PHOENIX — Amidst their “The Witching Hour” tour, shock rock quintet In This Moment had fans spellbound during a thrilling visually-charged performance at historically-located venue The Van Buren. Openers on the bill included The Word Alive — a metalcore group from Phoenix who’s most recent album Deceiver reached No. 97 on the Billboard 200 (2010), and fellow AZ-based nu metal band Ded, who’s been on the rise since the release of their wildly successful debut track “FMFY” in 2016. Audience members were elated to hear that In This Moment had offered both opening groups the option to extend their setlist for the night, in celebration of the obvious outpouring of support from local fans.
After a vigorous crowd sing-along to Journey’s “Don’t Stop Believin’,” ferocious frontwoman Maria Brink dawned the stage through a storm of purple-red smoke, spookily cloaked in all-black attire which was somewhat reminiscent of Emperor Palpatine in Star Wars.
As Brink positioned herself center-stage, horror-esque slivers from In This Moment’s music video for title track “Blood” spliced on and off on a large overhanging screen. Current members Chris Howorth (Lead Guitarist & Founding Member), Travis Johnson (Bass Guitarist), Randy Weitzel (Rhythm Guitarist) and Kent Diimmel (Percussionist) followed close behind her — also dressed to shock and impress in true gothic metal fashion.
The group transitioned into a haunting yet brutal performance of “Blood”, which was seamlessly followed by “River of Fire” from In This Moment’s latest album, Ritual (2017). In between these first two songs, Brink seductively shed her dark ceremonial garb for a ghostly white dress that shimmered beneath the spotlights.
With a mix of fire and wind enveloping her silhouette, Brink immediately dominated the stage with her display of unique showmanship and incredible ability to personify her lyrics through purpose-driven theatrics. Her gruff throaty screams and eerily dazzling vocals are a fitting accompaniment for the band’s vehemently aggressive rhythms, sludgy guitar and relentlessly rhapsodic percussion.
Although In This Moment’s 2017 album is in fact less sexualized than albums in previous years, Brink’s outlook on the highly-debated topic remains the same. The singer changed from costume to extraordinary costume throughout the show — reappearing on-stage in everything from skin-tight bodysuits and ritual garb, to Krueger-like talons, a top hat, and faceless creature masks. Backup dancers morphed from demons and witches to twinning alter-egos as the show’s storyline evolved before our eyes, exquisitely interpreting the lines of each song. Brink seduced the crowd with ease, gripping the audience with infectious performances of “Adrenalize”, “Roots” and “Burn”, which preceded a chilling vocal performance of ballad “Lay Your Gun Down.”
After an official band introduction, Brink disappeared from the stage leaving Howorth, Johnson, Weitzel and Diimmel in the spotlight for a savage Metallica tribute beginning with the opening instrumentals to “For Whom The Bell Tolls” and leading into a monster drum solo harnessing the chunky classic rock vibes that we all crave.
Next, Brink stepped center stage once again beneath a large crescent-shaped entryway, which appeared as two halves of a glowing moon, altar-style. The opening scene from “Black Wedding” featuring Rob Halford (of Judas Priest) strobed in and out to church music, teasing the energized duet between Brink and Ded frontman Joe Cotela which was to follow. The night finished strong with blazing performances of fan favorites “Big Bad Wolf”, a cover of Phil Collins’ “In The Air Tonight”, “Sick Like Me”, and “Oh Lord” — which had fans raging.
However, there was still one song yet to be desired. Audience members roared as Brink stepped out from behind the curtain for one final song — this time wearing the infamous blood-smeared dunce hat as featured in “Whore”, which Brink described to Steppin’ Out Magazine as “an empowering, beautiful song for women.” On-stage, as oversized balloons began bouncing across the crowd, she went on to explain that “Whore” is about reclaiming control of what hurts us and rising above it:
“I was told that I would amount to absolute shit”, she told the crowd. “That I would become nothing at all. So, you see this next song, this last song is about rising above other people’s expectations, all of these ideas about who and what we should be. This song is about taking other people’s hate and turning it into something powerful and liberating within. So tonight, ladies and gentlemen, if I can inspire just that, turning hate into love, then I am proud to say to you Phoenix — tonight, I will be your whore!”
The song’s title “Whore” is actually an acronym created by Brink to further communicate its underlying purpose:
It seems that with their most recent album, Brink and her bandmates have finally perfected the delicate balance between their sultry sex appeal and crust punk approach to the ideals of empowerment and strength embedded in their music. “The Witching Hour” tour is more than an unforgettable performance; it’s a wakeup call. We truly cannot wait for more.
PHOENIX — Unity, love, and an all-around good time were the three main focuses of the Lost in Translation Tour’s stop in Phoenix. “Don’t ever forget that each and every one of you here has the power to do anything you set your heart on,” said David Boyd, lead singer of New Politics.
New Politics, Dreamers, and The Wrecks put on an sensational sold out show at Crescent Ballroom, with each band bringing the energy of a headliner.
The Wrecks were first in the lineup with an electrifying set. Lead singer Nick Anderson’s unique voice took the crowd to a new level. The energy from the five piece band was reminiscent of early 2000’s pop punk. Their new EP Panic Vertigo, just released last month, showcased the growth of the band. The Wrecks played an unreleased song “Live”, and Anderson said the band only plays it when people in the audience have enough energy to give back. They ended with the upbeat angst filled song “Favorite Liar” which has been played frequently on 93.3 Alt AZ. The Wrecks hinted at wanting to do a headline tour with a stop in Phoenix soon.
