The Studio at The Factory in Dallas, Texas, was buzzing with anticipation as fans lined up outside, eagerly awaiting a night filled with electrifying performances for The Property Tour. Waterparks, the pop-punk sensation from Houston, was set to headline the show, with direct support from the dynamic indie rockers Hunny, and the talented singer-songwriter Sophie Powers opening the night. The atmosphere was charged with excitement, and the crowd was ready for an unforgettable musical experience.
Sophie Powers took the stage as the opening act, immediately captivating the audience with her soulful vocals and heartfelt lyrics. She effortlessly commanded the room, silencing the chatter and drawing everyone into her intimate world. Her songs were deeply personal and vulnerable, resonating with the crowd and leaving a lasting impression. Sophie's performance set the perfect tone for the night, leaving the audience hungry for more.
Hunny burst onto the stage, infusing the room with their infectious energy and vibrant sound. The California-based band wasted no time in igniting a frenzy, their catchy melodies and irresistible hooks driving the crowd into a frenzy of movement. Lead singer Jason Yarger's charismatic stage presence was magnetic, his powerful vocals reverberating through the venue. Tracks like "Vowels (And the Importance of Being Me)" and "Rebel Red" had the crowd singing along at the top of their lungs, their enthusiasm matched only by the band's infectious enthusiasm. Hunny left the stage amidst thunderous applause, leaving behind a palpable sense of euphoria.
Finally, the moment everyone had been eagerly awaiting arrived as Waterparks took over the stage. From the very first note, the trio commanded the room with their explosive energy and undeniable charisma. Awash in a sea of lights, they delivered a high-octane performance that had the crowd bouncing and moshing from start to finish. Lead vocalist and guitarist Awsten Knight's undeniable stage presence and powerful vocals were a force to be reckoned with, while Geoff Wigington's electrifying guitar solos left the audience in awe. The band effortlessly navigated through their discography, delivering fan favorites like "Royal" and "Turbulent," as well as newer tracks from their latest album. Each song was met with thunderous cheers and a surge of energy from the crowd, creating an electric atmosphere that crackled with excitement.
The Studio at The Factory proved to be the perfect setting for this unforgettable concert experience. The intimate venue allowed for a deep connection between the performers and the audience, making each moment feel personal and immersive. Waterparks, Hunny, and Sophie Powers showcased their remarkable talent, leaving the crowd with a night they would never forget. From the emotional vulnerability of Sophie Powers to the explosive energy of Waterparks, this concert was a testament to the power of live music and its ability to bring people together in a shared moment of pure bliss.
In support of their latest album, The Final Battle, popular Christian rockers Stryper stopped by the House of Blues San Diego to deliver their unique blend of heavy metal and inspiring messages of faith. Since it had been at least 30 years since my last Stryper show (yikes!), I was both excited and curious to see how the band’s current live show would compare to the energetic performances I witnessed back in the glory days of the late 80’s. At their peak of popularity, Stryper made a significant impact on the emerging Christian music scene, enjoyed heavy airplay on MTV, and achieved one platinum and two gold records. Knowing the band is still going strong 39 years since the release of their debut EP album The Yellow and Black Attack is simply awesome.
A positive vibe filled the House of Blues San Diego as band members, dressed in their familiar black and yellow attire, strolled on stage beaming with smiles and waving to the crowd to loud cheers. They kicked things off with the catchy mid-tempo banger “Sing Along Song”. As Michael Sweet sang that first melodic chorus followed by those tasty and amazing Stryper backing harmonies from guitarist Oz Fox and bassist Perry Richardson, it was quite clear these guys were on their game! The band was loud, tight, and the vocal harmonies were fantastic. Maybe most importantly, the band and the audience were having a blast.
Lead singer and guitarist Michael Sweet is an incredible talent; his voice is distinct and magical. He can still manage most of the high parts from songs he recorded well over 30 years ago – which is certainly not the case for most veteran metal singers from the 80’s! Sweet commands the stage with his energetic performance and fun interactions with the crowd. Drummer Robert Sweet, who with brother Michael founded the band 40 years ago in Orange County, California, kicked into beast mode with wild drums fills during the dramatic intro for “Loving You”. Robert still famously sets up his drum kit facing stage right to provide a more unimpeded view of the audience – and vice versa. I’m surprised more drummers don’t emulate Robert’s set up, as it allows the drummer to interact more with the crowd while the audience can enjoy more of what the drummer is doing behind the kit – flailing arms bashing toms and cymbals, legs furiously working the hi-hat and kick drum.
