Summerfest, Last Day: Ducky and the Vintage, Ours and Bush

Stage: The US Cellular Stage(4/6) I would call this the best stage outside of the Marcus Amphitheater on the Summerfest grounds. A relatively clear sound system, beautiful lighting and a restricted number of people make for a much more enjoyable setting than the larger stages. However, it is also large enough to accommodate some of the more popular bands

Acts:
Ducky and the Vintage (3/6): Seeing on the fedora and vest, I expected a pretentious indie sound (witch is more prevalent in their recorded stuff) Instead it was something that more closely resembled alternative rock. Ducky and the Vintage had a lot of accidental noise in their instrumentation. I attribute this to their lack of coordination and utter lack of training on their instruments. Maybe I caught them on a bad day.
Don’t get me wrong; I don’t mind the lo-fi sound. I grew up on bands like Nirvana; I am quite acquainted with that style. Rather than the slurred, gravel of grunge, Ducky had muddy, sloppy vocals and imprecise guitar work. There was talent under there somewhere, but I feel that front man (dude) should either play or sing, not both. I have no doubt he could do either, but lacks the coordination to do both.

The set also had too many gaps in it, for an opening band that is a death sentence.


Ours (Flash warning!) (5/6): (shortened, as I was distracted during much of the performance)
Hello, dolly. Jimmy Gnecco has a young voice and a fresh face with stellar presence and confidence. I was shocked to learn this band had been around since the 90s as Gnecco looks so young. Carrying a distinctive voice and a confidant presence, it is no wonder Ours draws the number of fans it does. The instrumentation was polished and coordinated as well as being innovative.
Where they lose points is the lack of energy. While there was a lot of movement on stage they didn’t draw the crowd in particularly well.


Bush: (4/6)
Over this Summerfest, I have seen two genre defining legends—the foo fighters and bush. Front man Gavin Rossdale has wonderful presence and grace. His smile is infectious when it appears and utterly sincere. The show felt both intimate and expansive. With their deep roots in 90s grunge, Bush’s guitar work was art and the deep bass was palpable under the skin. While I can hear echoes of Nirvana in their earlier work, Bush has continued to be a powerhouse of post-grunge self-discovery. Rossdale also worked with the crowd like a true professional- constantly among the audience, playing directly to them, working with the crowd sings and gracious. I think that nearly losing his career really made him step up his game. It was an honor to hear them play.
Where I was most suppressed was that Bush is still talented a decade after their heyday. Rossdale has lost none of his talent, if anything age has made his voice more gravely lending itself further to the post grunge sound.

Chris Traynor and Rossdale had a surprisingly strong report considering that he is a newer member. They played together as though they were old friends.

Corey Britz’s bass work was magical and held together large portions of the set. Including a bass solo, not something that is common at all.

Their drummer was positively amazing and rounded out the pounding low end that makes grunge what it is.

I look forward to them making a comeback.

Summerfest day 4: Makeshift Prodogy and Art of Dying (Summefest Rock Stage)

Venue: The Summerfest Rock Stage (4/6):

I have discovered this tiny, far away from everything else stage is fast becoming my favorite stage. While many of the bigger bands come to the Miller Light Oasis, I have had repeated problems with that stage. This stage often has better acts, and doesn’t have the overcrowding problem the Oasis and Harley Davison stages have.

Show:

Makeshift Prodigy: (3/6)

Ouch.

Makeshift Prodigy is one of my pet bands from back home in Chicago (I tangentially know their manager) however they have never quite made the leap from being decent to being really good. I’ve struggled to figure out exactly what didn’t quite click for me. I loved their style, their amicable nature, the lyrics were wonderful, the presentation fun.

But the frontman consistently does a few things that make is performance not quite solid.

First, he sings just a little outside of his vocal range. Which can be fine, however he does not have the breath support to hit some of the higher notes he aims for. The result is breathy and will break his voice if he doesn’t learn to support it. The second thing is easily corrected. Part of Anthony Banagara’s charm is that he’s shy-natured it lends to the intimacy of a lot of his shows; however, he does not pull the audience in. There is no eye contact. This gives the impression of a child rocking out in his bedroom, rather than an actual performer.