Their band name describes their set: dreamy. The three-piece band played fan favorites such as “Painkiller” and “Sweet Disaster”, which have been on rotation on 93.3 Alt AZ as well. With catchy guitar riffs from lead singer and guitarist Nick Wold, strong rhythm from bassist and back-up vocalist Marc Nelson, and striking drums from drummer and back-up vocalist Jacob Lee Wick, the band amped up the crowd.The upbeat set proposed the feeling for New Politics’ upcoming performance. Their song “Bleed Through”, Wold explained, is about people who have jumped off the Golden Gate Bridge and coming back from that ledge; also for any who has fallen.
Inspiring the crowd to raise their hands immediately, the energy exuded by the three piece band from Copenhagen, Denmark, was mind-blowing, to say the least. With Boyd sporting pants that could have been inspired by Beetlejuice, and a John Lennon style hat, his charisma got the crowd rocking.
The trio started their set off with “Istanbul” from their latest record Lost in Translation, which was released last year (2017). Their set consisted of a variety of songs that showed how diverse they are.
“Girl Crush”, “Everywhere I Go (Kings and Queens)”, and “Dignity” were noticeably among the crowd-favorites.
“Tonight You’re Perfect”, “One of Us”, and “Harlem” are among the most well-known songs from the trio.
One of the more intimate songs played during the set was “Color Green”, which Boyd dedicated to his newborn daughter.
Guitarist and lead/backup vocalist Søren Hansen and drummer Louis Vecchio, were highly animated throughout the 20 song set. It was impressive to see the same energy that Boyd offers in Hansen and Vecchio.
Boyd knows how to perform. The lead singer engaged the crowd from all angles, and got intimate with the crowd multiple times by resting his leg in fans’ hands as he sang. It also seemed as if he would sing directly into fans’ phones. ULTIMATE FANGIRL DREAM.
By mentioning unity more than once, it was clear that Boyd places importance on giving fans a unifying experience. He showed his gratitude to the fans at the end of “One Of Us” by making bowing gestures toward them, suggesting that this experience is just as meaningful to him.
“I don’t want this to end”, Boyd exclaimed before the final song. “There’s only one thing we’re gonna have to do, is come back soon, right?”, he continued. “So what we’re gonna do right now, ‘cause endings are so sad, we’re gonna do the opposite. We’re gonna take this energy here, and we’re gonna celebrate that we f***ing did it! Alright? And we’re gonna cherish every memory of tonight, and we’re gonna even make it better, and there will be a surprise…”
The band certainly knows how to end a show with a grand finale, by playing the explosive “Yeah Yeah Yeah”, with Dreamers’ Wold singing the first verse, and The Wrecks’ Anderson coming back to rap during the second verse.
How to end a show: with Hansen crowd surfing as he plays his guitar solo. √ CHECK
TEMPE, AZ – Lights, along with special guests Chase Atlantic and DCF, illuminated Marquee Theatre last Thursday. This eclectic mix of musicians magnetized a diverse crowd to The Marquee’s doors, and together, the entire venue celebrated a night of pure joy and musical euphoria. Fans of all ages blissfully enjoyed the great sound, atmosphere, and company of each band, but Lights certainly shone brightest of all — fans were dazzled by their otherworldly sounds and gorgeous visuals on stage, and it is clear for any outside observer to understand why they command an army of such devoted fans.
For those who know and love Lights already, they’re aware that this is certainly not Lights’ first rodeo — they’ve been to Phoenix many times since 2008, but as lead singer Lights Valerie Poxleitner put it, they come back stronger every time. From The Nile to Warped Tour, Lights certainly know how to command a stage of any size and location, and their attention to detail certainly transfixes audiences on multiple levels. As Poxleitner is an artist in more ways than one, it is no surprise that Lights’ live performances are as much visual spectacle as they are aural extravaganza. It’s no wonder that Lights has recently received nominations for the Pop Album of the Year and Artist of the Year categories in the 2018 JUNO Awards.
DCF
The first performance of the evening was DCF, an artist who is a compelling example of contemporary pop, alternative, and indie music styles. His was a solo act, yet he projected enough energy and personality to decently command the entire stage and crowd. Concert-goers, in fact, were somewhat devastated when it came time for Prince DCF to exit the stage after an acoustic version of “Misery Business” by Paramore, letting out an audible sigh as he departed.
DCF’s interesting style, mix of genres, and unique take on what is considered pop music all went well with what could only have been a Napoleonic-era Royal Navy Admiral’s Coat. Together with his stylish hairstyle and glasses, DCF exudes confidence and mirth as he DJs, sings, cracks jokes, and finds any other way to entertain a crowd. His performance was certainly a great ice breaker for the evening, though it did end on a relatively anticlimactic note.
Chase Atlantic
Next up was Chase Atlantic, a wonderful group visiting all the way from Australia; they likely chased the Pacific in this case, but everyone at The Marquee was certainly happy to see them. They instantly took over the stage and crowd, carrying the momentum over from DCF and further building fans up for Lights later in the evening. Their high energy was contagious, and they also shared a unique take on contemporary music, just as DCF had done before them. It would be difficult to say exactly what they sound like, but all alternative musicians seem to be elusive when it comes to absolute definition.
Due to their eclectic mix of sounds, it was easy for everyone in the crowd to join in on the fun. Lead singer Mitchel Cave, who first got his big start on the world stage by performing on X-Factor Australia, must have chugged several energy drinks prior to coming out, because he was moving at the speed of light all over the stage. He also seemed to love having the audience join him in the adventure, jumping down to join them briefly, before hopping back up on stage to hype everyone up even further. Chase Atlantic was definitely a great act to follow DCF with, and these boys made the transition into Lights’ scintillating performance a flawless one.
LIGHTS
Though the performances of Chase Atlantic and DCF were fantastic, some fans simply could not contain their excitement for the main act of the evening — Lights; in fact, one young fan was spotted running all over The Marquee, seemingly unable to contain her excitement. It was clear this was likely not her first time seeing Lights, and her excitement proved to be quite the harbinger of the incredible musical and visual adventure ahead.