Recovered from brain surgery in 2021, it was good to see lead guitarist Oz Fox looking healthy, laughing and shredding like usual, plus his backing vocals are outstanding. Bassist Perry Richardson (FireHouse), joined the group 2017 and fits right in. You can’t miss Richardson on stage with his massive head of curly blonde glam hair. But his outstanding musicianship and excellent backing vocals help round out an impressive quartet hitting on all melodic metal cylinders.
The set list had a nice balance of songs from 10 different albums, mixing in huge hits like “To Hell With the Devil”, “Soldiers Under Command”, “Free”, “More Than a Man”, and “Calling on You”, solid deeper cuts like “Surrender”, and two tracks from the new album including the double-bass drum face melting “Transgressor”. Overall, Stryper put on an entertaining memorable high-energy performance with an uplifting message – proving once again why they have been so successful for nearly four decades. Despite the album name, The Final Battle, this is not a farewell tour by any means. Stryper is already making special plans to celebrate their 40th anniversary in 2024. Catch them on tour this year and keep an eye out for a special milestone anniversary tour next year!
Keep rockin’ and be well,
Greg Vitalich
We laughed, we cried, we cheered, and ultimately, we were left completely breathless by all the awesomeness that just unfolded before us! What an unforgettable ride as we count down to the 500th show with an incredible line-up for #488! Emmy award-winning composer David Schwartz co-hosted the night, bringing his quirky television-defining scores and songs to the stage. Vincent & Theo, the COVID project from Schwartz and musician Julian Coryell, and the Folk/Americana stylings of Single Girl, Married Girl were unmissable. Hunnypot favorites and rising rock stars Fencer tackled mental health stigma with their dynamic garage opera sound. The night closed with a short and sweet PRIDE-inspired dance party set by NEKEITH. From the exhilarating start to the epic finale, Hunnypot was filled with non-stop musical greatness and FUN, including an endless supply of thrills and chills!
#WhereMusicLoversGoToPlay
David Schwartz is an Emmy award-winning composer that has helped define quirky television on both sides of the 21st century. He struck comedy gold with the cult NBC comedy series Arrested Development with regular collaborator Mitchell Hurwitz, where—from the opening strains of his ukulele swing theme song—Schwartz contributed score and songs that were both funny and mock-serious, jumping from genre to genre and providing an essential (and Emmy-nominated) layer to the show’s eccentric charm.
Recently, David was tapped by Amy Poehler to compose the music for her documentary directorial debut, the Amazon feature, Lucy and Desi from which a lush, cinematic score was inspired and secured him an Emmy Award for Outstanding Music Composition for a Documentary. Schwartz also composed music for the NBC series, Rutherford Falls, starring Jesse Leigh and Ed Helms, now in its second season, the hit NBC comedy, The Good Place starring Kristen Bell and Ted Danson, the final season of the prestigious HBO series VEEP, starring Julia Louis Dreyfuss, and the Fox drama series, Almost Family, starring Brittany Snow.
After returning for the resurrected fourth season of Arrested Development on Netflix, David joined forces with Pam Brady & Hurwitz on the second season of the Netflix original series, Lady Dynamite, starring Maria Bamford and Better Late Than Never starring George Foreman and William Shatner. Schwartz’s dusty, fiddled main title theme song for the lauded HBO drama Deadwood invited audiences into the criminal world of the old west every week, and was recognized with an Emmy nomination.
Previously, his chameleonic music for the beloved, Emmy-winning CBS series Northern Exposure set the peculiar tone of the show for all six seasons, as both underscore and songs emitting from the on-screen jukebox. His theme song for the show was nominated for a Grammy. His film work includes Alex Gibney’s Sundance hit Gonzo: The Life & Work of Dr. Hunter S. Thompson. In addition to these iconic works, Schwartz has lent his unique voice to everything from Reaper to Benched to the Lennon-McCartney themed VH1 movie, Two of Us. His theme song for the CBS horror series Wolf Lake was nominated for an Emmy, and he was a composer for the comedy feature, Standing Up Falling Down starring Billy Crystal and Ben Schwartz.