However, the talent is there, and the stage antics are positively adorable-- Banagara spent a lot of his time making his upright piano his personal jungle gym (doing flips over it, climbing/standing on it) and was very bouncy. He has a good sense of how to use his honed skill on the keyboard and the addition of a bowed guitar was a very nice touch and he managed to pull it off well.

The backup vocalist/keyboardist/tambourine player(yes really), however, had presence in spades and charm to spare. He also had vocal talent, which was wonderful.

Overall, these guys have always had promise, but in the two years I’ve been following them they have yet to really gain momentum. Good luck to them.

Art of Dying (flash warning) (4/6 recorded, 5.5/6 live):

You have to get up pretty early in the morning to put on a good show before sunset at a festival, doubly so to nearly earn a 6 from me. These guys did both.

Art Of Dying is feel good arena rock with a positivity that is rare in rock and roll these days without going soft and hackneyed.

This is my third Art of Dying show and they have consistently improved their act. I feel like their album at this point does them a disservice. While it is a great album, it lacks the arena rock style and charisma that Art of Dying bring live. Jonny Heatherington has charisma and a knack with the crowd that I’ve not seen in a long time. Gracious, but not humble Heatherington gives a dynamic show and has the ability to get even a lazy crowd on its feet. He is also very good about actually disappearing from the stage to let his band mates have their big moments--Including a killer drum solo and an extent guitar solo

The guitarist is also a very talented and has a powerful dynamic with the front dude

However, there were too many set breaks for an opener. Often bands that are well known enough to be the last opener forgets that they are intact still openers. You only have one hour tops, do your thing fast.

Another thing that went a long way with me was how courteous and friendly the entire band was and what a  fun sense of humor Heatherington showed.

I look forward to meeting them again. 

Album Review: Matchstickmen -A Change in Season, EP—(5/6)

Matcstickmen came across my radar in the middle of Summerfest this year on a down day. Hailing from Liverpool this little band packs quite the kick while still sounding like the professionals they are.

It is a refreshing change to hear a baritone in alternative rock. While I am certainly not complaining about the recent trend toward tenors, Front man Lewis Wright’s vocals stand out a from the rest of what’s on the radio these days with depth and a gravelly yet melodic sound. Wright also enunciates clearly, which is an uncommon thing these days. Matchstick men also lend a sexy twist to their cover of Michael Jackson’s “Give in to Me.”

In addition to the delicious vocals, the guitar work has personality and matches the vocals nicely while still sounding distinctive.

There is a degree of polish to this album that a lot of young artists simply don’t have, I would definitely like to hear more from these guys.

As per request here is a link to their EP and site. Enjoy this, folks. It’s good stuff.
http://www.ourstage.com/epk/matchstickmen

Summerfest day 3: Your Vilain My Hero and Miniature Tigers

Venue: The Miler Light Oasis (Summerfest grounds, Milwaukee, WI)

I have had multiple bad experiences with this stage and sound balance.  It also has the unfortunately problem of having two large sponsored beer pavilions right in the stage area. It makes for a drunk, obnoxious crowd. Add that to a stage with distorted sound and more people than it should hold and it’s a recipe for disaster. Not all the shows I’ve been here have been horrible, but it is not my favorite stage.

The show:

Your Villain My Hero (2/6) (partial review, only saw half the set) this was not my night for music.  On the one hand, this band had a lot of personality and energy. On the other, the cultural dissonance in some of the covers they performed was borderline offensive.  (Hint to new bands: if you’re covering a band a) do not insert your name into the song b) do not use their accent. Especially not if they are a different race from you. It sounds racist) On the other hand they get points for style and energy.  Their sense of rhythm and vocal tone were beyond bad. It felt like they were trying to hard to be sexy and falling completely flat.

Miniature Tigers: (2/6 live, 4/6 on cd) I had to check three times to make sure I’d found the right band because the sound difference was so big between their stage show and their album.  On stage they are reminiscent of a bad beach boys cover band-- waver vocals with weak guitar work and minimal talent overall.  The instrumentation was simply bad and the vocals too quiet for the mics to pick up. However, credit for effort and for their senses of humor. They were continually trying to interact with the audience and managed to get a lot of people actually moving and enraged. NO small feet for an Indi. band. They were funny, happy, and fully aware that they were not the show people came to see.

