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.
Hunnypot Live, a "live podcast" concert/party, attended by many music and entertainment industry professionals every other Monday at The Mint LA, in partnership with Jennifer Smith, a music supervisor (Rat Dance Party) and artist Alethea - aim for a night of raising awareness for women's healthcare rights. Featuring artists: Dream Tonic, German Briseño, Honest Family Outlaws, Coyote Eyes, and Alethea. Sponsored by Gritty in Pink, Motogirl Music and Rareform Audio. DONATE HERE! Photos by J. Gray, Audio Mastered by James Coffman.
Jennifer Smith is a Los Angeles-based music supervisor who has worked in the film / tv / media industry for over a decade. She started her career as part of the music teams for major network shows such as Dancing With The Stars (ABC), The Ellen Degeneres Show (WB), and America’s Best Dance Crew (MTV). Her love of music and the exploding media landscape guided her to join the Kobalt Music synchronization team to creatively pitch and clear music with networks, studios, music supervisors, production companies, and new media companies. Her time at Kobalt gave her extensive and broad experience in the synchronization world, dealing with all stakeholders in the creative and business process including record labels, songwriters, producers, musicians, managers, copyright, and marketing teams.
After seven years at Kobalt, Jennifer went back to her first love of content and storytelling and joined the music team on ABC’s American Idol.
After that show’s first ABC season, she was inspired in 2018 to launch her own music supervision company, “Rat Dance Party.” Rat Dance Party specializes in Film, TV (scripted and non-scripted), and new media (especially podcasts). With Rat Dance Party Jennifer has worked on projects produced by Showtime, Netflix, Paramount+, Viacom, Shorts TV, Amazon, Pluto TV, NBC, Voltage Pictures, Indican Productions, Gravitas, and many more.
Outside of music supervision, Jennifer has a passion for education and teaching. She is a faculty member in the Music Business program at the Los Angeles School of Music where she teaches music business and licensing as well as Music Supervision at LACM. Starting in the fall, she will be teaching Music Supervision at UCLA Extension. Besides education, advocacy work and volunteering is important for her. She volunteers at the Food Bank of Los Angeles, has helped planned fundraisers for Alliance San Diego (working with immigration rights), active with various Jewish organizations, as well as other organizations.
Jennifer is a Board of the Guild of Music Supervisors (GMS), a member of the Television Academy, Women In Film, Women In Media, Women In Music, and the Recording Academy, and The CCC.
German Briseño is a Producer, Multi-Instrumentalist, Singer-Songwriter from Mexico City based in LA. His styles range from rock, indie, pop, alternative to latin, world, and hip hop. Besides producing for himself and other artists, German also currently performs with the bands Vim Furor, El Conjunto Nueva Ola and El Primer Instinto.
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Alethea's got soul! Her haunting voice and powerful melodies linger with you long after the night has passed. Originally from the Oregon country-side and living in Germany, China as well as seven years in the New York City Rock Scene, Alethea has used her vast experiences to write songs with depth and heart. She organizes shows around different social justice themes and builds community wherever she goes. Compared to KT Tunstall, The Cranberries and an edgy-Sarah Barailles, Alethea's performances are both subtle and flashy. She combines elements of pop, rock, country, and soul. The HunnyPot Live will be her debut band performance in Los Angeles.
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Formed in the Spring of 2021, Honest Family Outlaws is a trap country family band from Tujunga, California. Veterans of the stage, studio and music business, each member brings their own unique personality and skill set to the table forming a super-group with great crossover multi genre potential.
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Coyote Eyes is the alter ego of New York bred, Los Angeles based multi-disciplinary artist Jo Eubanks, also known as Lily Graves. The classical singer turned goth pop powerhouse is known for her unusual, emotionally charged voice, as well as her razor-sharp lyrics and eerie hooks. Her music is, like her, equally tragic and seductive. She began training as a classical vocalist at age 11, and by 16 she was sparking label interest for “having the pain of a 30 year old woman trapped in a child’s body”.
In 2018, Eubanks debuted the Coyote Eyes project, and after a gut-wrenching performance at iHeart Radio Live Sessions, quickly became known as the “Sylvia Plath of the Lower East Side”.