Schwartz, who grew up in NY, has been playing music across genres for most of his life. He studied at the School of Visual Arts (NY), and Berklee College of Music, and during college he played bass in a wide variety of Orchestras, ensembles, and bands. He quickly began engineering and producing music—and his quirky, multi-instrumental, and song-oriented background prepared him perfectly for his first big composing assignment Northern Exposure. “When I’m composing for comedies, I never think, ‘Oh boy, ‘let’s make this funny music,’” explains Schwartz. “But I always try and make things fun.” He is just as excited about music now, as he was when he started playing in bands. He adds, “I come from a family of visual artists and when I discovered film/tv composing, it immediately felt like the right fit, where I could combine music with visual storytelling. I like to get inside the filmmaker’s head and figure out how to best support the emotions of the story with music.”
Vincent & Theo, the exciting collaboration between top television composer David Schwartz and singer/songwriter and noted guitar slinger Julian Coryell will released their first single and video, “Soul Smell” on all platforms.
“Soul Smell,” asks a rarely thought of question – what does your soul smell like? The single inspired video director Ian Schwartz to create a unique AI-assisted video of monkeys at a bar, in space, and in a cyberpunk landscape to accompany the song. The video can be seen here.
“Soul Smell” is the title track for the Soul Smell album set for release on June 2. This unique project resulted from a COVID file-sharing collaboration between these two Los Angeles musical fixtures, Emmy-winning TV composer David Schwartz and singer/songwriter and session/touring guitarist Julian Coryell (Alanis Morissette, Demi Lovato) recording as Vincent & Theo.
As Julian was the main lyricist on the project, he notes that his inspiration for “Soul Smell” was, “What does your soul smell like, is an existential way of asking, how are you doing? This is a recurring theme throughout the album, examining life’s perennial queries from a quirkier perspective.”
Unlike the instrumental and guitar-oriented work they are known for, Soul Smell is a jazzy alt-rap affair that recalls both the spoken word and lyrical grunge of the 90s – Soul Coughing, 311, Cake, but sans guitar, along with a healthy dose of William Burroughs, Tom Waits, and Leonard Cohen’s world-weary slices of life.
In just a few short months, they had 11 songs which they filled out with some of their favorite musicians: noted film and television singer/songwriter Lucy Schwartz (vocals, vocal arrangements), keyboard legend Larry Goldings (piano, synths), Death Cab for Cutie’s Zac Rae (keyboards, synths), and popular LA session drummer Jake Reed (drums, percussion).
L.A.-based pop/folk/Americana outfit Single Girl, Married Girl writes songs that are simultaneously beautiful and devastating with poetic, perceptive lyrics that astutely capture what it means to be human.
Steeped in a folk songwriting tradition that harkens back to Pete Seeger and Joan Baez mixed with modern songwriting elements in the style of Jenny Lewis and Brandi Carlile, Single Girl, Married Girl fearlessly tackles issues ranging from loss and drug addiction to insecurity and depression.
Their new album, Three Generations of Leaving, chronicles the trials and traumas of three generations of women from the same family - the matriarch, one of her daughters, and her estranged granddaughter. Upon release of Three Generations of Leaving in 2021, they received praise from No Depression, The Bluegrass Situation, American Songwriter and The New York Times...including a write up from Jon Pareles.
Recorded primarily in New York at Rift Studios with Grammy-nominated engineer Tom Gardner, who also serves as producer, the album features lush instrumentation, catchy melodies and sweeping musical arrangements that bring the songs’ poignant lyrics to life. Pierre de Reeder of Rilo Kiley tracked the main vocals and some of the instrumentation at his Los Angeles studio, 64 Sound, where renowned harpist Mary Lattimore contributed to the song “Scared to Move.”
Single Girl, Married Girl’s 2017 album Spark was an auspicious debut, but Chelsey Coy has evolved and come into her own as a songwriter on Three Generations of Leaving. As with many new bands, they struggled to gain notoriety early on, which they documented in the song “Starlight.” Ironically, the tune took off and received half-a-million streams on Spotify, breathing new life into their career.