On cd, they are very reminiscent of fun. Indi pop with a pretentious but still entertaining fare. Posh.

(I saw part of fun. too but I’m not reviewing them, as I saw only fragments. )

Album review: The Local Nobodies--EP

Album review: The Local Nobodies--EP

I am continually impressed by the rise of small, independent artists as well as the relevancy of the local artist in the modern music scene. However, as with any industry, the signal to noise ratio is exceptionally high.


So, when a young man approached me at the Lupe Fiasco show with three paper sleeved albums and an eager smile I was simultaneously intrigued and skeptical.

It was a pleasant surprise.

The young man in question was Frankie Flowers of The Local Nobodies A playful hip-hop group local to Milwaukee, WI. While it is very clear they are a young band, they had a surprising sense of musical composition and rhythm. With judicious use of sampling and some auto-tune (used correctly, I might add) these guys bring an ear catching sound that is unique without being completely out of touch with the genre. It is hip-hop that is not sexist, which is refreshing. Front man Frankie Flowers mange’s to avoid many of the pitfalls that young hip-hop and rap artist fall into. He has a precise sense of rhythm a pleasantly cocky attitude.

Where The Local Nobodies falls short is composition. The album has a lot of stylistic variety witch can be good in an established artist. However, it comes across as Inconsistent in a newer artist.

Conversely, within the songs things get a little repetitive. I found myself missing a bridge on a few tracks. I would recommend longer verses as well.

I hear a lot of radio potential in these guys. They are catchy without being annoying and their style stands out.

(4/6) 

Road Trip Show: Summerfest day1-2 (Milwaukee, WI)

Road trip show, Milwaukee, WI 

Summefest day 1: Lupé fiasco (not reviewed)

Venue: The Harley Davison Stage on the Summefest grounds. 

The reason Lupe Fiasco is going not reviewed is the same phenomenon that occurred last Summefest with Maroon 5.  The volume wasn’t adjusted right for the number of people at the show. I understand the dilemma of balancing popularity with respecting the other stages, however a simple sound check would have solved a lot of the problems.

But seriously, Summerfest, would it kill you to sound check? 


Summerfest day 2: The Foo Fighters and Silversun Pickups
Venue:

The Marcus Amphitheater (4/6): will always have a place in my heart as the crowning glory of the Summefest grounds where I spent a large chunk of my youth. All told she aged well, while the decade old sound system has all of the failings of an aging system-- Heavy bass and a week  mid-tone section—the  judicious use of screens and  the even distribution of speakers minimize the sound distortion making for a pleasurable experience even when you are well back (Due to miscommunications, I didn’t get tickets until later, which meant I was almost in the lawn).

The show:

Silversun Pickups (5/6): I’ve been itching to see Silversun Pickupsn live.  I am often skeptical of more ethereal vocal qualities translating to a live show.  The moment they started their set I realized I had nothing to fear.  Despite what it sounds like, Brian Aubert’s voice is not a falsetto. His speaking has a higher register and where his lower range sound is where he is modulating his voice. Live it is something to hear. Aubert is also incredibly articulate. Many bands don’t think to enunciate; with microphone distortion  this oftem makes the vocals sound slurred. There are few artists who cane clearly understood live, Silversun Pickups is one of them.

It was interesting to see a band that relies as heavily on the bass as Silversun Pickups does.  Even when it’s a band that has a front man who is the primary guitarist, most bands these days rely on lead guitar to propel the music forward.  In the case of Silversun Pickups, it feels as though Aubert acknowledged it is difficult to play and sing at the same time, but still enjoys doing lead guitar work, so the songs were composed  in such a way that the more intensive lead guitar work happens most when he is not singing. To accommodate this they have a phenomenal bassist who is talented enough to fill in where there isn’t a lead guitar.  To the casual listener, the sound is smooth and dynamic but doesn’t feel as chopped up as one that style risks being. 

