The Who’s 2022 tour is named The Who Hits Back! Tour and while it’s unclear whom The Who is hitting back, they are hitting back in a big way. On this tour, the legendary band is sharing the stage with orchestras from the US and Canada something started with their last tour, Moving On!
The October 28 show at the Honda Center in Anaheim featured a full orchestra from the Southern California area and Pete Townshend said they had been rehearsing all day. For many bands, using an orchestra brings a collective, “Huh?” response, but when it comes to The Who, it’s more like, “Of course.” After all, this is the band that invented the Rock Opera. To be even more precise, it’s the genius of Pete Townshend that bought forth conceptualism to the rock world and it’s his music and lyrics that we celebrate all these years later.
The opening act was Mike Campbell & The Dirty Knobs. It was a fairly short, seven-song set, featuring four Tom Petty and the Heartbreakers songs. So if there was a Tom Petty-ish vibe, it makes total sense since Campbell was the Heartbreakers guitarist for 50 years and co-wrote those tunes. It’s great to see Campbell with the band he put together as a side project and not be the sideman. Everyone knows what a great guitar player he is, but after his run with Fleetwood Mac, it could be the moment for him to take center stage full time.
Now on to The Who. In their heyday, they were possibly the most powerful band on the planet. (Perhaps even past their heyday. (Google their Concert For New York performance.) It’s never taken much to make Townshend seem invigorated, but the backing of those talented musicians seemed to put him in a very playful mood. How playful? He entered the stage running with a thin red wrap/shawl/blanket draped around his shoulders. (He exited the same way.)
They started with a set of songs from Tommy: “Overture”, “1921”, “Amazing Journey”, “Sparks”, “Pinball Wizard”, and “We’re Not Gonna Take It”. Then they exploded into “Who Are You.” Things slowed down just a touch with "Eminence Front” and featured a strong vocal from Townshend. Then just to remind us that they are not just a classic rock act, “Ball and Chain” was played from their most recent album, WHO.
With that, the orchestra left the stage and The Who did a band-only set comprised of “You Better You Bet,” “The Seeker,” “Naked Eye,” “Another Tricky Day,”and Won’t Get Fooled Again. Everyone knows what’s expected from Won’t Get Fooled Again. It’s an anthem. It’s a call to action. It’s power chords on top of synths. And it could be the most taxing song for the almost 80-year old Roger Daltrey. As the synths swirl and the unmistakable drums built to a crescendo, you could almost feel the entire audience holding their collective breadth in anticipation of what was to come next. Daltrey delivered. His legendary scream/howl caused any member of the audience who hadn’t already been on their feet to deliver a standing ovation even before the song’s end.
Next was “Behind Blue Eyes” with Townshend on acoustic guitar and a few orchestra members. It was a beautiful take on the moving tune.
The full orchestra reappeared for a set of Quadrophenia tunes: “The Real Me,” “I’m One,” “5:15,” “The Rock,” and "Love, Reign O’er Me.” Townshend told the audience that the Quadrophenia songs were demanding for him. This is a good place to mention the sound issues that plagued the band the entire night with Daltrey constantly fiddling with his in-ear monitor. At certain points during the show, it seemed like his vocals dropped noticeably. A semi-irritated Townsend shouted out, “There’s an f-ing echo in this f-ing place!” During “5:15" as Daltrey was scat-singing and touching his in-ear monitor, Townshend came over and touched him on the shoulder in what almost seemed to be a gesture of “enough.” Pete then proceeded to rip into a screaming, scorching solo followed by a succession of windmills that led to thunderous applause.
When introducing the band members, Townshend kept up the comments about the echo with: “Zak Starkey on DRUMS, DRUMS, DRUMS, drums, drums, drums…” Starkey is the son of Ringo Starr and his connection to The Who is a strong one. Keith Moon was his godfather and and former Who drummer Kenny Jones helped teach him to play and even gifted him one of Moon’s drum kits. Starkey is just what The Who needs, combining the passion of Moon with the technical ability to keep everything from going off the rails.
Rounding out the band was Simon Townshend (Pete’s brother) on guitar and backing vocals, keyboardist Loren Gold, second keyboardist Emily Marshall, bassist Jon Button, drummer Zak Starkey and backing vocals by Billy Nicholls, along with orchestra conductor Keith Levenson, principal violinist Katie Jacoby and principal cellist Audrey Snyder.
The final song, (there wasn’t an encore) was “Baba O’Riley” at the end of which, Katie Jacoby took center stage for a showcase of her violin prowess.