Named for The Carter Family’s song of the same name, Single Girl, Married Girl has been confused for a dating site on occasion for obvious reasons, with people seeking love connections on the band’s Facebook page; something the band finds ironic, considering their own pursuit of an audience.
Three Generations of Leaving also features longtime band members Charlie Rauh on guitar, Oskar Haggdahl on drums, John Gray on upright bass, and Shannon Soderlund on backing vocals, with guests Thad DeBrock on pedal steel and baritone guitar, Mary Lattimore on harp, Philip Kronengold on piano/organ, Burt Levine on banjo, Callie Galvez on cello, and Haruka Horii on violin.
Fencer, the self-defined garage opera band, is leading a new era of rock music with their own undeniably, dynamic sound. The Los Angeles-based trio consists of vocalist and guitarist Field Cate, bassist Scott Sauve, and drummer Cameron Sauve. Only two years after their inception, they became fan-favorite openers for notable acts such as Badflower, The Wrecks, and Dead Poet Society.
Tackling the stigma surrounding mental health and its struggles, Field’s emotive and frenetic vulnerability resonates with listeners to further solidify the band’s electric presence. The trio have racked up an impressive 2 million listens across all streaming platforms, despite having not even released their debut album. Field’s synesthesia (seeing music in color), Scott’s vigorous bass-lines, and Cameron’s expertise in self-producing flow together to create an eccentric style that is certain to become rock’s newest novelty.
Nekeith is an American hip hop recording artist, songwriter, dancer and actor. She has performed on BET Freestyle Friday and was crowned as one of the top 10 finalists and was chosen to be part of the Lee Daniels Entertainment the Creative Workshop. Nekeith has performed in multiple venues to broaden her artistry and recently released her new album titled GLOW which is available now on all digital platforms! With over 250k Views and stream downloads, Nekeith is just getting started on her legacy!
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Life Is but a Dream, or is it really a Nightmare? You be the judge.
To be honest, I have not been a lifelong Avenged Sevenfold fan. I was introduced to them back in 2013 by my friend Tony who nothing but raved about the band, their unique sound and their impressive musicianship. Since then, I’ve really fallen in love with the band and their impressive catalog dating back to their Huntington Beach origins in 1999.
Life Is but a Dream is Avenged Sevenfold’ s 8th studio album and was recently released on June 2nd, 2023. I was exposed to the album’s initial single “Nobody” in mid-March and quite frankly was unimpressed after taking it for an initial spin. While it had many of the fundamental A7X features I would come to expect, it fell short of my initial expectations as a follow up to 2016’s The Stage. The follow up single, “We Love You” didn’t fare much better to be honest. I felt the track jumped all over the musical spectrum with roads leading seemingly to nowhere.
So when Life Is but a Dream was finally released on June 2nd, I wanted to give the entire album a fair an honest review, not influenced by mainstream publications who either loved it or hated it upon first listen. Driving to work, I dropped the needle on “Game Over” and honestly thought that it might just be that for Avenged Sevenfold. Continuing on cruise control through the instrumental, “Life Is but a Dream”, the album didn’t seem to get much better and instead got a lot more chaotic, confusing the Avenged traditionalist in me. After the initial once over, I asked myself, “What the heck are these guys thinking?”
So now what? Do I shit-can the album in its entirety or give it another run through, hoping to somehow find something positive in what initially I felt was 11-tracks of pure garbage? Well, I chose the latter, and after a few more uninterrupted spins, may have figured out (at least for me) what this album is really all about. What it is not is your traditional A7X release. To take it a step further, it’s not even a traditional rock or metal release. Instead, it came across to me as 53 minutes of a mind-altering dream that bounced around in my head like a ping-pong ball looking for a way to escape the madness from within.
For most, the challenge for Life Is but a Dream will be that there is no consistency to the album upon first listen. Fans will definitely hear the underpinnings of traditional Avenged Sevenfold throughout the album. However, it hops back and forth in a beautifully chaotic way across many genres that initially confuse but ultimately provide clarity when the dust finally settles. Yes, it takes some time to get there, but the journey is worth it if you take the time and open your mind just a little bit.