Lights came out on stage after quite the setup time, but the wait was certainly well worth it. Immediately, fans were greeted by lead vocalist Lights Valerie Poxleitner’s silhouette in front of a massive screen; the bright, neon lights behind her perfectly symbolized the band’s name, and the hype and tension felt throughout the crowd instantly reached a breaking point. The buildup to her full visual reveal was palpable, and her glamorous, vogue-like poses as she sang in her spectral, ethereal form brought out the best fashion week vibes. Finally, she emerged from the darkness and into the light to a feverish sea of fans.
Lights performed in 3 major acts throughout the evening. During the first act, Poxleitner kept the energy from Chase Atlantic going, with some of their most exciting, upbeat songs. During this portion of the show, she asked the audience if anyone here has seen them live before. There was a resounding, screaming yes, with the majority of hands within the crowd immediately shooting up as high as they could go. She continued, clearly pleased by this reaction, explaining that they love coming back to Phoenix, and that their first time here was at The Nile (Nile Theater) over in Mesa, AZ back in 2008, where they performed with Copeland. They’ve been back many times, including to Warped Tour, and she stated, “Year after year, we keep coming back stronger.” For fans who missed out on this tour, I think it is safe to assume that Lights will surely be back soon.
As the mood seemed to chill out a bit, Poxleitner began a new discussion: “I wrote this song when I was going through a shitty time. Who’s been through a shitty time?” The oddly enthusiastic screams from the crowd were certainly clear answer enough; “We’ve all been through shitty times. Do you know what helps get us through it? Friendship, a little bit of wine, and music.” The crowd loved this strategy, and prior to performing “Face Up,” Poxleitner gave them further inspiration: “Your weaknesses become your strengths.” This phrase would certainly make a great tattoo.
“Your weaknesses become your strengths” – Lights
We Were Here Tour – Issue Two
After “Face Up,” Lights retreated off stage for a brief respite. During this time, Poxleitner displayed some of her artwork on the huge screen on stage. Since she is an artist and illustrator, it only made sense — we got to see some of her characters and settings from her Skin & Earth comic series, synonymous with Lights’ new album of the same name, which currently has 6 issues out for purchase. The images and scenes shown were quite similar to the trailer for Skin & Earth, which can be viewed here: https://youtu.be/FnbL7ZE4hmo
During this phase of the performance, Lights returned to the stage with a more somber attitude. The setup had changed during this short intermission as well — suddenly, there was a piano with lots of candles on top, helping to relax the mood even further. It was time for some calm, more acoustic songs. Poxleitner was back on stage in a new outfit, sporting an acoustic guitar. It was a pleasant change of pace, and it certainly kept the vibes fresh for the evening. It also made the grand finale that much more powerful.
After another quick break and some more stunning illustrations on the big screen, Lights was back on stage, and Poxleitner was sporting a third and final outfit. They brought back the high energy with a vengeance this time around, and Poxleitner joined the band with her own electric guitar. This guitar, she explained, represented her second character in her comic books, and it sported the beautiful Skin & Earth logo seen on stage, on the cover of her books, and all over her website and social media accounts — not to mention she also has it tattooed on her arm. She transitioned into her song “Running with the Boys” after this interesting discussion.
A highlight from this phase of the show was the video clips of Sailor Moon’s transformation and Street Fighter’s Chun Li pronouncing, “I am the strongest woman in the world!” playing in the background, which perfectly complemented the power behind Lights’ performance. Towards the end of this third act, Poxleitner brought up her song “We Were Here,” asking everyone, “When the song starts, do you hear waves or a storm?” The majority seemed to scream, “WAVES!” Poxleitner replied with, “Fuck. I always hear a storm.” She continued to discuss the music video for “We Were Here,” saying that she doesn’t recommend burning a bus, but that it was definitely a lot of fun: “Full disclosure — a pyrotech got to do it. But I got to throw the lighter.”
Bonus Issue – The Encore
Once more unto the breach, Lights came back on stage for a quick encore. They weren’t off stage long, likely because the crowd’s chants, screams, and claps were so demanding. Poxleitner picked the mic back up and asked, “Do you guys wanna hear another song?” Everyone, of course, responded with a loud “YES!” She replied, “Alright, so be it, but you guys gotta dance, and you gotta sing,” and the crowd certainly complied. To reward fans, Poxleitner jumped down into the crowd for a bit to give most people up front the best high-fives ever before jumping back on stage for a special surprise for Poxleitner’s sister.
Poxleitner pulled out her phone near the very end of the show and told everyone that it was her sister’s birthday. She wanted to get a video of herself singing “Happy Birthday” with everyone in the audience, so the lights lit the house up, and everyone sang along while she recorded. “I’ve never done one of these before!” she exclaimed after. Her sister certainly got the best little gift from that moment.
Overall, the Phoenix stop of Lights’ We Were Here Tour was an exhilarating experience for everyone, and it was clear the entire band had just as great of a time as the crowd. In fact, Poxleitner may have had the most fun of all — she truly seems to love what she does, and this shines through in her incredible displays of creativity. From the life-sized cardboard cutouts of her comic book character illustrations out in the lobby to the strange vegan pizza box introduction to some synthy song intro tunes, her contagious enthusiasm spread throughout Marquee Theatre and well beyond. This went well with her aura of power her music, and she herself exudes, in addition to her uplifting spirit. She is an inspiration in many ways — a true Renaissance Woman.
