Blog — Page 11 of 278

Worriers, Kali Masa

The Garage

Burnsville, MN

October 5, 2023

I hadn’t been to The Garage in probably 10 years, a youth center turned all ages venue in suburban Minneapolis. In the past it was more of a stage in the corner, but it’s grown into a real venue with two stages, proper sound systems, and an n/a bar for refreshments. In short, it’s a nice looking space and it feels personal, with a young staff where you can feel the energy instead of people going through the motions for a paycheck.

But this isn’t about the venue, other than to set the tone. This was a small and intimate show. I was surprised at the lower turnout, but not shocked this it was also a relocated show and those tend to have some publicity issues. But the setting affects the spirit of the show. Openers Kali Masa later remarked how it was nice to see a crowd responding to a quieter song without talking over it. That statement is probably half about alcohol (and its effects), but it’s also entirely accurate. Every set of eyes in The Garage was tuned to the stage through a two band lineup.

I was unfamiliar with Chicago’s Kali Masi going into the show. Live it was fun, energetic, and layered. At heart they’re a punk band, but with loaded pedalboards, rainbow guitar straps and sweaters. Live, I’d call their sound melodic post-hardcore. Listening on Bandcamp as I write this, I’m going to keep that description but with a little more emphasis on the vocals and a little more oomph. If you like your punk a little more complex and a little more groove-driven (but in different time signatures), check them out. Live it was a powerful, joyful set. The music may be complex but its delivered with a smile and a good back-and-forth between band members and audience.

While I’ve followed Lauren Denitzio’s career for the better part of 15 years, I’ve only seen Worriers once or twice. As they noted, the band hadn’t played Minneapolis (region) in a long time. Besides that, Denitzio relocated to the West Coast and the lineup has shifted in response. While the words are undoubtedly Denetzio’s and their voice sets the worldweary tone, seeing Worriers proves that it’s a full band and not a solo project. There is a lot of energy between members and it feels [i]full[/i]. In many ways the song structures are designed to emphasize a personal intimacy (there’s that word again), but they were never meant to be the singer-songwriter thing. There’s more punch and volume to it, which fits the boisterous energy that underlies some of the pain and reflection.

This set leaned heavy on the new Trust Your Gut, pulling from Warm Blanket released earlier this year, and some deep cuts too – mostly from the Survival Pop and beyond era. There was time at the end for a solo encore and audience requests, adding to the small room vibe. Sure, the venue is a drive from most of the city’s hubs, but once inside the room none of that matters. The room was warm, intimate, and a world to itself. It was perfect for the band’s vibe.

Kiss
Accor Stadium
Sydney, Australia
07 October 2023

The air was electric with anticipation as Kiss, the legendary rock icons known for their extravagant stage performances, descended upon Australia for what they assert to be their last tour. The "End of the Road" tour, now spanning over four years, each time proclaims to be their final appearance on Australian soil. Yet, here they are once more, bedecked in their iconic kabuki makeup, ready to unleash yet another unforgettable spectacle.

Kiss, as a collective entity, is nothing short of mesmerizing. Their self-fashioned mythology, unwavering audacity, and the knack for transforming concerts into explosive spectacles have elevated them beyond the realm of ordinary rock shows. Over five decades, they've cultivated an unshakable connection with their fans by consistently delivering what their audience craves. They've also mastered the art of catering to their devoted following with an extensive array of merchandise.

Kiss has adhered to the rock tradition of embracing solos, which, it must be admitted, often constitute the least captivating segments of a rock concert.

Tommy Thayer conjures fireworks from his guitar headstock, Eric Singer vigorously pounds his drum kit, and Gene Simmons' bass solo, executed from a platform elevated to the lighting rig, predominantly serves as a pretext for his dramatic "bloodletting" before launching into "God of Thunder," a quintessential Simmons anthem where he not only declares himself the god of weather but also the god of rock 'n' roll.

"God of Thunder" encapsulates Kiss's lyrical style flawlessly, delving into their two primary domains: their mastery of rock and their prowess in the realm of romance. The lyrics may often seem superficial, but that's precisely the point. These songs require no profound introspection.