A few call out’s I’d be remiss not to mention after becoming fully immersed in Life Is but a Dream…
Bottom line, Avenged Sevenfold’ s Life Is but a Dream ended up being a dream come true for me by all accounts. For new and old fans alike, this new music is definitely a departure from the norm but a welcome one in a world filled with cookie cutter sounds that fail to inspire or engage. In order to get it, one has to have an open mind, a willingness to listen to new things, and have some patience in their process. Trust me, it all makes sense if you give it some time. The album may not be for everyone, but it ended up being an instant classic for me.
I’d give Life Is but a Dream 9 out of 10 stars and is 100% Hunnypot approved!
LA Natives G Perico & Rucci returned to Los Angeles on 5/27/2023 as they wind down their 2023 Hot Shot Tour. With only two dates left to go including this one, anticipation was high for the homecoming of these two LA hip hop kings. The Hot Shot Tour featured 24 dates spanning from Brooklyn, NY down out west to San Diego, CA. The Los Angeles show at The Fonda Theatre served as the second last show on the cross-country tour. I’ve had the pleasure of shooting Rucci last year when he shared the stage with Fenix Flexin, and I couldn’t pass on the opportunity to see both G Perico and Rucci in one show. Let’s hop into it.
Opening the night was Kevin Parx, King TWI, and Chief Major. Each of these artists and their teams rocked the stage straight through the night till it was time for Rucci and G Perico. I always say – opening a rap show is one of the hardest shows to open. The crowd needs to have some sort of familiarity with your music to be able to sing along, and if they can’t, you’re tasked with the job of bridging the gap, armed with only a microphone and determination. All three acts bridged the gap. Fans vibed with them, picked up catchy hooks along the way, and sang along. After Chief Major, Rucci burst on stage and the crowd erupted. Sure, the closer of the night may have been G Perico, but Rucci proved that he was carrying his own weight and then some. The Inglewood rapper brought a few homies out on stage as performance an eclectic set of hard-hitting bangers, melodic bangers, and introspective moments.
Last but certainly not least was G Perico. G Perico brought his signature West Coast hip-hop style, incorporating elements of old school gangsta rap and G-funk. He played a lot of bangers off the Hot Shot: Gangsta Grillz project with DJ Drama. Some of my personal highlights were when he played “Action”, “German Engineering”, and “Rap Life”. Front to back, G Perico shined through his energic performances and authenticity in his raps. A little over halfway through his set, Rucci made a big return and the two heavy hitters closed out the show together.
All in all, the Hot Shot 2023 Tour featuring Rucci & G Perico was a hit. Both artists absolutely killed it and left the fans eagerly wanting more. There’s only one more show on this tour but both artists got a lot more in the tank for later down the road. G Perico has been praised for his authentic and gritty storytelling, and this show was no exception. Check out G Perico when he’s in a city near you. You won’t regret it. Innerprize Clicc!
It’s been a tumultuous year for Michigan’s The Black Dahlia Murder. With the passing of Trevor Strnad last year, there were a lot of questions surrounding whether or not the band could either continue, or if they could, what would that look like? The announcement that the band would pivot founding member and rhythm guitarist Brian Eschbach to lead vocalist and bring back guitarist Ryan Knight was met with nearly universal approval, but there still lingered a tiny remnant of doubt - what would this incarnation look like, and how would they sound?
Well, the band’s been on tour for a month (just finishing their Verminous Remnant Tour up with a performance at the reincarnation of Milwaukee Metal Fest), and if their Friday night Minneapolis show at the Skyway Theater is indicative of anything, the answers to those questions are “the band hasn’t missed a step, and they sound absolutely incredible”. Eschbach and company hit the stage with a vitality and purpose that you seem to really only get at the start of tours, but even after a month long trek, this new version of The Black Dahlia Murder brought intensity and precision to their live sounds - no easy feat already given how demanding much of their material is.