Prior to heading out for the evening, Poxleitner explained that Lights is part of Plus 1, a movement and organization that ensures $1 from every ticket sold for participating shows and artists goes to causes they believe in. Lights decided on GRID Alternatives, an organization that helps to bring solar power to places across the states. Poxleitner closed by stating we all need to “protect this little planet that we have… it’s all we got.” They left the stage to resounding cheers of joy, leaving everyone to their evenings with a little positive thinking and a lot of great memories.
PHOENIX — It was nearly Christmas Eve as Lindsey Stirling’s fans gathered at Comerica Theatre. Donning their Santa caps and winter scarves, they fell down the rabbit hole that is the visually stunning show on the Warmer in the Wintertour. The last show on Stirling’s tour landed here, in her hometown of Phoenix, and fans couldn’t be happier to welcome her back home for the holidays. Stirling has recently competed on “Dancing with the Stars”, and her dance partner Mark Ballus was opening for her on the tour with his band Alexander Jean. It was the last show on her tour, and she didn’t slow down for one second, inspiring the audience to follow their dreams, break boundaries and defy industry.
Stirling emerged from a curtained archway, sparkling in ruffles of metallic purple, silver and gold playing “All I Want for Christmas”. Surrounding her were snow-covered illuminated houses, straight from a children’s book. She was joined by her four dancers, and together they ignited the audience with their smiles and choreography.
For the next number, snowflakes swirled in the background as the notes to “Frosty the Snowman” and “Let it Snow” were merged. The dancers twirled with black umbrellas that sprinkled snow as they glided across the stage. The Christmas spirit was alive and swelling inside the theatre as Stirling performed “Warmer in the Winter”, in which she both sang and played violin, and the classic fiddle song “I Saw Three Ships.” Visions of the ocean and pirates flickered on the screen as dancers appeared in plaid skirts with bouncing steps.
After a short musical break, Stirling reemerged in a stunning sheer dress adorned with sparkling silver sequins. She and her bandmates sat down on the floor toward the front of the stage for a special treat. Stirling had laid out “instruments” for them all to play: two kazoos, a toy piano and a tiny violin. She told the crowd that she had an advantage because her instrument wasn’t a toy, it was the violin that most children start playing on at the age of 5. She laughed, saying “this one’s name is Pickles” as she held the tiny violin in the air. Together the group serenaded the crowd with a medley of tunes starting with “Jingle Bells”, merging into the Harry Potter theme, and winding down with a saucy “Santa Baby”.
At the end of the group’s medley, the pianist Kit challenged Stirling to play “The Devil Went Down to Georgia” on the tiny violin, claiming “it’s what the audience is really wondering.” And she smiled, rising to the challenge as she played about 20 seconds of the fast-paced classic fiddle song. The crowd erupted in cheers as they quickly cleared the little instruments from the stage.
The first few notes of “Crystalize” fell over the crowd, mesmerizing them as Stirling elegantly danced across the stage in a mist, with slivers of light casting eerily beautiful shadows over her. The audience listened as if under a spell, being broken only by Stirling herself, as she addressed the crowd before her next number. She spoke powerful words about her own experiences with anorexia and self-esteem. She reminded the crowd, as they listened to the next song, to remember that even if they don’t see the beauty in themselves “someone sees the beauty in you.” She then went on to perform “Hallelujah” with the curtain closed and only her guitarist to accompany her. The curtains then opened as dancers joined her on stage to perform “Angels We Have Heard on High”, wearing swaths of white fabric that draped and swirled around them as though they were angels themselves.
For the last part of the show, Stirling emerged once again in a different costume; a shining pink strapless dress, with her iconic marching band hat, with white feathers reaching towards the sky. The show pulsed with excitement as lights and sound were pushed to an impressive high. After a stunning rendition of “Dance of the Sugar Plum Fairy”, Stirling went right into “The Grinch”, where her dancers flowed across the stage in red sequins. They held giant red feather fans. At one point covered Stirling, who emerged from the fans in shorts after shedding her ruffled skirt, ready to dance about on the stage. They continued with “Carol of the Bells” as the stage lights flickered with the beat, a visual feast for the eyes and ears.
Before the last number, Stirling addressed the audience one more time and shared her family tradition of wearing matching PJs every year. “Christmas C’mon”, with a track of vocals by Becky G, rang through the theatre, as lights and dancers in matching pajamas spum around the stage. Once finished they left the stage, but the audience waited, clapping and yelling. Stirling reappeared to the ample applause of the crowd and shared a very personal story. She said while she usually likes to leave a crowd with a big number so she can read on their instagram that they just “went to a violin concert and got their face melted off.” This time, however, she was going to close on a more personal note. She shared the story of the loss of her father last year around this time, and that this song was very dear to her. She asked the audience to remember those they loved and hold them close, and played “Silent Night” to close out the night.
The “Warmer in the Winter” Tour was like a traveling snow globe, shaken up with a wonderland of lights, sounds, and dancing. Stirling touched hearts with her words and music, and spread smiles with her jokes and shining personality. As people poured from the theatre that night, they were ready to celebrate not just Christmas, but their family, friends and loved ones and everything that they held dear.
PHOENIX — In the brisk evening air of December 1st, fans waited outside the Marquee Theatre in eager anticipation. It was Friday night and fans were ready to throw their weekday woes away and get ready to listen to the raw sounds awaiting them. On tonight’s agenda: long established metal bands Arch Enemy and Trivium.
The night opened with New Jersey’s Fit for an Autopsy whose bass lines seemed to tremble right through the floor into your very breath. The stage splashed with red and blue light as they worked up the crowd. Next up was While She Sleeps, all the way from Sheffield, England. Lead vocalist Lawrence Taylor was a whirlwind of energy headbanging and even crowd surfing. Calling to the audience, he challenged them to “meet him” by crowd surfing all the way to the pit. Needless to say, many met his challenge. Taylor was all over the stage, even standing atop the drum set. After their set, the crowd was definitely ready for Arch Enemy.