However, when they reach their pinnacle, Kiss delivers an exhilarating experience unmatched in its raw, primal essence of rock, accompanied by an onslaught of explosions. "Detroit Rock City" ignites the show with its agility and fervour, "I Was Made for Lovin' You" showcases their melodic finesse, and "Heaven's on Fire" unveils the pop harmonies that distinguish them in the realm of basic rock. Kiss has transitioned into one of those monumental acts that every music enthusiast should witness at least once in their lifetime.

Paul Stanley's stage banter remains an astonishing spectacle in its own right. His distinctive vocal delivery adds an additional layer to the overall theatrics. His clever remarks underscore the talents of an artist who revels in the theatricality of rock 'n' roll.

It's evident that Paul Stanley sings live, even if his voice occasionally exhibits signs of wear. Yet, nobody attends a Kiss concert expecting technical perfection. When the moment demands it, both Stanley and Simmons can deliver performances that surpass all expectations.

Kiss's concerts transcend the realm of mere musical performances and resemble grand spectacles. Despite a temporary dip during the show, they culminate triumphantly with some of their biggest bangers. The stage is engulfed in a deluge of confetti, punctuated by explosive eruptions, creating a visual spectacle that leaves the audience in a state of wonder.

In summary, Kiss in Sydney marked an explosive climax to their five-decade-long career, serving as a fitting send-off to one of the greatest acts in rock history.

The Marvellous Elephant Man: The Musical
Spiegeltent
Sydney, Australia
Friday, 06 October

In the heart of the performing arts scene, a daring production is taking audiences on a whimsical journey into the life of John Merrick, the legendary Elephant Man of the 19th century. Under the creative direction of Marc Lucchesi, Sarah Nandagopan, and Jayan Nandagopan, this musical spectacle promises a unique blend of irreverence and charming inaccuracy. It's a show that has garnered attention for its audacity, catchy tunes, clever lyrics, stunning costumes, and imaginative staging. However, beneath its bold exterior, there's a sense that this audacious endeavour might be missing the mark.

The anticipation for this production reached fever pitch with an enthusiastic advertising campaign, glowing reviews from critics, and a star-studded ensemble cast. The leading roles are filled by Ben Clark as John Merrick, Annelise Hall as Nurse Hope, Kanen Breen as Dr. Treves, and Marc Lucchesi as the Ring Master – a line-up that undoubtedly exudes undeniable talent.

The musical opens with a bang, quite literally, as the Elephant Man makes a dramatic entrance. What follows is a series of well-staged songs that showcase the musical's potential. However, there's a curious sensation that some of these tunes feel like echoes from other productions, leaving the audience yearning for a more distinctive musical identity.

Ben Clark's portrayal of Merrick is an intriguing departure from the expected. Instead of the disability prominently associated with Merrick, the character is presented shirtless, with only small facial tusks as a sign of his condition. Despite this unconventional choice, Clark's performance captivates with a blend of naivety, sincerity, and vocal prowess that holds the audience spellbound.

Annelise Hall, in the role of Nurse Hope, brings qualities similar to Clark's performance. Their duets become the highlights of the show, even though they seem somewhat at odds with the overall burlesque tone that permeates the production.

In the character of Dr. Treves, portrayed by Kanen Breen, the musical finds its standout performance. Breen's virtuosity shines throughout, but it is his powerful duet with Merrick, titled "I Found You," that truly elevates the production. His acting and comic timing are nothing short of perfection.

As expected, Marc Lucchesi's portrayal of the Ring Master and various other characters adds the anticipated bawdiness to the show. Supported by a talented ensemble, the production delivers cleverly choreographed sequences and a stellar musical backdrop. However, it's the moments of excessive crudeness that sometimes obscure the brilliance of the writing in other aspects.

In summary, "The Marvellous Elephant Man Musical" reaches soaring heights of brilliance but occasionally stumbles due to its penchant for crass humour and vulgarity. While these elements may have their place in a fringe environment, they sometimes overshadow the nuanced writing found in other facets of the show. Despite its quirks and shortcomings, this production remains an audacious experiment that pushes the boundaries of musical theatre, leaving audiences with an unforgettable experience.

