Blog — Page 14 of 281

It finally happened. Better Lovers, the mash-up of ex-Every Time I Die and Greg Puciato from Dillinger Escape Plan and Killer Be Killed, have made their way to Southern California. In a room no bigger than a Starbucks, hoards of people filed in to thrash and have a good time. Every Time I Die and Dillinger always had a reputation for violent and crazy shows, so naturally, the expectations were high.

Opening the show was Entry from LA. I was introduced to them just a week prior when they opened for Converge. The vibe and crowd reaction was already different from the moment they kicked off their set. Moshers made themselves known as they slam-danced in the center of the floor.

Moments after Entry's set, some of those moshers took to the stage to set up. Enter Roman Candle. The screamo band hailing from Las Vegas stood up on the stage as Elvis' "Viva Las Vegas" blared through the house speakers until they kicked off the first song. Frontwoman, Piper Ferrari, commanded the stage and audience with her howls. This was my first time hearing Roman Candle and I was blown away. I look forward to seeing this band grow and develop.

It was finally time for Better Lovers. The lights went out and a montage of song clips with "love" in the lyrics began to play. The intro cycled through blips of tracks from "All You Need is Love" and "Love in an Elevator" to American Nightmare's "Love American" and even Adam Sandler's rendition of "Love Stinks" from The Wedding Singer. The intro ended with the opening of Queen's "Somebody to Love." Greg Puciato looked to the crowd, where a young girl sat upon her father's shoulders. He asked for assurance that her ear muffs were on tight and if she was ready to go. She threw a thumbs up and the band blasted into "Become So Small." The crowd exploded! Bodies began to fly to and from the stage.

The band continued to play through their 4-song debut EP, God Made Me an Animal, but four songs aren't exactly enough to fill a headlining spot. Fortunately, they came prepared with new tracks to fill the extra time. On top of their original material, they also threw in a cover of Soundgarden's "Rusty Cage." All parties involved delivered on the ferocity one would hope to witness seeing these artists perform. Will Putney and Steve Micciche never stopped whipping their hair back and forth while Buckley threw himself into the crowd. Puciato opted to jump feet first.

Better Lovers is the spiritual successor that fans of Every Time I Die and Dillinger Escape Plan will find easy to gravitate to. They're providing the energy that fans have been aching to release and it showed. Every ounce of intensity Better Lovers threw at the crowd, was given right back. That band has already made a name for itself and they're well on their way to forging their own path. Let's hope the road ahead is long. The ride will be a wild one.

Converge just got done with a run of shows down the West Coast. The hardcore legends were joined by King Yosef, Deaf Club, and Entry for most of the tour. Cult Leader filled in for the last few dates in So-Cal. The tour made its way through Pomona, and there was no way I was gonna miss it. Due to some van troubles, Deaf Club were unable to make it to this final show of the tour. Frontwoman, Sara G. stomped around the stage as the Hardcore-Punk act blasted through their set while Cult Leader mixed a little doom and gloom into their brand of Grindcore. With Deaf Club having to miss the show, Converge went on earlier than originally expected. The quartet chose to focus primarily on 2009's Axe to Fall, while throwing in tracks from All We Love We Leave Behind and The Dusk in Us, while also throwing in a few tracks from their classics Jane Doe and You Fail Me. The band was firing on all cylinders and are still one of the best to do it. Check out the gallery below.

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.