Speaking of the bassist.  Nikki Monninger is a slip of a thing and soft spoken, and her body language is playful. (At one point during a particularly bouncy song she did what I can only call a hop step—like she was skipping in place) Her soft soprano voice serves to highlight Aubert’s already ethereal voice lending an otherworldly feel to their choruses.

And she plays a wicked bass.  

Then there’s the drum work, which is precise and technical without sounding over-rehearsed.

Overall these guys were killer on stage and a great show.

Foo Fighters (5/6): The Foo Fighters is one of the few bands I’ve seen live that  are not only still going after over twenty years but are still musically relevant (as opposed to the bands that are running off of nostalgia).  There  is something in how a band that seasoned comports themselves toward the crowd that you don’t see in even bands that are ten years old. There is a wonderful balance of both professionalism and well-deserved cockiness that comes with time.  David Grohl  is not only wonderfully talented and energetic, but  also  has a perfect report  with the fans. It feels as though he has learned to really gauge what the fans need and play to it.  Beyond simply being talented, Grohl has  both a strong presence and  the ability to share the spotlight.  Even after having been in the scene for as long as he has, he still took the time to introduce the  band as though they were new, encouraging them to show off their talents and praising them.  IN particular his dynamic with drummer Taylor Hawkins was both touching and entertaining. Hawlkins made the comment that the best thing about him was being best friends with David Grohl)

Aforementioned drummer is exceptionally talented in his own right, standing out in a six man group all of whom are exquisite musicians. 

It was also a real treat to hear some of their old songs (In addition to newer things),  I hadn’t heard “My Hero” in over  a decade and I’d be willing to wager I was not the only one in the crowd to share that sentiment.  There was something for every era of Foo Fighters fans.

A well done show.  It was a pleasure.

Linkin Park -Living Things-

 Linkin Park, Living Things (4/6):

 Living Things has not yet been released in the US.(Today is the theoretical release date, but I haven’t seen hide nor hair of it being sold) However, I found a streaming version off it on iTunes. Linkin Park has been one of my “guilty” pleasure bands since back in the days of Hybrid Theory (2000) Back then they were defiantly mediocre teenager music at its finest, angst ridden lyrics, lots of screaming and  while there is a place for that, they were very much a one trick pony Linkin Park has improved with each album and honed their sound dramatically over the years. They even expernemented with other styles within their subgenre.  Living Things has all of the anger and edge that their older albums had but has a sophistication that comes with a band working at their sound for over a decade.

Both the vocalists have stepped into their respective styles with a new confidence and conviction that is contagious. Rapper Mike Shinoda has particularly sharpened his skills. It is clear he has studied other rap artists and taken the parts of the style that work with his voice into his own work.

The addition of an electronic element really makes the album pop and throws in an extra layer of dynamic sound that proves both innovative and pointed. The band as a whole has improved their sense of rhythm and precision both in vocalization and in music itself.

Overall, this album is edgy and vicious without being petulant and melodramatic.  It speaks to really pushing forward in the face of adversity.  Linkin Park has grown up with the fans and it shows.

Single of the week: Husky "History's Door"

I get lulls sometimes, when music is scarce in my neck of the woods, or when I just plain old tap out. To prevent this, I present to you "Song of the week" I will review single songs, usually new once a week in addition to my usual stuff.

This week's single:

Husky "History's Door"(3/6):

 “History’s door” was neither particularly stellar nor particularly horrible. One of the things that prevented it from being a really good song was the over use of auto-tune. This is especially obnoxious in Indi music where there is a lot of melody auto tune can be used well to create ambiance and make certain words stand out, however more often than not, it is used to mask a mediocre voice or sound 'cool," which I find distasteful. Have the artistic courage to put your actual voice out there or really lay on the distortion. Go big or go home. 

In that vein, it was like Husky was trying to make a polished studio produced album sound lo- fi. Either go minimal production, or don’t,-don’t fake it. I found that pretentious and off-putting.

That being said, the guitar work stands out in places as very clear and uses some interesting tuning adding a little twang. It is clear the guitarist is good. The lyrics are decent as well and I wonder what the vocalist sounds like without the auto-tune.  It seems as though there is talent buried under all of the distortion.

It grew on me a little as I listened to it again.