The first time I saw Frank Turner was in 2009, while he was touring with The Loved Ones, Murder by Death, and Gaslight Anthem. As I sat outside the Chain Reaction in Anaheim, California, I saw him pull up, park his car, and grab his guitar from his backseat. That was it. This left such an endearing impression on me. A couple of hours later, I saw him take the stage and run through a number of Folksy tracks in this tiny club brimming with DIY punk-rock ethic. Now it's 14 years later, and he's headlining the 6th of his own festival that has taken place from Berlin to Boston. Lost Evenings VI is the first to make its way out to Southern California and lo-and-behold, it was taking place in Anaheim at the House of Blues. The 4-day festival would entail lots of live music, discussions, positivity, and fun.

Frank announced that his sets would differ from night to night. The first was a stripped-down acoustic set, the third night was a 10-year celebration of his 5th record, Tape Deck Heart, and the last night of the fest would be an all-encompassing career "greatest hits" set. While I would have loved to have attended all 4 days, it was the 2nd night of the fest that caught my attention. Frank announced that he would be playing a set of songs from his first 4 albums. The opportunity to relive a set similar to that of the first time I saw Frank was something I couldn't miss.

With two stages within the venue, the festival was stacked with a number of artists including KT Tunstall, Pedro the Lion, Chuck Ragan, Rebuilder, Beans on Toast, and more. Supporting Frank Turner on the main stage of the 2nd night was Bad Cop/Bad Cop and Codefendants, while Tommy & June, Jen Razavi of The Bombpops, and Black Guy Fawkes played on the smaller "Nick Alexander" Stage, named after a friend who was killed in the 2015 Paris terrorist attack at Le Bataclan while working as merchandise manager for Eagles of Death Metal. During the day, there was an Open Mic being held while Panels about the music industry, stories from the early years, activism, and more were going on as well.

Black Guy Fawkes opened the night on the NA stage. The room that occupied the second stage quickly began to fill as Black Guy Fawkes played a number of folk punk tracks. Linh from Bad Cop/Bad Cop even joined in on the fun for a duet. A little over mid-way through his set, the crowd thinned as people started to head to the main stage for Codefendants' set. Codefendants brought a blend of punk and hip-hop that the duo deemed "Crime Wave." There was a level of camaraderie amongst the artists not often seen at most shows, as many did guest spots on each other's sets. This time Stacey Dee from Bad Cop/Bad Cop took the stage to join Codefendants for a song. The Crime-Wave duo also brought LA's, Awol One, on stage to perform.

Back on the Nick Alexander stage, Jen Razavi was already in the middle of her set. I got to the room just in time to hear her go through an acoustic rendition of The Misfits' "Angelfuck." Meanwhile, Bad Cop/Bad Cop were setting up on the main stage. In between bands, comedy duo, Koo Koo Kanga Roo, had been keeping those waiting throughout the night for Frank Turner, entertained with games and "prizes." One of which was a Sunny Delight drinking contest with a pack of clotheshangers while the other was a kid's crowdsurfing race that had a pair of young ones embarking on their first crowd surf while riding pool inflatables. When Bad Cop/Bad Cop took the stage, the crowd was amped up for some fast and catchy punk rock. There was much to celebrate, as it was Stacey Dee's birthday, and back to rocking out after recently recovering from surgery. They opened their set with " Retrograde" then continued to bounce between more tracks from Warriors and their 2020 release, The Ride. They made sure to fit in their latest single, "Shattered" before finishing off the set with "Womanarchist."

Tommy and June's set at the Nick Alexander stage was coming to an end not much later following Bad Cop/Bad Cop, so most people stuck around and waited for the festival's curator, Frank Turner. As the lights dimmed, the horn intro to "Eulogy" played over the house speakers and the crowd exploded. Frank walked out with his guitar followed by his backing band of Sleeping Souls, and the crowd sang along to every line that eventually led into the eruptious "Try This at Home." The amount of energy, excitement,  and positivity felt on the floor isn't something I've felt in a long time. Everyone was singing every word from the back of the venue, all the way up to those in front, including us in the photo pit. Frank kept to his word and kept it to the first four albums, but did mention "and other songs from the era" before jumping into "Nashville Tennessee" from his first EP, Campfire Punkrock.