The band hit the stage swathed in deep green, a cue to come of a melding of audiovisual design with their trademark saturated album covers. The ominous strums of the opening notes of the title track off of Verminous hit the crowd, and then pure chaos ensued. There is something so beautiful about watching a band that is perfectly in sync, and there really is no other way to describe the performance qualities of The Black Dahlia Murder. Twin guitarists Ryan Knight and Brandon Ellis trade solos while flipping their hair around like madmen, bassist Max Lavelle frequently joining the fun and creating a tornado of hair on stage as Eschbach roams the stage, hand raised in mad sermon, breathing life into the two decades of material the death metal stalwarts have to fall back on, all backed by the mechanical and oppressive drum work of Alan Cassidy. It is one seamless, effortless machine, and in the blink of an eye they had already swung through fan favorite "What A Horrible Night to Have a Curse" and a monstrous rendition of "Kings of the Nightworld", respectively painting the creaking old theater deep blue and violent red to match Nocturnal and Nightbringers’ designs.
From there, the band saw fit to touch almost every album of their back catalog (all save Everblack and Abysmal), giving the fans 3 songs off of Nocturnal (with a perfect rendition of "Deathmask Divine" to end the night), several off of Nightbringers, and even a few tracks off of their debut album Unhallowed to begin the close the night down. In short, it was a night of pure metal perfection - as is to be expected from them - silencing all questions and doubts even the most cynical of fans might have had about their continued tenure.
The Black Dahlia Murder closed the night with a touching nod to Trevor, a nod to every one of their fans and crew, and promised they would be back soon - and with new songs.
Toronto's History Auditorium got a double dose of European Power metal with Sweden’s Hammerfall and German legends Helloween coming into town for their first appearances in almost 4 years. Hammerfall’s 12 song set featured newer tracks like "Brotherhood" with classics such as "The Metal Age," they satisfied fans old and new. Led by vocalist Joacim Cans, the band's commanding stage presence resonated, while their skillful chemistry and tight performance impressed. With closing tracks "Hammer High" and "Hearts on Fire," they showcased their enduring legacy, solidifying them as go-to for an electrifying live experience.
Next up was Helloween, and they would end up taking fans on a journey through their iconic discography which showcased their vocal range, stage presence, and unwavering dedication to delivering an unforgettable live experience. The multi-tiered stage, featuring a giant Halloween Pumpkin Drum Riser, set the tone for a night of grandeur and spectacle. Lead singers Michael Kiske and Andreas Deris took full advantage of the various levels, utilizing them to engage the audience and create a dynamic visual experience.
Deris, in particular, proved to be a master showman, working the crowd into a frenzy during the performance of "Eagle Fly Free." With his commanding presence and infectious energy, he effortlessly led the audience in singing along with the iconic chorus, uniting the entire venue in a moment of pure heavy metal euphoria. Despite the passage of time, the band has not lost any of their magic, the trio of Vocalists really were impressive. One of the standout moments of the night was undoubtedly the performance of "Mass Pollution." As the guitarists gathered at center stage, their synchronized attack on the intricate guitar work sent shockwaves through the audience. It was a true testament to the band's skill and their commitment to delivering an authentic live experience.
"Future World" provided another captivating moment, with guitarists Kai Hansen, Sascha Gerstner, and Michael Weikath prowling the stage, showcasing their versatility, and ensuring that every corner of the venue felt their presence. The crowd was treated to a masterclass in heavy metal guitar playing, as the trio unleashed blistering solos and harmonies. As the set progressed, Helloween's intensity only grew stronger. "Power," off their 1996 album The Time of the Oath, exemplified the sheer concussive force of the band's rhythm section. Drummer Daniel "Dani" Löble and bassist Markus Grosskopf laid down a thunderous foundation, driving the song forward with relentless power.
The main set culminated with the thunderous "How Many Tears," leaving a lasting impact before the eagerly anticipated encore. Helloween proved once again why they are masters of their craft, leaving the audience hungry for more. For the encore, Helloween delivered the crowd-pleasing favorites "Perfect Gentleman" and "Keeper of the Seven Keys," sending the audience into a frenzy of headbanging and sing-alongs. The band's tight performance and unwavering energy level no doubt that they are still at the top of their game.
The Toyota Music Pavilion in Irving, Texas was abuzz with anticipation as fans gathered for Quinn XCII's highly anticipated The People's Tour. With A R I Z O N A set to perform as the direct support, and Julia Wolf slated as the opener, the stage was set for an unforgettable night of music. However, the evening took an unexpected turn when it was announced that Julia Wolf had lost her voice and would be unable to perform. Despite this setback, Quinn XCII and A R I Z O N A managed to deliver a memorable performance that left the crowd in awe.