In Praise of "Bad" Music: Nickelback w/ bush, Seether (not reviewed) and My Darkest Days(not reviewed) at the Allstate Arena in Rosemont, Il

Venue: Allstate Arena, Rosemont, IL-- (3/6) I’ve never been a big fan of arena shows, but sometimes my bands get popular enough to need them, which makes me happy for them. The Allstate Arena is one of the only really big arenas in the Chicagoland area and it’s really more of a sports arena than an arena meant for concerts. The audio system is basically just a PA system and as a result is flat, has lots of noise and is generally not the best system save for the fact that its loud. Its also one of the dirtier arenas I’ve seen and the concessions and merch are hard to access and shoddy. They are also highly disorganized.

The only real pluses are the pyro and the size. The Allstate Arena can comfortably fit 17,500 people and is laid out well enough that it’s pretty easy to see most places.

And the pyro, oh the pyro. I admit I am a sucker for good pyro. The Allstate has a great pyro and visual effects team, which, while not necessary, adds a certain flare to a rock show.

Speaking of which…

Bush (3.5/6): I came in part way through the set on this one, but my gods it was fun. I have to admit that a large chunk of what contributed to my enjoyment of the show was the nostalgia factor. I hadn’t heard anything new from bush in eleven years. I’d assumed they’d gone the way of many 90s grunge stars. They apparently have a new album, which from what little I’ve heard of it is much in keeping with their old stuff-- grunge with ragged, low fi guitar work and slurred vocals. As someone who grew up when it was in its heyday, I have a big soft spot for grunge. While the instrumentation is not thin to write home about, and Rosedale’s voice is not traditionally a good voice, I found they put on a good show and kept in sprit with their music. There is also something to be said when an artist who hasn’t been big in over a decade can walk into the crowd and still get mobbed. Rosedale owned what he wrote and preformed with a dignity that is not seen in a lot of faded stars.

I feel like this is how my parent’s generation feels when they see bands from the 60s on stage.

Nickelback: (4/6) This is my third Nickelback show, and it always feels like a gigantic party. I find that Nickelback reputation is undeserved. There are far worse artists. Sex, booze and rock and roll are the dominant themes of their music. (A friend of mine compared them justly to AC/DC) Crass, dirty, with a devil may care attitude; Chad Kroger knows how to throw a party. He knows his audience and while far from the emotionally intense leap-into-the-crowd style of many artists, he knows what to say to get the crowd cheering and singing along. He also has a wonderful dynamic with his band-mates. There were multiple occasions where I could see the laughter in guitarist Ryan
Peake's face when he and Kroger played off each other. It is a wonderful thing to see a band with a bond. With how cocky he can be, it is difficult to imagine Kroger deferring to anyone, except maybe to go get more alcohol. However, he was more than willing to let both his guitarists and his drummer have their spot in the limelight.

The think that impressed me at this particular show was that Nickleback has grown up as a band. While the days of carousing booze and sex songs are far from gone, there were a few songs that had a level of thoughtfulness that was distinctly lacking in previous work. I never in my life would have expected piano work to appear on a Nickleback album, let alone in an anti-suicide song. I’m pleased to see Nickelback keeping their swagger but adding a little more depth.

Overall, a great show.

Shinedown with The Art Of Dying at the House of Blues Chicago

Venue: House of Blues Chicago (5/6) I have personal bias toward the House of Blues. It was the first venue I ever patroned to of my own volition in Chicago. For a while it was the only one I went to, as I was scared of getting lost. It is my home venue. It is big enough to house a few thousand, but small enough that there isn’t a truly bad vantage point, save for behind one of the massive pillars that support the ornately painted celing. It’s a very clean venue with friendly staff and wonderful security. I often refer to their security as ninjas, nearly invisible unless there is a problem in which case suddenly you find yourself in close proximity with five burly gentlemen in bright yellow shirts.

I also find it a gorgeous venue peppered with unique art and statuary lining two layers of balcony seating along with the standing room floor.  The bathrooms are also some of the nicest I’ve seen in any venue. Which doesn’t mean anything about the other venues, but adds a certain degree of class to the House of Blues.