As equipment was set up and sound checks were made, more and more people crowded into the room, shouldering and squeezing into their own perfect spot. A backdrop reflecting hell itself stared back at the audience, with twisted demons and a red glowing reflection. As the music started, a laser show of lights flooded the stage and members of the Swedish band Arch Enemy descended. Vocalist Alissa White-Gluz dominated the stage with her powerful voice and energy. She was a force to behold in her skeletal ripped bodysuit and wild blue hair. Alongside her, guitarists Michael Amott and Jeff Loomis did amazing fingerwork and left the crowd screaming after their amazing guitar duo.
Arch Enemy promoted their new album Will to Power, showcasing some amazing songs such as “The World is Yours” and “The Eagle Flies Alone.” In one moment, Alissa called to the audience, before the song “Will to Power”, to shine a light – and her will was done as the audience swayed their phones in the air. She closed off the set with one of her favorite songs, “Payday.” It’s safe to assume many who came to see Trivium that night left an Arch Enemy fan as well.
After a short break for set changes, Trivium was about to take the stage. In the dim lights, the audience got so excitedly impatient that they started chanting the band’s name: “Trivium!… Trivium!…” Their chants were met with red and white flashing lights, and Trivium took the stage. The backdrop was the same as the cover of their new album, The Sin and the Sentence. Blanketing the wall was solid black with clean gold lines and iconic images, a great reflection of the band.
Lead vocalist Matt Heafy’s passionate and clean vocals were accented by the raw enraged voices of guitarist Corey Beaulieu and bassist Paolo Gregoletto. While Trivium’s sound has changed over the years, the audience was in full agreement that they sounded amazing! Many fans sang along with the lyrics, Heafy’s clear and thought provoking words making this an easy task. Songs like “The Heart from Your Hate” and “The Sin and the Sentence” are surprisingly addictive, with their fast paced melodies and powerful lyrics.
The show was five straight hours of metal. There is something about metal that is cathartic, raw, and enticing; this show was no exception. Arch Enemy and Trivium helped take the week’s stress, ball it up, grind it into the ground and just let loose in the music, allowing everyone to start their weekend refreshed.
Photo Gallery
Photographer: Dale Hurt
Trivium, Arch Enemy, & More – Marquee Theatre 12-1-17
PHOENIX — Pop recording artist Miss Krystle has just released the six-song EP Inevitable as the follow up to her successful Woman In Motion CD. This night was a showcase of the new songs along with an offering of music from her first three studio CDs. The intimate VIP party was held in a controlled private studio called the Premier Room at Premier Studios on Indian School Road. Guests arrived in anticipation of the live show and explored the venue and the well-stocked merchandise booth while networking with friends and industry associates.
Miss Krystle lit up the room at 8:30pm when she hit the stage dressed all in black; a dramatic contrast to her signature fiery red mane. The set started with “Right Movement” a collaboration with KJ Swaka (Pendulum and Destroit) and “Take Me Home” which was produced by Zion Brock. The hard-hitting electronica tracks are brought to life by the solid rhythm section of That Orko on bass and Brent Hensley on drums. This music transcends labels of pop or electronic dance music. It is edgy and in-your-face, but it is uniquely Miss Krystle. With lyrics like, “I’m a wolf, not a sheep,” she has no regrets in blazing new trails forging her own sound.
Miss Krystle commands the stage and pours her soul into each line. The fans in the audience are under her spell and sing along with the next two songs from Woman In Motion; “Dukes Up” and “Pressure”. The high energy has been non-stop and her performance has been an aerobic workout, but still the vocals are spot on. From assertive lines of angst to soft soaring notes she is matching the studio versions of the songs note for note.
At the end of this introductory frenzy, there is a catharsis. The band exits the stage and Miss Krystle is left alone with keyboard and a spotlight. This is where we learn that Miss Krystle is more than a pretty face with rock star vocals as she demonstrates her classical training on piano and delivers some of her original songwriting. The three-song solo “acoustic” set starts off with her song “I Don’t Cry” from the Run CD. This song has a beautiful music video where she performs in elegant body paint and has over 200,000 views. The crowd cheers as she begins singing. Next up is “Relevant”; the first song played from the new EP. In an interview with The Arizona Republic, Miss Krystle described the message of this song saying “The only person who should make you feel relevant and loved is ultimately you.” The studio version of the song has a sonically big production that conveys the emotional message, but ironically this stripped down piano/vocal version may have emoted even more heartfelt emotion. The third song in the set was a totally unexpected cover of “God Only Knows” by the Beach Boys. This brought a smile to everyone’s face and it seemed to be a true expression of love to some lucky person in the room.
The band returned to the stage and the energy again cranked up for two more songs from the new EP, “Inevitable” and “Wild Like Fire.” Miss Krystle has been very prolific at self-producing high quality music videos and her latest is for the song “Inevitable.” In an industry where record deals seem to have lost their teeth, she has been successfully gaining celebrity through self-promotion and a lot of hard work. Her new songs are collaborations with her musical partner, That Orko, who has helped to elevate her production sound and inspired her to write songs that she says are some of her “best music to date.”
Miss Krystle isn’t relying on sex appeal to connect with her audience, but she definitely isn’t trying to hide it either. There is a seductiveness to her moves that matches the message in “Focused All Night” from Woman In Motion. She strips one layer of black and eventually focuses on each person in the room, one at a time, making eye contact and making a personal connection. One can envision her doing this same performance on a national stage with backup dancers, lights and pyrotechnics, a 10-piece band, and a stadium crowd. Although her surroundings were much more reserved, her performance proved that she is ready for prime time.