She sites her greatest influences as 90s film composers like Nellee Hooper, Clint Mansell, Cliff Martinez, and Trent Reznor & Atticus Ross, as well as grunge artists such as Garbage, Nirvana, Bush, and The Cranberries, so in 2020 she retreated to her creative lab with producer to find a way to merge them. Out of this Lily Graves was born. This evocative new project, set to release fall 2022, is filled with lush strings, cinematic soundscapes, and haunting vocals sure to tug at your heart strings and send shivers down your spine. Coyote Eyes is also one half of WTCH, a cinematic pop duo with 4 time Grammy nom Molly Cherryholmes.
Dream Tonic (Kristin Allen-Farmer) is a singer, songwriter, multi-instrumentalist and music producer. In addition to performing and recording, she writes music for various mediums, with her latest tracks being featured in the new Star Wars Galactic Star Cruiser Adventure Hotel in Disney World as well as in the opening ceremonies at the Shambhala Music Festival. She pairs a lifetime of being a classically trained pianist with her love of electronic dance music. Ethereal vocals, warm pads and heavy subs and danceable beats infuse her music, taking the listener on a journey through trip-hop, house, dream-pop and heavy bass music.
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The Black Veil Brides are at it again and dropping a new release entitled The Mourning on October 21st. Following up 2021’s The Phantom Tomorrow, this four-song EP is small in stature but delivers a mind-blowing punch that rivals any of the incredible releases we have seen this year. Produced and mixed by Erik Ron, The Mourning highlights the uniqueness of BVB in a time where many within their genre are simply going through the motions, providing little substance or emotion on any cognitive level. If you are looking for your next fix of incredible metal prior to the end of 2022, The Mourning is just that. Let’s dig in.
As I dropped the needle on The Mourning, I quickly realized that this EP was going to be special. After a quick spin, I immediately found that all four songs the Black Veil Brides included on their release were sonically unique. Each on their own could be considered singles on any major release and were not just a collection of songs where average is acceptable and everything ends up sounding the same. Instead, “Devil”, “Savior 2”, “The Revival”, and “Better Angels” challenged the status quo with rich meaningful lyrics, heartfelt vocals, and out-of-this-world musicianship that is second to none. Make no mistake, these songs captured me (and that’s typically not easy to do).
Now all of that said, I must say that heading into this review I was not a huge Black Veil Brides fan. While Biersack and company have had some tracks I really loved in the past (“In The End” and “Fallen Angels” to name a few), the band as a whole never really piqued my interest as one that I’d follow more religiously. However, taking some time to research BVB along with a more in-depth review of these tracks may have changed my mind going forward. Black Veil Brides are actually a lot deeper than I thought, and it comes out loud and clear in ways I can't describe (but definitely can feel). Bottom line, The Mourning is a breath of fresh air across a stale musical landscape and an EP I would highly recommend checking out. It's a winner and 100% Hunnypot approved.
- Matthew Belter
Michael Schenker used to suffer from stage fright.
But you wouldn’t know it if you saw him and the Michael Schenker Group in action on October 1 at the Saban Theater in Beverly Hills. The guitar virtuoso is very comfortable on stage and in front of his adoring fans. In fact, he seems to revel in it. Most of the night he was sporting a huge smile, leaning in to the sea of cell phones and looking like there was no other place on earth he’d rather be.
Schenker and this version of the Michael Schenker Group were touring in support of his new album, Universal. But as the huge banner above the stage reminded the audience, it was also his 50th anniversary. Schenker joined the Scorpions as a teenager in the early 70’s, but rose to fame with his work with British rockers UFO. That culminated in what many feel is arguably the greatest live rock album, Strangers in the Night. Many also feel that inarguably every song on that live album is the definitive version. So you don’t go to a Michael Schenker concert to hear the songs like the studio version. You go to hear the songs just like "Strangers in the Night".
The set list was roughly half MSG material and half classic UFO. And because MSG is really a revolving door of musicians and singers and the newest album, Universal, was filled with guest players, no one really asks who’s touring with Schenker. It’s more like, “Did he play 'Lights Out'?” “Did he play ‘Rock Bottom’?” There was no doubt who the audience was there to see when more and more members of the audience gravitated towards Schenker’s side of the stage when the band launched into the UFO part of the set. If the theater had been a ship, it might have capsized.
As much as he now enjoys interacting with his audience, (He even took a camera out on stage, snapping pictures with his right hand while working the guitar fretboard with his left.) Schenker is a guitarist who takes his solos seriously. (One of the stories about his leaving UFO just as the band was about to become huge was he was unhappy with the live solo on the Strangers in the Night “Rock Bottom” solo. When told by the producer that he couldn’t change it, he walked away muttering, “Poor, poor, “Rock Bottom.” And just like that, Schenker was gone from UFO. He will crouch down low with his trademark Flying V in between his legs, usually close to his Marshall speakers and play the melodic, fluid, perfect solo that the fans expect and he demands of himself.