At the end of the evening, Townshend said that he and Daltrey had been playing together for 60 years. He mentioned once again the weird sound things that had been going on, but he also said, “Roger has been singing so great these days.” There was a sweetness in his voice when he said it. Townshend and Daltrey are more than just bandmates. They are survivors. The quartet that was once The Who are now two. The band whose slogan was Maximum R&B is still delivering maximum music, just in a different form than in years past. Which makes them worth seeing every time they tour.
Headlining an explosive showcase at the Monarch Tavern in Toronto, the hot young punk band Militarie Gun was dripping their visceral energy all over the crowd in this exclusive engagement to launch their new album . Formed in 2020 in Los Angeles, Militarie Gun is re-defining the punk and hardcore world. Vocalist Ian Shelton instantly took command of the stage with a massive amount of swagger, encouring the crowd to match his angst filled rage. The band–whose lineup has expanded to include guitarists Nick Cogan and William Acuña, drummer Vince Nguyen, and bassist Max Epstein–draw on a wide range of influences to make something that sounds combative yet accessible, they dare you not to like them. They get right in your face with a “I dare you not to get sucked in” attitude, and there I was, getting sucked in. There is no easy box to try to fit these guys into. Their 12 Track deluxe edition of All Roads Lead to the Gun just dropped last week. It’s impossible to pin down the era, from track to track it vacillates from early Beastie Boys or Black Flag to almost channeling The Pixies on the title track “All Roads Lead to the Gun”. By the time the album gets to “I Can’t Stand Busy People”, it feels like a the Beatles vibe with a underlying rage. The aggressive guitar-work has hooks for days.
The setlist was a full showcase of the album, and included a few other tracks as well. Militarie Gun’s songs are instantly memorable, and familiar, there is a blending of familiar styles that makes you feel like you have heard all of their songs before but now they are filtered through a new lens giving them a different feeling. The new release features 4 additional songs not found on the EP. Both the set and the album were highlighted by the first song on the Album “Ain’t No Flowers” which they have also released a video for. “Don’t Pick Up the Phone” is another grinding track that has serious hooks and showcases Shelton’s vocal range. My only gripe about the album was that there wasn’t more of it. The longest song, “Disposable Plastic Trash”, tops out at 2:49 with “Background Kids” coming in at just 1:46, just as I was getting into the riff, the song was over. But that is the thing, the flame that burns twice as bright, burns half as long. And these guys are burning bright.
Full Setlist:
All Roads Lead to the Gun: Track List
Back in the before time. The long long ago. In the distance past of early 2020. Back when we were young and innocent and living life like nothing could hurt us. Concert tours were in full swing, and one that I was excited for was Aesthetic Perfection. Originally planned to kick off their tour in Los Angeles, CA on March 21st, 2020. I remember sitting in my room on March 19th watching as Daniel Graves live tweets during his flight into the United States. Worried about the lock down going into effect and being stuck in the Country. As soon as he landed, he bought a new plane ticket and flew back out of the country. While on that flight home, the United States went into lockdown, and all tours were cancelled. It’s been two and half years and I still vividly remember this day. But finally Aesthetic Perfection are back in the United States on a full national tour named the American Psycho Tour, with Josie Pace and genCAB in support.
The opening act on this tour is a new band going by the name genCAB. Short for GenerationCable, and fronted by singer and keyboardist David Dutton. He was formerly the keyboardist for Aesthetic Perfection when I first saw them. It was great to see David stepping out onto the front of the stage as he has so much charisma and stage presence. Backed by only the drummer CARV.R who was eye candy behind the kit. With flowing blonde hair and eye makeup that was so sharp it could cut you. CARV.R was bringing the energy to genCAB’s music with his drumming. Together these two are creating a powerful industrial sound that had people in the audience dancing and loving life. David’s showmanship was truly seen when the mic cable went out halfway through a song, and a roading had to change the mic and cable out. This didn’t stop David as he just continued to sing the lyrics straight at the audience without a mic. It’s that kind of resilience that show just how much of a true performer David is.
Up next was a performer that had the look of a punk rocker but mixed it with an industrial flair. Josie Pace stepped onto stage with a blood red leather jacket adorned with metal spikes all around it, a platinum blonde mohawk, and an attitude that said she owned the stage now. Starting off her set with “Hello, Who Am I?”, Josie was ready to get the crowd cheering. Backed by her music producer Ken Roberts on synth’s, Josie commanded the entire stage. Whether you knew who Josie was, or whether you were a fan of her music, she didn’t care. She performed right at the foot of the stage in faces of the crowd, making sure she enticed you to dance, groove, sing, or just move in the audience. No one was safe from her hypnotizing sound. Playing songs like “I’m Begging You,” “Even If It Kills Me,” “Storm and Stress,” “Future,” “Vicious,” “Brain-dead,” and closing with a cover of Placebo’s song “Pure Morning.” Josie Pace was there to make her presence known, and she made sure everybody in the Echoplex knew who she was.