As the venue filled with disappointed murmurs upon learning of Julia Wolf's absence, the stage was quickly rearranged to accommodate the revised lineup. Although the absence of the opening act was unfortunate, the night pressed on, and the atmosphere was charged with excitement as A R I Z O N A took to the stage.
A R I Z O N A wasted no time in captivating the audience with their signature blend of indie-pop and electronic sounds. Their energetic performance, coupled with stunning visuals and infectious beats, served as the perfect prelude to Quinn XCII's headlining set. Songs like "Oceans Away" and "Find Someone" resonated through the venue, as fans sang along and danced with unbridled enthusiasm. A R I Z O N A's electrifying stage presence and genuine connection with the crowd created an immersive experience that set the tone for an unforgettable night.
When Quinn XCII finally graced the stage, the energy in the Toyota Music Pavilion reached its peak. Opening with the infectious hit "Straightjacket," Quinn XCII immediately had the audience jumping and singing along. The seamless transition from A R I Z O N A's set only amplified the excitement in the air, as fans eagerly awaited the performance of their favorite tracks.
Quinn XCII's performance was nothing short of spectacular. His soulful vocals and dynamic stage presence had the crowd hanging on his every word. From the anthemic "Flare Guns" to the introspective "Always Been You," each song carried a powerful emotional weight that resonated deeply with the audience. The vibrant light show and engaging visuals further enhanced the concert experience, creating a multi-sensory journey that left an indelible impression.
Despite the unfortunate absence of Julia Wolf, Quinn XCII's The People's Tour delivered an exceptional night of music at the Toyota Music Pavilion. A R I Z O N A set the stage on fire with their infectious energy, while Quinn XCII's captivating performance left the crowd in awe. It was a testament to the power of live music and the ability of talented artists to create an unforgettable experience, even in the face of unexpected challenges. The combination of exceptional musicianship, heartfelt lyrics, and an enthusiastic crowd made for a truly memorable concert that won't be forgotten anytime soon.
On May 23rd, the Toyota Music Pavilion in Irving, Texas was buzzing with excitement as music lovers eagerly awaited Dermot Kennedy's The Sonder Tour. As the sun set and the stage lights illuminated the venue, the opening act, Mehro, took to the stage, setting the tone for an unforgettable night of music.
Mehro, a rising singer-songwriter, showcased his talent and captivated the audience with his soulful voice and heartfelt lyrics. With a blend of indie-pop and R&B influences, Mehro's performance was a perfect introduction to the evening. Songs like "Chance With You" and "Lightning" resonated with the crowd, drawing them closer to the stage and building anticipation for the main act.
As the stage transformed for Dermot Kennedy's performance, the atmosphere became electric. The Irish singer-songwriter emerged with his signature intensity and raw emotion, immediately commanding the attention of everyone present. Opening with the anthemic "Blossum," Kennedy's powerful vocals echoed through the venue, sending shivers down the spines of the audience.
Throughout the night, Dermot Kennedy's magnetic stage presence and heartfelt delivery took center stage. Songs like "Power Over Me" and "Better Days" elicited passionate sing-alongs, with the crowd hanging onto every word. Kennedy's ability to connect on an emotional level was evident as he shared personal stories and experiences behind his music, creating a genuine connection with his fans.
The concert was a visual spectacle as well, with mesmerizing lighting and a backdrop that complemented the emotions conveyed in Kennedy's music. The combination of soulful melodies, heartfelt lyrics, and the artist's charismatic presence made for a truly immersive experience. Kennedy's band, comprised of talented musicians, added depth and energy to the performance, elevating the songs to new heights.
One of the highlights of the evening came during the encore when Dermot Kennedy returned to the stage for a breathtaking solo rendition of "Something To Someone.” Stripped down to just his guitar and vocals, the song's poetic lyrics filled the venue, leaving a profound impact on everyone in attendance.
As the night drew to a close, it was evident that Dermot Kennedy's The Sonder Tour had left an indelible mark on the audience. The concert was a testament to his talent as a singer-songwriter and his ability to create an immersive and emotional live experience. It was an evening filled with passion, vulnerability, and the unifying power of music.