The 14-song set culminated in trio of covers that kept in sync with the high energy of the evening with “Lap Dance” by NERD, “Breath” by The Prodigy, and an homage to Beyonce with “Crazy In Love” that had everyone moving. Lastly, it was back to an original for the final song of the night which was “Unforgettable”…literally and figuratively. This song’s haunting melody is addictive and complements the lyrical intent to never fade into anonymity, “Burning in your memory you know I’m unforgettable…On your mind and in your dreams I’m a part of history.” The band left it all on the stage and there was no holding back to put on a fantastic show.
This was a VIP experience so everyone had their chance to meet the band, take selfies, and get their CDs, prints, and t-shirts autographed. The venue was a perfect place for a band showcase and the sound was appropriately loud while remaining clear. The only annoyance was the automated lighting chase that wasn’t synched to the music and each scene was monochromatic. Other than that, the space was a perfect venue to promote the new EP from Miss Krystle. Look out for her next music video release for the song “Relevant” coming soon to her bustling Youtube channel.
TEMPE, Ariz. — On November 5th the Marquee Theatre was bustling with life as fans waited outside its doors. Originally the Thrice and Circa Survive co-headlining show was to be at Mesa Amphitheatre, but a few weeks prior the show was moved to the Marquee. Due to the venue change, there was some chaos in the beginning. There were long lines at the box office as everything was sorted out after hopping venues, and fans were worried they weren’t going to make it inside on time.
The two openers took the stage to entertain fans and help wash away their frustration. The first band was Balance and Composure, who are an American alternative rock band from Doylestown, Pennsylvania. The second band was Chon, an American rock band from San Diego, California. People were calming down and enjoying some beers with friends. As house music played between sets, people happily chatted about how excited they were. Some reflected on past Thrice shows.
Circa Survive, an American rock band also from Doylestown, Philadelphia, took the stage and they were greeted with cheers. Anthony Green led the band with their first song of the night, “Lustration.” For an hour they serenaded the crowd with a sixteen song setlist.
The changeover between headliners was thirty minutes, enough time to go to the patio for a smoke break or grab another drink. As it grew closer to showtime, people filled back inside. The crowd reached all the way to the back almost spilling into the lobby. The entire venue went dark as Thrice, an American rock band from Irvine, California, stepped on stage. They went straight into playing “The Earth Will Shake” from their fourth studio album Vheissu. The lights flooded the stage, red-then-blue, as Dustin Kensrue sang while strumming his guitar. The crowd cheered and put their arms up in the air, and all the chaos from before disappeared. Fans in the front of the stage were jumping up and down, and a guy with a blue Mohawk was the first to crowd surf. The rest of the crowd sang along and headbanged. One guy up in the balcony was full-on headbanging with everything he had.
The next song, “The Window” was calmer. As the blue lights filled the room, people swayed and put their phones up to record or take pictures. After the song finished, Kensrue spoke to the crowd, “Thank you so much. We are Thrice,” before going into “The Artist in the Ambulance”. Fans clapped along, the entire vibe of the place was pure excitement.
During “Hurricane”, the light on stage turned to a yellow hue. The song is from their latest studio album To Be Everywhere Is to Be Nowhere and peaked on the Billboard Mainstream Rock Songs chart in August 2017 at number 24. The fans once again threw up their hands; the white lights on stage highlighted all the arms in the air. A woman next to me was crying; her boyfriend had his arms wrapped around her waist.
The whole night people were jumping and singing. In front of the stage, people continued to crowd surf and at one time people were throwing around a shoe. The bass and drums were so powerful it hit your body like a wave of sound, almost feeling like a second heartbeat.
Before starting “Firebreather”, Kensrue said, “Ten years ago we put out a four disc album representing the four elements: Fire, Water, Earth, and Air. Super nerdy I know. We wanted to tour with vinyls, but didn’t get them out on time. They should be out soon.” Kensrue was referring to their fifth studio album The Alchemy Index Vols. I & II. As Kensrue sang, three girls next to me started their own little dance circle, one was even twerking. At the same time, a guy up by the front of the stage was crowd surfing with his crutches.
Kensrue mentioned they just added “Red Telephone” to their setlist from their seventh studio album Beggars. The lights bled to red as a mix of drums, guitars, and bass began the song. Before playing their final song of the night, “The Long Defeat”, Teppei Teranishi (Guitarist) addressed the screaming crowd, “We love you guys.” Kensure added, “This is our last song of the night. We will have no encore due to this show being a co-headline, makes it awkward.” In total, Thrice had a sixteen song setlist.
Even though the night started out a bit rocky, it ended on a high note. Everyone left happy and Tempe is ready to rock out with Thrice and Circa Survive again in the future.
PHOENIX — Nothing More put on an explosive performance in Phoenix Wednesday night at the city’s eye-catching new venue, The Van Buren; named in honor of the historic Martin Van Buren. Once inside, it was a pretty swanky setup: grandiose crystal chandeliers dripping from the ceiling, marble double-sided bars wrapping around the room and on the back wall, an enormous, technicolored mural of the Sonoran Desert surrounded the stage — a fitting theme considering the band was formed out of San Antonio, TX. Interestingly, Nothing More frontman Jonny Hawkins is actually an Arizona native. This is a fact he shares with drummer Ben Anderson who is known for his presence in local success story Digital Summer.
After stirring performances by Hell or Highwater, My Ticket Home, and Palisades, it was obvious the crowd’s anticipation was at its peak. All eyes were on the stage as the lights dimmed and the introduction to “Christ Copyright” rumbled out from beneath Anderson’s drum set. In a flash of white light, Hawkins entered the stage rocking his classic barefoot, shirtless style while yelling, “What’s up Phoenix?!”, as the remainder of the band stepped on stage behind him.A haze of blue and red light filled the room as the band moved right into meteoric performances of “Let ‘Em Burn”, “Mr. MTV”, “Don’t Stop”, and “Ripping Me Apart”; kicking things off with a mixture of heavy-handed tracks from Nothing More’s fourth and fifth studio albums, Nothing More and The Stories We Tell Ourselves.