Finally, after two and a half years, I was going to get to see Aesthetic Perfection again. This would be my fourth time seeing them, and the fourth iteration of the bands lineup I’ve seen. Fronted by Daniel Graves on vocals, who is single handedly making bucket hats goth. Adorning a custom Aesthetic Perfection basketball jersey. Daniel Graves is pushing the boundaries of what “dressing Goth” truly means, and still finding a way to make it stylish. Daniel danced and commanded the stage like no other. However, he’s packed Aesthetic Perfection with a duo of high-class showmen. On drums we have Joe Letz, who is a sight to behold. Not only does his flamboyant attire draw the eye of everyone in the crowd, but he is also one of the most charismatic drummers playing today. Pouring water on his drumheads, knocking over his kit throughout the show, walking to the front of the stage and making the audience hold his floor tom as he plays it. It’s hard not to be sucked into his performance alone. New member Constance Antionette is pulling triple duty playing guitar, keys, and bass throughout the set. With a personality that could only be described as gothic Harley Quinn. Playing songs from across their discography like “Gods & Gold,” “S E X,” “Rhythm + Control,” “Antibody,” “Spilling Blood,” “American Psycho,” “The Siren,” “Wickedness,” and ending their set with an encore performance of “Love Like Lies.” Aesthetic Perfection continue to be one of the most underrated live Industrial Pop bands performing.
Since my first time seeing Aesthetic Perfection in 2017, they have continued to change their line up with members coming and going. This is easily my favorite line up I’ve seen so far. Each member brings so much stage presence to an Aesthetic Perfection show, and candy to the eyes. Josie Pace really stood out as a shining light in the genre, and genCAB brought a power and darkness to synthpop that really spoke to the crowd. The American Psycho Tour has been a long time coming, and I am so happy to have finally seen it. The supporting bands that Aesthetic Perfection brought with them helped created a unified industrial/gothic night for all the misfits of LA to come out for.
It was 2015, the last time I saw Bring Me The Horizon. They had just released That’s The Spirit and they were touring for the album. It was when I really started to tune into what they were creating, and I was 100% there for it. While Sempiternal was great, it still didn’t fully catch my attention, but "Throne" did the moment it released with the album. I kept up with them and it only got better from there. The moment they started releasing singles for POST HUMAN: SURVIVAL HORROR, I was locked in and ready for more. On the announcement of the album tour, I saw it was with Grandson, Knocked Loose, and Siiickbrain and immediately knew I had to be there. The day arrived and we made our way to the The Pavilion at Toyota Music Factory. Unfortunately, we heard prior to the show that Knocked Loose was not able to be there due to their bus breaking down. It was a letdown, but I’ll be sure to catch them next time they are in the area.
First up was Siiickbrain, an artist I was in the presence of at So What! Music Festival but was not able to see. I was stoked to be able to witness the uniqueness they exude on stage. This being my first time, I went in with no expectations. I was excited to experience a new artist. She opened with "Overdrive" from her Ashtray for Your Agony EP and the show was off to the races. I really enjoyed the stage presence from her as she walked across the left and right in what I’d say was a very mysterious manner. In the 6-song set, we got all the bangers from Siiickbrain. It was an experience, that’s for sure, but I walked away intrigued and thinking I’ll see her again in the future. Having not released a debut album yet but singles and Eps, she sure has made an impact in the scene given the 700K monthly listeners on Spotify. 10/10.
Next up was Grandson, a guy I had seen 2 times before, who has literally taken the industry by storm. I always look forward to seeing him on stage because he does not keep the energy held in. You really get to feel it with him and everyone in the crowd. He started his set with “6:00” and immediately he was jumping all around. The crowd was getting wild at this point. I think Bring Me The Horizon did a good job picking their tour mates this go around as Grandson got the crowd incredibly hype for them. Grandson is the type of performer that doesn’t just give you the run of mill walk across stage – he is running non-stop back and forth to make sure the crowd doesn’t skip a beat. He went on to play "We Did It!!!", "Riptide’" and my personal favorite – "Blood // Water" to close out the set. There really isn’t anything much like a Grandson set and everyone should find their way to one of his shows one day soon.