On this tour, Schenker chose to bring Ronnie Romero for vocals. Romero is a bit younger than previous singers Schenker has chosen and he brought a youthful, yet faithful, take to the classics. He also has enough stage presence to carve out his own place next to a guitar legend. The other three members of the band, Steve Mann, Guitar/Keyboards, Bodo Schopf, Drums and Barend Courbois, Bass are all veterans who know how to flat out rock.
Schenker has said he is on a mission to refine lead guitar. With 50 years under his belt and a work ethic that allows him to put out new material like Universal, his audience will walk away from any live show feeling that the mission is accomplished.
Say the name Eric Martin to anyone and the response will probably be, “Great voice.” So when Martin came out to do his set and it turned out to be acoustic, the audience got a bit of a treat. Because they got to hear that great voice really take the forefront during this set. Since he is billed as Eric Martin of Mr. Big, it made total sense that the set was comprised of Mr. Big classics like, “Daddy, Brother, Lover, Little Boy”, “Alive and Kickin’” and the mega-hit, “To Be With You”. Martin also played “Take Cover” which was dedicated to his fallen band mate in Mr. Big, drummer Pat Torpey. Martin’s band featured Paul Pesco on guitar, Jason Hartless on drums and P.J. Farley on bass.
Opening the evening was Images of Eden. They are a passionate band with a load of stage presence that belies their opening act status. Lead singer Gordon Tittsworth, Lead Guitar Carlos Uriquidi, Bassist Eric Mulvaine, Keyboardist Dean Harris, and Drummer Steve Dorssom have a brand new EP Weathered and Torn that was released just weeks before the show. It’s well worth a listen.
MICHAEL SCHENKER SET LIST
Alice Cooper is a bad ass.
He prowled the stage, snarling his songs, sneering in contempt of his audience. That same audience loved every single cane twirl, costume change, and of course, hit song that Cooper presented.
The 20-song set delivered the hits on a stage named Nightmare Castle that was everything one could expect from an Alice Cooper show. Giant castle, giant monsters, giant babies, giant production.
It must be mentioned here that longtime guitarist, Nita Strauss, had left the band and sticking with his three guitar attack, Cooper brought back Kane “Rambo” Roberts who played with Alice in the 80’s during what was considered his metal years. (This could be one of the reasons that songs like “Welcome to My Nightmare” and “Only Women Bleed” were missing in action, but that’s just a guess.)
That being said, the three guitarists are stellar. Along with Kane are Ryan Roxie and Tommy Henriksen. The rhythm section consisted of Chuck Garric on bass and Glen Sobel on drums. Alice made sure to let the audience know that Sobel was voted #1 Rock Drummer. (Cooper seemed very proud of his band, as he should be.)
A special mention for the woman who came out dancing during multiple songs and different costumes during the set. She’s Sheryl Cooper, a trained dancer and choreographer who is also Alice’s wife.
The night was filled with highlights and costume changes. Early sing-alongs like “No More Mr. Nice Guy” and “Hey Stoopid” started the audience participation early. Alice had the audience eating out of his black-gloved hands through the final song, “School’s Out” complete with confetti-filled balloons that got popped by the sword-wielding master of ceremonies. It’s fascinating how songs about death and mental illness along with visuals of monsters, straight jackets, and beheadings can make the concert experience life-affirming.
Alice Cooper puts every ounce of his being into his performance on stage. Which isn’t a surprise since the man once known as Vincent Furnier legally changed his name to Alice Cooper years ago. I won’t even mention his age since I feel he needs to remain ageless. And that’s just what this night was: A timeless performance by a master at his craft.
In simpler terms, Alice Cooper is a bad ass.
ALICE COOPER SET LIST
The Cult took over the Greek on a warm Sunday evening and left the raucous crowd either too tired to go in to work Monday morning or happy that they now work from home.
The band is touring to support the release of their 11th studio album, Under The Midnight Sun, which had only come out two days before the show. They played three cuts from the album, “A Cut Inside”, “Give Me Mercy” and “Mirror.” Those tunes fit in seamlessly, because even though The Cult has been genre-spanning, category-defying, and member-changing over the course of their career, one thing is for certain: If it’s Ian Astbury on vocals and Billy Duffy on guitar, The Cult is going to sound like The Cult.