The Stories We Tell Ourselves was an immediate favorite among fans after its release in mid-September of this year, coming in at 15 on the Billboard 200. And rightfully so, as the band’s live stage presence is both wildly unapologetic and deeply emotional.
Their set featured a variety of face-melting solos by each of the band’s highly talented members, but after their hit single “Go To War”, Hawkins and lead guitarist Mark Vollelunga decided to slow things down a bit. Midway through the night, the duo came together for a heart-wrenching acoustic performance of track “Just Say When”, which moved some neighboring fans and myself to tears. It’s a song that Hawkins said “almost didn’t make it onto the record” because they thought it might be “too sappy“. As is the case with many classic emo-toned favorites, the sad love story of the troubled rock star hit us right in the feels.
As “Just Say When” came to an impassioned end, the remaining members of Nothing More took the stage once again, throwing themselves into songs “I’ll Be Okay”, “Here’s To The Heartache”, and “Do You Really Want It”. Fans visibly rejoiced as bassist Daniel Oliver strapped his instrument into the infamous “Bassinator” while Vollelunga and Hawkins aggressively plucked and tapped along the fingerboard. They were, presumably, pumping up the audience for a prolific performance of profoundly personal track “Jenny”, the third single off Nothing More’s self-titled album which spotlights Hawkins’ sister’s struggle with mental illness — a topic that hits hard for many of the band’s listeners.
Just as we sang along to the closing lyrics of “This Is The Time”, Hawkins stepped forward to address the crowd for one of the last times that evening. “Well it’s that time of the night; it’s our last song. Who has seen us before? [Cheers] Who has never seen us before? [Cheers] We are a band that does not give encores because one: they’re fake, and two: they’re fake. We’re just going to play our last song instead, and give it all we’ve got.“
And just like that, Hawkins was back at it again, flinging his water bottle into the crowd and jumping all over the stage as he and his band mates poured their souls into iconic track “Salem – Burn The Witch”, standing atop their latest mega-futuristic, one-man-band machine – a 400-pound, 14-foot tall instrument. The members of Nothing More dubbed it as “The Scorpion Tail” in an interview with local radio station 98 KUPD earlier this week. The crowd went absolutely insane for it, cheering Hawkins on as he not only drummed with his feet, but sang as well. Even employees of the venue gathered to watch in awe, some with their fists thrust into the air.
To say this performance was “impressive” would be to sell it short. Nothing More swept us off our feet yet again, and Phoenix will absolutely be back for more.
Phoenix — Infected Mushroom’s tenth studio album Return To The Sauce had fans rushing the streets of downtown Phoenix Friday night to secure a spot inside Monarch Theatre for a special DJ set. One-of-a-kind beats could be felt vibrating out of the dance club as Israeli psychedelic trance duo, Amit “Duvdev” Duvdevani and Erez Eisen (referred to as mega-revolutionaries and twice-ranked as the world’s “10 Best DJ’s” by UK’s DJ Magazine) took command of the room. The evening kicked off with notable openers Binary Hertz, Astony, and Avitas; a perfect cocktail of chunky beats and futuristic electronica to foreshadow what was yet to come.
Lime green and royal blue lights gushed in flashing motions above the entranced crowd as mysterious, three-dimensional psychedelia circumvolved on screen behind the stage. Their infamous visuals are actually known as a mark of transformation for the group, as they first introduced fans to this unique art in 2013 during their “FungusAmongUs Tour”, featuring three-dimensional figures that appear to collapse in on themselves as the music rises and falls. The hypnotizing display serves as the perfect backdrop for Infected Mushroom’s “psy-trippy synthetic rhythms”, having been dubbed by Relentless Beats as both “enigmatic” and “always trippy.”
The vibe of the night was pure ecstasy. People danced with everything they had in them, grinning from ear to ear the whole time — adorned in multi-colored glow sticks, varying Infected Mushroom gear, and glazed looks of general intoxication. The set was a solid two-hour fusion of fan favorites mixed with the full Return To The Sauce album, a dance party to top all dance parties. Curiously, the song titles of the most notable tracks from the evening seemed to perfectly foreshadow the audience’s spirit along the way.
Although it was easy to get lost between one track and the next, it was clear Duvdev and Eisen knew exactly what the people of Phoenix wanted. They started things off with an electrified mash-up of “Return To The Sauce” followed soon after by “Flamingo” and “See Me Now.” As the opening notes to “Becoming Insane” tumbled out of the speakers, the crowd’s energy was on the verge of bubbling over. Bartenders thrust water hoses into the air in tandem, cutting through the dampened air with splices of icy water, sending everybody into a craze of complete euphoria. Senses dimmed and the beats took over; all that mattered was the music.
It was the raw innovation behind Infected Mushroom at work, enrapturing the crowd and never holding back, passionately compelling the audience to mirror their energy with every ounce of being until the set’s closing. Together, we danced furiously through the remaining tracks of Return To The Sauce, erupting louder and louder each time at surprise mixes of tracks like “Special Place”, System of a Down’s “B.Y.O.B.”, and“Deeply Disturbed”. By the night’s end it felt a bit like all of us had left something much needed behind on that dance floor. And that “something” speaks to the magic that is Infected Mushroom: Two producers who invented an entire subgenre of trance music; two creatives who have been captivating listeners for over a decade. Whether it was sweat and spilled drinks or something a bit more meaningful— “saucy” doesn’t even begin to cover it.