Lastly, the songs we have been waiting for all night were about to be played by the legends themselves, Bring Me The Horizon. The crowd patiently waits as the house music plays and teases everyone as each come to an end but then the next starts. Without expecting it, the lights drop, and a screen comes on with an AI looking character setting the tone for the show. Something I had never seen before but I was there for it. The audio drops and you hear the beginning of "Can You Feel My Heart" start to play and the crowd goes nuts. The Toyota Pavilion was nearly shaking with the roar of the fans singing and chanting. The first three songs from the pit went extremely quick and then it was out to the crowd to enjoy the rest of the set.
The production was absolutely insane. There was so much light in the room, it didn’t even feel like it should have been a Bring Me show. The amount of success that they have seen in the last 2 years has skyrocketed them to a point where their time and resources could be put into putting on one of the best tour shows ever. Oli Sykes was so animated that it made for a fun experience watching him and every other member of the band on stage. The different levels of the set-up really gave it some depth and overall made the viewing experience that much better. The floor lights that illuminated up on everyone was certainly a cool effect and made for some dope photos. They went on to play new and old songs that were fan favorites like "Parasite Eve" that they released during the Covid lockdown. "DiE4u" was one that I didn’t even think about when I got there and it straight up blew me away - I was vibing. They closed out the show with "Throne" from That’s The Spirit and left everyone speechless (metaphorically because there wasn’t a single person not cheering in the room). It was a solid 7 year wait but I’m glad I got to witness them again. What a show.
Another unforgettable Hunnypot Halloween event!
Spin Magazine's Featured Artist DOLL MACHINE mesmerized the dance floor! We twisted to dueling back to back sets by Garage Rock/Surf Guitar legends THE TREMOLO BEER GUT (Denmark/Sweden) and THE BOSS MARTIANS (Seattle).
Co-host was our beloved industry icon THOMAS GOLUBIC´, who rewarded all us minions with his companionship and a Halloween inspired DJ Dance Set.
Spooky! Photos: J. Gray
THOMAS GOLUBIC´ is a four-time Emmy-nominated music supervisor, DJ and twice Grammy-nominated record producer. His music supervision credits include the AMC series Better Call Saul, Breaking Bad, Halt And Catch Fire, The Walking Dead, the Netflix series Grace and Frankie, Love, the Amazon series Sneaky Pete, the Showtime series Ray Donovan, and the HBO series Six Feet Under among many other film and television projects.
In 2017 Thomas became the president of the Guild of Music Supervisors, the same year he was nominated for the first Outstanding Music Supervisor Emmy Award for his work on Better Call Saul. He received subsequent nominations again in 2019 and 2020. The Guild twice awarded Thomas with Best Music Supervision in a Television Drama for his work on Breaking Bad. Thomas was twice nominated for Grammy awards for producing volumes 1 and 2 of the Six Feet Under soundtrack album, and with Gary Calamar was responsible for the use of Sia’s “Breathe Me."
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The Tremolo Beer Gut are from Denmark/Sweden and there touring the US west coast from Seattle to San Diego. A 98% instrumental garage rock/spy surf combo. 5 LPs and a bunch of 45's on the rap sheet. Low maintenance/High performance 4 piece
Formed in a different millennium by Yebo and Sune Wagner from The Raveonettes – later joined by Per Sunding from Eggstone and The Great Nalna (when Sune moved to the states) and Jengo.
Nalna and Yebo has also played with Jon Spencer and Matt Vert - Ray’s Heavy Trash combo, Yebo also with Junior Senior, PowerSolo and Thee Attacks.
All in all a well seasoned and very spicy combo with a lot of garage rock pedigree and a guaranteed hot live show at your party/show/mother’s house.
Fronted by guitar-smashing, soul singing, anthem-writing buzzbomb Evan Foster, Seattle's BOSS MARTIANS are thee Rock & Roll jet boys to look for in 2008! Got Songs?? HELL YES!! At least, that is, according to Rolling Stone's David Fricke who anointed them "rising stars" referencing their addictive hooks, killer tunes, and super-charged performance in 2004 in New York City at Little Steven's International Underground Garage Festival alongside The Strokes and Iggy Pop (among many others!) SPIN Magazine, quick to get aboard, said "The Boss Martians' irresistible 'I Am Your Radio' should make them stars…" regarding the Foster-penned Power Pop instant-anthem. Taking it all over the top at the concert that day was the introduction the Martians received from the "Boss" himself – Bruce Springsteen – to 20,000 people!