Billy Duffy’s guitar rang out the entire evening, whether he was playing a Gibson or his trademark Gretsch White Falcon. He is a guitar hero, with sound, stance, and attitude that can’t be ignored.
And that’s just what’s needed to counter Ian Astbury. Part shaman, part dancing machine, all classic frontman, Astbury was in great voice on Sunday night. He mentioned many times how happy they were to be performing in “Los Angeleees” and the only thing that ever seemed to trouble him at certain points of the show were front aisle patrons that weren’t dancing enough. Astbury wanted the audience to move.
And honestly, it was hard not to. Whether it was shaking heads to Duffy’s riffs or swaying with Astbury, it was easy to see how The Cult had the audience in their hands. A special shout out here to the lighting. It was bright, well-timed and showcased the two Cult leaders as they should be: Rock stars.
As mentioned earlier, except for Astbury and Duffy, The Cult has had a revolving door of members. Currently with the band are Charlie Jones on bass, John Tempesta on drums, and Mike Mangan on Keyboards.
The Cult played hits like “Fire Woman”, “She Sells Sanctuary” and the finale, “Love Removal Machine” to perfection. They played the new stuff and integrated it seamlessly. This is The Cult’s first album and tour post-pandemic and they haven’t lost a step.
THE CULT SET LIST
Rise
Sun King
A Cut Inside
Sweet Soul Sister
Edie (Ciao Baby)
Give Me Mercy
Aphrodisiac Jacket
Wild Flower
Mirror
Fire Woman
Rain
She Sells Sanctuary
The Witch
Love Removal Machine
The indie-pop group Mickey Darling performed live in Santa Ana at the Observatory for a sold out show and a packed theater with one of the most intimate performances I’ve ever experienced. The group does not only genuinely care about their fans, but they made their show as personal as possible for as many fans as they could. This included a signing session as soon as the group arrived on stage, a pause to sing happy birthday to an audience member, and lead singer, Skyler Molina running through the entire theater for several songs. This group has a fanbase on the smaller side when in terms of the industry, coming in with about 400,000 monthly listeners on Spotify, but the way they cater to their fan base makes their cult-following a force to be reckoned with.
The show was opened by Luke Wild and company who brought the stamina of the Observatory to a new high. The flair of Wild’s performance was the perfect for getting the audience in a mind-set to behold Mickey Darling. Wild actively bounced and danced around the stage, also not afraid to interact with the audience. One thing that stood out to me in Wild’s performance was his ability to get the audience to join in songs they had likely never heard before. His stage presence was certainly evident in his ability to open the crowd up. Wild style is akin to Rex Orange County with a slightly more alternative edge. My personal favorite and a good entrance to Luke Wild’s discography is “Slow Motion” which depicts the struggle of questioning the health of a relationship. Similar to most of the indie pop scene, the themes of their music tend to revolve around the theme of love and coping within relationships. After about an hour of getting the audience amped, Luke Wild and company departed the stage. It was finally time for the main act - Mickey Darling.
Mickey Darling consists of only two members. Skyler Molina is the main creative force behind the group as well as lead vocals. He is accompanied by Austin Medrano who is in charge of the instrumental aspects of their bedroom-pop sound. Together they carry a powerful punch of emotion that transcends not just their incredible lyrics but sonically through their incomparable overall noise. This was simply indisputable after witnessing the immense spirit of the crowd on every single track. As stated previously, Mickey Darling loves their fans, but it is not just a one way street. It felt as if every single fan knew every single word, to every single song, the emotional connection the group makes with their listeners is unmistakable. The group played songs from their infancy as a group,( i.e. the “I’m just a Buzzkill”) to their most recent release (i.e. “SAY THAT YOU MISS ME”). Each performance seemed to outdo the next, and as more layers of clothing were stripped, the more intense the crowd became. Not only was the connection with the audience substantial, but their connection with one another was, in a word, - endearing. The two have such a clear passion for their art as well as a genuine respect and connection with one another.
Mickey Darling is a group I would be privileged to witness again live. I have no doubt that their following is bound to explode in the coming releases. As the band stated during their show, most of their listeners come simply through word of mouth and social media, as most fans are created nowadays. Yet, something about this group seems to resonate with their following more than the average fanbase. They have the personality and companionship to make it big in the industry, and after seeing how impassioned they make their patrons, I am an even bigger fan of their work. I encourage everyone to check this dynamic duo out. I suggest starting with their most popular song “Reverse Cowgirl” to get an idea of Mickey Darling’s aura and overall vibes.