In conclusion, Dermot Kennedy's performance at the Toyota Music Pavilion was nothing short of extraordinary. Paired with the captivating opening act, Mehro, the concert showcased the incredible talent of both artists and left the audience in awe. It was an evening that will be remembered by fans for years to come, a night where the power of music truly came alive.
Music is such a universally traded commodity. Recommending music and trading CDs/Vinyls with friends to show them amazing artists that you have come across. In the modern era we now have Spotify to listen to everything on and handing your friend a physical copy of music is mostly long gone. Now when a friend tells you of a band that you need to listen to, some of us let that fall on depth ears because we don’t want to search for them. Yet, when our friends know they are recommending a band they know we’ll love, they will be persistent until we give it a chance. And we realized we have been sitting on this amazing artist. This exchange occurred to me with a band called The Damned. My friend has been recommending them for years, and I regret not looking them up sooner. But I knew when The Damned came to the House of Blues in Anaheim with The Dictators, I finally had to cave to my friend and go see them. And I am so glad I did.
Opening the night was a band more tenured than I had thought. The Dictators from New York I shortly learned have been bringing punk rock to the masses since the 70s. Recently getting back together in only the past couple years after a twelve year hiatus, I was ready to rock with them. Original members Ross “The Boss” Friedman on guitar, and Andy Shernoff on bass are the support beam that keeps this band rocking. Friedman brings some gritty guitar riffs and stand out solos to the crowd, while Shernoff plucks away on some powerful bass lines. Keith Roth has stepped in on vocals and rhythm guitar and brings a bit more clean harmonies to his lead vocals that still bring the ruckus sound The Dictators are known for. Stepping in on drums is a cowbell master, original Blue Oyster Cult drummer Albert Bouchard. Who lays into his kit with dynamics that bring tenacity and finesse. The Dictators played a solid set including songs like “New York, New York,” “Avenue A,” “Let’s Get the Band Back Together,” “Dominance and Submission,” “What Goes On,” “Pussy and Money,” “Faster and Louder,” and ending with “Stay With Me.” The Dictators are a legacy band that still knows how to get the crowd moving.
After a 30 minute set change, I was ready to see what The Damned were all about, and why my friend who not stop recommending them. Guitarist Captain Sensible walked on stage wearing a bright red beret and a red striped shirt. Not what you think of when you think punk band. But as the opening to their first song “Street of Dreams” built, you could feel the energy in the House of Blues building to a point ready to explode. Vocalist Dave Vanian stepped on stage with a slick black suit and fedora and a vibe that felt creepy and mysterious like Judge Doom from Who Framed Roger Rabbit. As Vanian’s baritone voice echoed through the venue, we were all drawn in deeper to The Damned’s sound. Keyboardist Monty Taylor wearing a skeleton head fitting suit, was the charismatic wild card of the band. Bassist Paul Gray knows how to drive a bassline and sync up with drummer Will Taylor to create a powerful low end that got the moshers to open the pit up! Now, I have been to the House of Blues many times, to see some of the heaviest bands in modern metal today. Those shows could not touch how big of a mosh pit The Damned opened up, as it nearly crossed the entire floor of the venue. The Damned played a set lasting an hour and forty five minutes, with 22 songs like “The Invisible Man,” “Bad Weather Girl,“ “You’re Gonna Realise,” “Beware the Clown,” “Wake the Dead,” “Motorcycle Man,” “Born to Kill,” “Love Song,” “Standing at the Edge of Tomorrow,” and “Neat Neat Neat.” We were also graced with not one, but two encored consisting of “Eloise” and “Smash it Up” for the first encore, and “Girl I’ll Stop at Nothing” and “New Rose” for the final encore.
Before heading into the final song, Captain Sensible made a comment that The Damned doesn’t get much media coverage, and that it is the fans that truly let them play these kinds of shows. For one of the original punk/goth bands from the UK, fans truly show up to The Damned shows with passion. Across the house of Blues fans came dressed in punk attire, classic gothic fashion, and rockabilly stylings. The mosh pit ebbed and flowed between people circle pitting and just flat out dancing. The love that people have for The Damned could be felt in energy of the room. I now see why my friend would not stop recommend this band to me. I must formerly apologize to The Damned for sitting on them for so long, as they should not be glossed