Martian History Lesson: Evan Foster (guitar, vocals) and NickC (keys) met as teenagers in Tacoma, WA and discovered a mutual obsession with Garage, Punk, Surf, and Power Pop – basically all things COOL. They both wanted to start a band and take over the world – enter The Boss Martians!! The Martians uniquely combine the primal energy of Punk with the raw, unmistakable sound and swagger of Northwest Garage Rock (think The Sonics!!), English blue-eyed soul (think Small Faces and The Who!!), and the pure pop sensibility of a young, sneering Elvis Costello. Rounding out the band's low end thump and drum-killing bump, respectively, are "Scary" Scott Myrene on bass guitar and the mysterious, Spokane-born, Thomas Caviezel on drums.
Genre-defying recording artist, composer and producer Doll Machine has been electrifying stages with her unique and culture-challenging performances.
With roots in electronic, hip hop, pop, jazz, and punk, doll machine brings forth a new level of artistic authenticity and self expression. She’s co-written with Grammy-nominated Telepopmusik, house legend DJ Robbie Rivera and is currently working on a collaboration with Grammy-winning artist, Really Doe. She’s also the co-founder and creative director of monthly Japantown residency Multi-Player.
Read Doll Machine's recent feature in SPIN Magazine, watch her Day In The Life video.
John Anderson aka DJ Hot Tub Johnnie has been spinning parties and throwing epic events for over 25 years. His DJ moniker "Hot Tub Johnnie" began with his infamous HUNNYPOT pool party events that began at Coachella, Sundance, and SXSW. When Hot Tub Johnnie is behind the decks, he delivers a crowd pleasing collection of party treasures, crossing many decades and genres across the board.
Fresh off dropping Fenix Flexin Vol. 2, Fenix Flexin and friends have been promoting the project with a 19-date Fenix Flexin Vol. 2 Tour. Cruising through the West Coast up to the Midwest and back out to the Pacific Northwest, the Fenix Flexin Vol. 2 Tour boasts the support of Lil Maru, MBNel & RE Da Chilliman. Rucci was a featured special guest for the homecoming show in Los Angeles as well. Fenix Flexin shows always appear to be a family affair with all the homies on stage with him, and this one was expected to be A1 considering it was in Los Angeles where it all started. When I heard he was playing in town, I knew I had to swing by The Novo to see Fenix Flexin before the tour heads out east for the remaining 16 dates. Let’s hop into my favorite points of the night.
As the crowd rolled in, each of the openers worked the crowd just a tad bit more than the previous act. By the time Rucci hit the stage, the energy at The Novo was top notch. The “Get The Strap” rapper single-handedly raised the vibe of the building from a laid-back rap show to a full blown party, setting the tone for the headliner to hit the stage. When the lights dimmed for Fenix Flexin, the audience responded by raising their cell phone flashlights to light up the venue. Rapping his breakout single “Fell In Love”, Fenix Flexin rushed out on stage and the audience absolutely lost it. The sea of lights made it a magical moment. Fenix rapped a full catalog of material spanning from old Shoreline Mafia bangers like “Musty” to the newer material like “Threat” and “1,2,3,4”. Special shout out to Fenix’s hype man: Yung Moody. He not only kept the energy up all night, but who also climbed the rafters and did a gnarly backflip down onto the stage. I’m sure security was not a fan, but the crowd completely ate it up.
To conclude, Fenix Flexin and the team brought the energy to this one. Obviously, with it being a bit of a homecoming of sorts, it was expected, but Fenix Flexin continues to exceed expectations with each show. The haters said he couldn’t branch out successfully into his solo lane, and those haters are being proved wrong time and time again. Catch Fenix Flexin on the Fenix Flexin Vol. 2 Tour if it’s coming near your city. It’s a show you are not tryin’ to miss.
I will be the first person to admit that when I was in High School, I was a music snob. If it didn’t come out over 15 years ago, then I did not care about it. I wouldn’t even give new music a chance because there was no way new music could be as good or better than what bands were doing two decades ago. Boy was I wrong! During my high school days was the peak of the emo phase and emo music. Bands like Panic! At the Disco, Fall Out Boy, Paramore, The Used, and the king of them all My Chemical Romance. I would not give any of them the time of day back then, and it wasn’t until I was in my late 20’s that I finally went through my “emo phase.” I was a late bloomer. My eyes and ears were finally opened to what amazing music these bands had created. When My Chemical Romance announced a five-night stay at the legendary Forum in Los Angeles, I knew I had to be there. I was fortunate enough to see night five when they brought two incredible bands: Midtown & Waterparks with them.