Throughout the set, he told stories, including one about his grandmother "kicking nazis in the balls" as an introduction to "Peggy Sang the Blues." He teased drummer, Callum Green, for going to Disneyland at 7 in the morning before announcing these were his first shows in Anaheim. About midway through the set, the band left Frank to play by himself, however, he did get some assistance from Black Guy Fawkes on "Dan's Song" when he needed someone to perform the harmonica solo. Despite it being Fawkes' first harmonica solo, he nailed it.

The Sleeping Souls returned and they continued to run through songs over a decade old. Frank broke out "Sons of Liberty" from Poetry of the Deed, which he claims to have not played since Lost Evenings' third festival. He closed out the set with back-to-back favorites, "The Road" and "I Still Believe." When they all came back out, it was a Love Ire & Song-filled encore. First with "Jet Leg" which he mentioned was about a girl from Southern California, followed by "St. Christopher is Coming Home," and then finally closing out the night with "Photosynthesis." It was the perfect ending to a perfect night.

Although I only attended one night of the Lost Evenings Fest, I have no doubt all 4 days were a blast and I'm eager to attend another in the future. Unlike most fests, it works on a much smaller scale while still feeling like a big all-day event. Frank's managed to work his DIY ethic so deeply engrained in my head all those years ago into an event that feels large in practice but intimate in execution.

Be sure to check out our gallery from Lost Evenings Fest VI below.

Napalm Death

September 08, 2023 

Factory Theatre

Sydney, Australia

In the year 2023, the world had experienced its fair share of upheavals and changes. Yet, for one glorious night at Sydney’s Factory Theatre, time seemed to stand still as the pioneers of grindcore, Napalm Death, took the stage to unleash a relentless barrage of sonic fury. It was an event that transcended generations and reaffirmed the enduring power of extreme music.

As the venue filled with a diverse crowd, it was evident that Napalm Death's legacy stretched far beyond their beginnings in the '80s. Fans ranging from leather-clad punks to bespectacled metalheads and curious newcomers all gathered, unified by a shared anticipation for the sonic chaos about to be unleashed.

Last time I witnessed Napalm Death incarnate live must have been in the 1990s when they were a five piece band, so I was eager to see if they were still able to deliver the sonic thunderstorm I had grown to love them for more than a quarter of a century later. 

Turns out I should have not been worried as not unlike a lightning bolt from the abyss, Napalm Death exploded onto the stage. Barney Greenway, still an unstoppable force, unleashed his guttural growls with the same ferocity and gripping dedication that defined the band's earliest days.

The setlist was a testament to Napalm Death's enduring relevance. Classics like "Scum" and "Suffer the Children" sent shockwaves through the crowd, but the band also drew from their more recent material, showing they were far from resting on their laurels. Songs like "Cesspits" and "How the Years Condemn" displayed a modern edge while maintaining the unrelenting intensity that has defined Napalm Death unique melange of grindcore, crust punk, death metal and blast beats for decades.

The stage presence of the band was a sight to behold. Shane Embury's bass lines rumbled like an earthquake, Danny Herrera's drumming was a whirlwind of precision, and the guitar assault of John Cooke delivered punishing riffs and discordant harmonies. The mosh pit was a swirling vortex of chaos, yet it was evident that there was a sense of community among the fans, who looked out for each other amidst the controlled mayhem.

What made this performance truly remarkable was Napalm Death's unyielding dedication to their message. Between songs, Greenway addressed the audience with a fierce, thought-provoking intensity, speaking on issues ranging from social injustice to environmental destruction. It was a reminder that this band had always been about more than just music; they were a conduit for dissent and a rallying cry for change.

As the final notes of "You Suffer" rang out, Napalm Death left the stage, leaving a stunned and exhilarated audience in their wake. The night was a potent reminder that in a world constantly in flux, some things remain constant. Napalm Death, with their unwavering commitment to their craft and their message, continue to be a force of nature in the world of extreme music. Their performance in 2023 was not just a show; it was a declaration of sonic revolution and a testament to the enduring power of rage and resistance.

The fact that the title of the tour is a nod to the Dutch straight edge band Lärm, i.e. “Campaign for Musical Destruction”, only adds to the appeal.

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photos by T