and, chuckling, he showed off the soon to be infamous high heeled red boots – perhaps a nod to Brendon Urie’s time in the Broadway musical “Kinky Boots” –  and stated “I like to think I was the rhinestone on the belt buckle.” 

The 30-minute set was capped by “Pluto,” the title track of the album he released last year. As his performance was coming to an end, he announced he was putting his phone number up on the screen, and he would select one person to upgrade their seats. This was his way of giving back, as he had told the story of how, growing up, his mother took him to concerts, but they ended up sitting in the nosebleeds. This was his way of taking someone who was in the same type of situation, giving them a night they wouldn’t soon forget.

MARINA

Setlist

As the stage change occurred, a banner with “MARINA” was raised. This act alone caused a cheer to rise from the crowd, and it became clear that there is a huge portion of Panic fans who are also MARINA fans. It’s easy to see why, as they both share the flair for the dramatics.

Marina Diamandis (Vocalist), MARINA
| Photography:
Katherine Amy Vega © All Rights Reserved

While there are no pyrotechnics that back up vocalist Marina Diamandis, she truly does not need them. She came out wearing a pink dress, slinking onto and owning the stage, and she launched into “Ancient Dreams in a Modern Land.” Standing on a white platform, Diamandis commanded the attention of the audience, keeping them in awe for the entire performance. 

Marina Diamandis (Vocalist), MARINA
| Photography:
Katherine Amy Vega © All Rights Reserved

She greeted the crowd before “Man’s World,” saying “Phoenix! How are you feeling tonight? I’m so, so happy to be here, thank you for the warm welcome! I wasn’t expecting it.” Diamandis was extremely grateful for the love that the crowd showed her, thanking them between many of the songs, and also seemed a bit surprised at how well the crowd knew her music. Her mix of confidence and humbleness endeared herself to the crowd even more. It was hard to walk away from her set and feel anything but awe for her performance. 

Marina Diamandis (Vocalist), MARINA
| Photography:
Katherine Amy Vega © All Rights Reserved

When she started out, she had stated she was influenced by Britney Spears and The Distillers’ singer Brody Dalle. She is now an influence herself, and there are undoubtedly many musicians and vocalists who are inspired by her for good reason: Her voice is stunning, she has the stage presence of a superstar (making the most of a minimalist background), and her lyrics are sharp and pointed, even with the upbeat sounding music. In short, it is no wonder that so many knew her music, and no wonder that she was given such a warm welcome from the crowd. Over the course of a 12-song set, she moved between the platform, her piano, and walked the stage with a fierce confidence. She closed her portion of the show with more gratitude to the audience, followed by “Bubblegum Bitch,” which drew the biggest cheers of her set.

Marina Diamandis (Vocalist), MARINA
| Photography:
Katherine Amy Vega © All Rights Reserved

After MARINA’s set ended, the temperature in the arena started to plummet. Signs on the pillars on the way in warned that there would be flashing lights, smoke, and pyro effects. When you see a sign about pyro in an arena, and you feel the temperature dropping, it is a good sign that you’re about to get a lot warmer, and not just because you’re going to be dancing yourself into a frenzy. Panic! at the Disco is well known for their stage shows, which are always over-the-top and some of the most fun you can possibly have at a concert. 

There is also a build-up of anticipation before the show starts: on the sides of the stage, a clock counts down from 10 minutes, giving fans plenty of warning so they could return to their seats. During this countdown, various songs were playing, and as the last couple of minutes ticked by, the newly rediscovered masterpiece of a song “Running Up That Hill (A Deal with God)” by Kate Bush. As the song ended, the lights cut out, and a simulated thunderstorm started.

Panic! At the Disco

Setlist

Lights flashed, thunder rumbled, smoke poured from the stage and the cheers started. And then seemingly out of nowhere – due to some fantastic misdirection – Urie stood on the outer edge of the stage with a huge grin and a microphone. As he began to sing “Say Amen (Saturday Night),” he also began to slowly make his way around the loop up to his ultimate destination of the main portion of the stage. 

Brendon Urie (Vocalist), Panic! at the Disco
| Photography:
Katherine Amy Vega © All Rights Reserved

For those who have not attended a Panic show, Urie is a showman to the core – a flashy entertainer who will make sure you’re having the time of your life. The first 6 songs of the set were quite familiar to the fans, ranging from “This is Gospel” to “Emperor’s New Clothes,” the song when the pyro really kicked in. As the skulls on the screen behind Urie and the band laughed, flames erupted across the stage. 30-foot flames produce massive amounts of heat, and with multiple fireballs erupting, it became very clear why the arena attempted to turn the massive room into an icebox. 

Brendon Urie (Vocalist), Panic! at the Disco
| Photography:
Katherine Amy Vega © All Rights Reserved

Once the first portion of the show ended, Panic proceeded to play the entire new album, starting with the title track “Viva Las Vengeance.” Not all of the songs were overly impressive, but the presentation is what mattered most here. Joining Urie on stage was a guitarist, bassist, a small brass section, and stringed instruments. The three stringed instruments – two violins and a cello – were thrust into the spotlight during the openings for most of the new songs. The brass section would get their chance to shine during “Death Of A Bachelor” later in the show, as everyone – including the drummer – left the stage beyond the saxophonist, trumpeter, and the trombonist, who all joined Urie at the outer edge of the stage. 

Panic! at the Disco instrumentalists
| Photography:
Katherine Amy Vega © All Rights Reserved

The tracks off of Viva Las Vengeance range from the tragic in “Don’t Let The Light Go Out”, to the bouncy “Sad Clown” – which sounds as if it was pulled straight from a musical. There is even a song that might make some imagine that Will Ferrell and Christopher Walken are about to burst onto the stage: the cowbell content of “Sugar Soaker” is excessive perfection – which is perhaps a paradox – but unlike “Jumbo Shrimp,” this makes sense once one sees a live performance of the song. Many bands don’t showcase their entire album at once, so it was a bit unusual to have 12 songs sandwiched between classics that all Panic fans know and love. 

Brendon Urie (Vocalist), Panic! at the Disco
| Photography:
Katherine Amy Vega © All Rights Reserved

The new album also shows off the incredible, unearthly vocal range that Urie has. The 4-octave range is used throughout the previous albums, but to witness it in person is breathtaking. There seems to be very little that Urie cannot do, and he appears to relish each moment up on stage. The fans relished it as well, and the Shakespearean saying “parting is such sweet sorrow” would apply here. Fans in Phoenix will undoubtedly eagerly await the next show, which hopefully will not require another 4-year wait for Urie and his crew to give us a dazzling spectacle of lights, sounds, and imagination.

Photo Galleries

Photographer: Katherine Amy Vega

View Separately:
Shaggy | TLC | En Vogue | Sean Kingston | Nyce Hitz

Panic! at the Disco | MARINA | Jake Wesley Rogers

Panic! at the Disco, MARINA, Jake Wesley Rogers – Footprint Center 10-23-22

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.