Due to the LA Rams game across the street, parking was an absolute shit show and not everyone was able to make it to the venue as early as they originally intended. None the less, Waterparks were ready to play for the fans that were able to get in. Waterparks is a pop punk band that I personally discovered during pandemic. So I was very excited to get to see them. Lead singer Awsten Knight has a vocal range that fits into the pop punk style perfectly. His tenor voice and stage charisma make it so you can barely take your eyes off of him as he runs across the stage. Guitarist Geoff Wigington is a riff master, as he creates such catchy melodies that all new Waterparks listeners will start moving as soon as they hear them. Drummer Otto Wood kept the grooves funky with his beats and rhythms. Playing songs like “Numb,” “FUNERAL GREY,” “Fuck About It,” “Real Super Dark,” and closing with “Turbulent.” Waterparks even took a moment to get the crowd to sing “Happy Birthday” to their manager Miles. Regardless of how many people were still having trouble outside with parking, Waterparks got the party started inside the Forum with a joyous performance that left me with a smile on my face.
Up next is a band that most people would probably say, “Woah! Midtown is still performing!” Well….kinda. These guys were around during that start of the emo scene in the early 2000s, but sadly disbanded in 2005. They were asked by MCR bassist Mikey if it were possible for them to get back together for just one more tour. Frontman Gabe Saporta said it should be possible, and the Midtown reunion was in full swing. Saporta’s smile on stage was infectious as the crowd danced with him throughout their set. Guitarists Tyler Rann and Heath Saraceno traded off leads and rhythms with such finesse, you could tell stage rust never affected them. Drummer Rob Hitt drove the beats from behind the kit with precision. Saporta commented that they were very honored to be asked to reform to tour with MCR and joked that most of the people in the crowd probably didn’t know who they were. They blasted into a cover of The Killers “When You Were Young,” just so the audience had something to sing a long to. Playing their early 2000s classics like “Become What you Hate,” “Like a Movie,” “Just Rock and Roll,” “Get it Together,” “No Place Feels Like Home,” “Empty Like the Ocean,” and closing with “Give it Up.” Which surprised me as I knew this song and found myself singing along to a band I didn’t know existed until this night.
January 29th, 2020. My Chemical Romance rock the music world by announcing a fall reunion tour, featuring two final days at the legendary Los Angeles Forum. Those tickets sold out so fast, the band decided to add three more days at the Forum to the end of their tour. March 11th, 2020 the world goes into a pandemic lock down and all concerts are cancelled/postponed. After that I lost track of how many times the My Chemical Romance tour was delayed and pushed back. It felt like this show may never come to be. The saviors of the broken had brought so much hope back to our sad emo lives, and this pandemic just kept crushing us. It wasn’t until October 11th, 12th, 14th, 15th, & 17th 2022 that My Chemical Romance was finally going to perform in Los Angeles, and I was going to be in the crowd for night five on the 17th!
Opening the night with their newest song “The Foundations of Decay,” lead singer Gerard Way came out wearing a long sleeve shirt with a skull on it looking like Sid from Toy Story with emo hair. As this was my first time seeing MCR, I was absolutely captivated by Way’s presence on stage. No matter where he ran, there was an energy that the audience is drawn into and can’t stop watching. Lead guitarist Ray Toro has a head of hair to rival Dave Mustaine and rocks it like a metal head while playing emo riffs. Rhythm guitarist Frank Lero pulls double duty by keeping Toro on track while he wails and fills the backing vocals of Gerard Ways screams. Bassist Mikey Way fills up the low end with bass grooves in time with drummer Jarrod Alexander.
My Chemical Romance made their stint at the Forum unique. They did not want to perform the same setlist each night, five nights in a row. They dedicated each night to a different album, which meant playing songs that they had not played live since the beginning of their career, as well as playing some songs live for the first time ever. Seeing as MCR only has four full length albums, and I was at night five. The question was, what was our set list going to consist of? Depending on who you ask, we may have gotten the best setlist of the run as we got the “Greatest Hits” show. Featuring songs like “I’m Not Okay (I Promise),” “Planetary (GO!),” “Teenagers,” “I Don’t Love You,” “Helena,” “Na Na Na (Na Na Na Na Na Na Na Na Na),” “Welcome to the Black Parade,” and “Famous Last Words.” We also got some unique live songs like “SING” which the band hadn’t performed live since 2012, and “Fake Your Death,” which was the first time MCR had ever performed the song live. Ending the night with “Vampires Will Never Hurt You,” the band was in perfect harmony together drawing out tears of joy from every member in the crowd.