Infected Mushroom & Binary Hertz in Phoenix (Left-to-Right: Amit “Duvdev” Duvdevani, Sam Norris, Jeremy Miller, and Erez Eisen)
PHOENIX — Evanescence brought a whole new level to their performance by teaming up with several orchestras around the US and Canada to promote their new album with the “Synthesis Live” Tour. The band’s fourth album Synthesisis set to be released in the fall of 2017, specifically November 10th. Downtown Phoenix was buzzing Tuesday, October 17th as fans eagerly anticipated the start of the show. Anyone who is familiar with this band knows that their music all has the same major trait to it: it’s intense. Whether it’s a soulful ballad or a heart pounding rock anthem, vocalist Amy Lee knows how to excite a crowd and keep them on their feet. This tour, however, was set to be a whole new experience from any other in the past.
Inside the concert area, center stage could be seen decked out with typical instruments; microphone, drum set, and a piano. The full orchestra surrounded them, warming up on a dark stage lit only by a hint of a purple hue. As the rest of the lights dimmed to signal the beginning of the show, the orchestra took it’s moment first to shine as it guided the audience through a symphony of sound. Wooden bows mixed with the sounds of brass and percussion shook the concert hall for several songs before turning the stage over to Lee. Met with rousing applause, Lee stepped up to the piano and played “Overture” off of their unreleased album.
Transitioning into “Never Go Back” from their 2011 self-titled album, everyone remained in their seats as her velvet-like vocals spilled into the crowd, and entranced them with explosive melodies and vocals that still possessed the true Evanescence sound. And even though the audience being stationary is not the norm at her shows, Lee made it known that even without the head banging and stage dancing, this show was going to rock. “Thank you for being here tonight”, she said out into the darkness. “I just want you to know… Just because there’s an orchestra here, just because we’re sitting, doesn’t mean you’re not allowed to MAKE NOISE!!” This was met with thunderous cheers from the audience, ready to see what was in store for them next.
As the sixteen song (plus three-song encore) setlist progressed, the audience was taken through every level of nostalgia imaginable. Performing songs from each of their four albums, Lee’s ever present talent was really put into the spotlight. Almost like that of a rock opera, she gave off a Sarah Brightman vibe, from her outfit to her unfaltering voice as she belted the lyrics to her most popular tunes. Not having to do the intense movements a typical Evanescence show calls for worked in her favor as well, allowing her to focus more intently on her vocals. She took to the piano for several songs, singing her soul-searching ballads under a single spotlight as she expertly ran her fingers across the ivory keys. As if that weren’t enough to completely draw the crowd in, her beautifully haunting music was accompanied by a spectacular light show that emphasized the tempo and important parts of each song.
Following “Imaginary”, and before performing “Secret Door”, Lee took a moment to express appreciation for her fellow band members for stepping outside of their comfort zones to accomplish something new. “It’s a lot of fun for me. I think we’re all having fun up here. I want to give it up for my amazing band right now who had to go all the way outside the box! Beautiful, personal, amazing musicians who trusted me. Thank you.” She also later thanked the fans for trusting them.
As the set was nearing an end, there was one song that stood out in particular. With a sense of duality, Lee segued from the piano solo “In-Between” to the contrasting “Imperfection”; the second single from Synthesis. A pianist seamlessly replaced her at the piano bench, while she returned to center stage and unleashed the fierce song that combines the band’s current sound and channels the band’s original rock essence. It was able to fill the room with a powerful energy reminiscent of the time Evanescence came by storm with Fallen in 2003 (certified 7x Platinum); up through their time spent on the Family Values Tour in 2007 with the likes of Korn, Atreyu, Flyleaf, Trivium, and more. The light tech went all-out for this one as well, blanketing the room in a sea of color and shapes that perfectly aligned with the melody.
Before the first song of the encore, she asked the audience to indulge her before she played a solo song, “Speak to Me”, which she said they’ve only played live once, “so be nice.” Following this humble expression was a seemingly flawless performance of the song. The intensity and emotion was enough to send chills, especially as she hit the high note in the last instance of the lyrics, “Hear me call your name.”
Wanting to interact more before she closed out the set, Lee took some time to get more personal, vulnerable, and authentic with the crowd. She talked about having nagging self-doubt, and that regardless of it, you have to persevere and overcome it. She related with every person in that room by telling them that she too has these feelings of doubt and uncertainty.
“This is silly that I’m starting to talk now, after all of this time… You guys ever have that thing, where you don’t exactly know your place, and you’re just constantly inside, like, second-guessing yourself… ” One audience member shouted out, “Every day”. She continued, “…Here comes the punchline… wondering if you’re good enough? …You gotta fight that voice in your head. I fight that voice in my head every day. We all have to fight that voice in our head, we are good enough, you do belong here. One day at a time, ‘kay? Thanks for sticking with me.”
Her sweet words of encouragement and love were met with resounding response, fans screaming her name, and a few tears. These uplifting sentiments were a tie-in the the song that followed; “Good Enough.”
After the closing song, “Swimming Home”, Lee expressed, “Tonight has been so special to us, thank you, we love you.” By now the audience could no longer contain themselves, and Lee was met with a standing ovation from the entire theater. As she exited the stage, she bowed with the orchestra instructor and blew a kiss to her fans.
Lee and her band not only managed to put on another incredible, unforgettable show, but they also were able to give their fans a bit of encouragement to take home with them. There is no doubt that Evanescence will only have more surprises for their fans when they tour next, and that Phoenix should be ready when they do.
, 
. 
, everyone remained in their seats as her velvet-like vocals spilled into the crowd, and entranced them with explosive melodies and vocals that still possessed the true Evanescence sound. And even though the audience being stationary is not the norm at her shows, Lee made it known that even without the head banging and stage dancing, this show was going to rock. “