My Chemical Romance broke up in 2013, and it left a huge gaping hole in every emo child’s heart. The desire to see them live again or for the first time seemed like a distant pipe dream. These reunion shows are something fans have been dreaming about and knew they would never be real. But sometimes the stars can align, and miracles can happen. This show took MCR fans through a roller coaster of emotions. From pure joy, to utter ecstasy, jumping with happiness while ugly crying, and in the end sadness that the show had to eventually end. The kings of the emo scene still know how to put on an amazing show that touches every person in the crowd. We hope this tour isn’t just a one-time thing, and that our saviors will be back one day.
United Kingdom artist Yellow Days, put on one hell of a show at the Masonic Lodge at Hollywood Forever this Wednesday. This exclusive concert felt unlike any I have had the privilege to shoot for. The psychedelic indie-pop performer, George van den Broek (Yellow Days) had a set full of surprises, breathtaking experimental graphics, and ballads old and new. The vibes were uncanny to say the least.
The venue, which sat in the center of a graveyard, set the ambiance for the night. The Masonic Lodge at Hollywood Forever was a location meant for a performer of Broek’s nature. It captured the essence of Yellow Day’s exploratory and quirky style, assisted by the Masonic setting of multiple chandeliers, otherworldly architecture, and cultish undertones. Yellow Day’s performed songs from his bigger hits (“A Gap in the Clouds” and “The Way Things Change”) as well as some unreleased tunes. Even as unrecognizable as these new songs were, that didn’t stop the passion in the crowd from fading. The unique energy of Broek’s work was realized wonderfully by the background of the trippy visuals. Which included work akin to his album covers unique style of experimental faceless designs this, paired with the sensational lighting setup felt as if we the audience were not only enjoying the music, but were quite literally inside it. Yellow Days and company were also backed by three separate guests: opener Laura Quinn, local LA key player - John Carroll Kirby, and long-time collaborator Ric Wilson. All of which brought their one-of-a-kind talents to the stage keeping the set exhilarating and refreshing. It would be criminal to not mention Wilson’s astounding stage presence and ability to rile the crowd. The different guests brought to stage, made the show feel as if it were more of a festival than a concert. It is clear that Yellow Days is passionate about supporting his fellow artists and sharing the spotlight.
Yellow Days is unlike most indie-artists. His name originates from his own synesthesia (the ability to perceive colors while listening to music) which in an interesting light, makes a strange amount of sense. All of his discography feels, in a word - distinct. The combination of Broek’s melancholic vocals with his dreamlike instrumentals creates this artist’s unparalleled sound, which prevailed even more uniquely in-person. As an avid listener I can tell you Broek’s synthstasia translates into his work and separates him from any other artist in the genre, evoking emotion that truly feels colorful and immersive.
From this show I gained some new, previously unfamiliar, favorites from Yellow days: “Getting Closer”, “You”, and “Your Hand Holding Mine”, which all contrast so much from one another but showcase the same compelling genre-bending sound. I could not advocate for Yellow Days more for those looking for a new addiction in the indie scene. It was a privilege to be able to shoot this show and hear Yellow Days in person, I have nothing but high hopes for the artist.
On a cool crisp fall Friday night, Kick the Cat came into town at the legendary Wonder Bar in Asbury Park, to turn up the heat, and man was it a scorcher! The crowd was completely blown away by the radical sounds of this jazz fusion quartet. Kris Myers, the drummer for Umphrey's Mcgee, formed Kick the Cat in the late 90's. Many in attendance including myself are huge Umphrey's fans, but have never seen or heard his side project, so we were highly anticipating what kind of insanity was coming our way. They walked on stage and within the first notes played we all knew we were about to witness something real special. My jaw dropped and I was in awe of the upbeat funky obscure jazz grooves, and the crowd couldn't stop dancing and rocking out.
Kick the Cat is Kris on drums, along with Vijay Tellis-Nayak on keys, Chris Siebold on guitar, and Chris Clemente on bass. These college roommates were making names for themselves in the Chicago area and began challenging each other, jamming to the others unique compositions, and the result was Kick the Cat. A few years later, Kris got offered the drummer position in Umphrey's and had to step away from the band. Since then all the rest of the guys became legends themselves in the Chicago music scene. They joined up with drummer Tom Hipskind and kept the band alive with Kris playing with Umphreys. Kris is now back with the guys again and released two albums in the past couple years, first was Gurgle and the most recent is Weirdo. I have been getting familiar with the band's tunes since I left the show in shock of the mind blowing music.
Local jam band phenoms Fungkshui got the party started. It's always a funky good time with these guys, they get better everytime I see them. I wrote a review of them a few months ago. They are gonna be next to make it big in the scene! After they warmed up the crowd, Kick the Cat took the stage. Chris Siebold's unique guitar raw guitar riffs and incendiary solos, along with Vijay's smooth touch on the keys, and Chris's thunderous funky bass lines all meld together with Kris's absolutely absurd drum prowess for an epic journey into the progressive jazz funk sound. They all bring their own bold style, and this being my first time checking them out or hearing any of their music I was flabbergasted. The crowd would go from dancing their asses off to straight up staring at the guys playing in disbelief of how incredibly tight and on point they are, especially not really playing many shows or touring together that much.
I am not all too familiar with the song titles but one tune stuck out to me and I had to find out the name when looking through their discology. It is called "Hope against Hope" off of Gurgle released in 2021. This song to me is a great representation of the band and for me was a stand out of the show. It is a musical journey into jazz funk fusion. It is a mixture of hard aggressive rock, with funky bass lines, Kris is all over it on the drums, and the disjointed jams weaving in and out of slow to hard is a masterpiece unto itself. The crowd went wild during Chris's guitar solo, and Vijay added an old organ sound in the mix. It truly was mind boggling to watch these guys.
All in all, Kick the Cat is back in action and they are on top of their game. If you like funky jazz progressive rock and roll, seeing these guys perform live is a must. Each one of them brings their unique style blending together for one rocking good time. Here is a link below to the bands website for you to find all the info you need to start your Kick the Cat journey. If you have the opportunity to catch them I highly recommend doing so, and be prepared to have your mind blown and dance your ass off. These guys are absolutely amazing!
To learn more about Kick the Cat, Click HERE
Royalty within the subgenre of indie- bedroom pop, performed at Anaheim’s House of Blues on Thursday; I am talking of course of the group Dayglow who was accompanied by an opener of a similar caliber, the artist known as Ritt Momney. The two bands performed for a sold out venue and gave the audience a unique look at their unparalleled styles. Ritt Momney, who joined Dayglow for their People in Motion Tour, brought their indie-rock energy and energized the crowd in preparation for Dayglow. By the time that main act joined the stage, the liveliness was extraordinary. Sloan Struble - front man for Dayglow, performed songs new and old, from the new People In Motion as well from the fan favorite, the career exploding and iconic Fuzzybrain.
Ritt Momney, didn't only warm up the crowd, he full on broiled us. Ritt Momney brought such an intense stamina to The House of Blues, in a discography that continued to ramp up and up and up. Jake Rutter (Ritt Momney himself), performed some of my personal favorites, “Not Around” and his very first song produced, “Young Adult '', giving a deeper glimpse into the passion behind Rutter’s personal attachment with his discography. His devotion to his music was noticeable, and for those unaware, Ritt Momney is coming from making music in his bedroom with his first album, Her and All of My Friends, which depicts his personal detachment with the Mormon culture as well as the relationships lost along the way. He has since released two full albums and an abundance of singles. I have no doubt that Ritt Momney will be headlining shows in the coming years. His performance concluded with one of his most infamous songs, the one and only, the tik tok famous, “Put Your Records On”. This song was the impeccable exclamation mark at the end of Ritt Momney’s setlist, fortifying the audience’s anticipation for the coming performance.
Dayglow has also come a long way from their infancy. From making music in his bedroom on Garage Band, Sloan Struble built his first album Fuzzybrain from the ground up in 2019. He now has three full LPs including the recent release of the brand-new People In Motion. On Thursday, Struble performed songs from a variety of their discography. To which all gave an extremely similar sound to the source material emphasizing the natural talent flowing from Stuble’s mind. My only caveat with his performance was the lack of physical movement within the performance, yet the skill Dayglow has mastered, to not only play an instrument but sing as well is not an easy feat. It is clear that Dayglow has a particular sound that is complex to recreate, and to be permitted to hear this novel fusion of psychedelic pop and blissful melodies was sincerely a dream come true.
When it comes to the indie genre, both performers are names to keep an eye on. They both have infamy within the genre and are only bound to go up from this point. I will be keeping a close eye on releases coming from both Dayglow and Ritt Momney in the foreseeable future and encourage everyone to do the same. Those looking for a new indie fix, I cannot recommend these performers more.