The Show:

Art of Dying: (4/6) This is the second time I’ve been pleasantly surprised by Art Of Dying. Their classic rock sound combined with upbeat, motivational lyrics make for a show that makes the listener feel like they are capable of anything.  Vocalist Jonny Hetherington worked the crowd surprisingly well and kept lively interaction going throughout the show. Greg Bradley’s style is precise and distinct without being over rehearsed. In fact, the overall sound of the band was very clear and had a great deal of personality. There was no mixing up Art of Dying’s sound with any other. Eighties aesthetic meshes with a more modern sensibility nicely in this little four man band. I found art of dying to be a great opener for Shinedown, as their sound complemented Shinedown’s well

Shinedown (5/6):

 Shinedown continually brings a powerhouse of emotional content ranging from the highflying “Amaryllis” to the cutthroat “Devour” and the quiet pain in  “45.”  Vocalist and lyricist Brent Smith gives all  of himself to his music and it shows. His energy matches his graciousness in its boundlessness.  He is wonderful to both his fans and his band mates; you can really see how much Smith understands that the band is a unit, not simply a vehicle for the front man.  It was especially fun to see his dynamic with guitarist Zach Myers. It is apparent that these two have been working together for a very long time and share a strong chemistry that is a rare treat in the rock world.

Myers is a showman in his own right.  With his clean-cut hair and pretty-boy face, Myer’s bold power scream vocals are quite a surprise. His guitar work is powerful and occasionally sassy. Myers also has an innate understanding of how to place himself on stage and, as mentioned above, has a wonderful dynamic with his band mates.

On the whole, Shinedown continues to bring a fierce, engaging show and a professionalism that a lot of artists simply lack.  I cannot wait to see them again. 

3000 Views!

Happy 3000 views to the Haven! I remember when seven views was a lot. I wish I could do something fun to thank you guys for the over three and a half years of support. 

Next up: 

Shinedown with The Art of Dying at the House of Blues Chicago. 

Road Trip Show: Coheed and Cambria with Moving Mountains and Pianos Become Teeth at The Canopy Club in Champaign, IL

Venue (3.5/6): The Canopy Club is my kind of venue. It’s small enough to be cozy but large enough to be a proper crowd. It is neither the nicest, nor the cleanest of venues, though it is far from disgusting. It has its own character and charm. The majority of the space is standing room, but it has a balcony for those who want to sit. The layout was comfortable with ample access to bars and merch.  The floor was also divided in such a way as to keep the pit crowd from running up against those who wanted to stand but not mosh.   This was my second time at The Canopy Club and both times I had a perfect line of sight to the stage. It was nice and intimate.

Where The Canopy Club loses points is the horrid sound system.  While it’s not the worst I’ve heard, it is very unforgiving especially on the vocals and produces a lot of noise.

Overall, it’s a fun venue with an intimate, comfortable feel.

The Show:

Opener, the First: Pianos Become Teeth (1/6)— Oh Gods. I think these guys  are the worst live act I’ve seen. The one point they earned is for the drummer who, despite his other band-mates' complete lack of talent, was actually decent.  I retract any statement I’ve made about screamo not needing talent to be decent.  This was noise.  The front man didn’t even have a strong scream and seemed to be either drunk or high out of his mind.  Being smashed isn’t a problem usually, however it impeded his already tenuous ability to preform. I spent the parts of the show wondering if he was going to simply stager and fall right over.  The screaming was just drunk screeching, not the guttural screams that make scream work.  And the back-up vocals were just as bad.  The guitar work was fair at best and the bass work was just wretched. Despite my usual desire to encourage younger bands I ended up actually falling asleep on my feet during this set.

I took a glance at their album work, as many younger bands don’t preform as well live as recorded.  It was better, however, it was still horrible.

Opener, the second: Moving Mountains (3/6)– In the wake of Pianos Become Teeth’s performance, all Moving Mountains had to do was show up and tune their instruments to be an improvement.  They had a very professional, yet still eager attitude toward performing.  All told they were solid. Front man[dude] has a good scream and still mange’s to make the melodies distinct. The one that surprised me was when their hither to subdued bassist let out an eagle-like scream.   They made a good effort to keep their sound solid and get the crowd moving.

All told decent.

Headliner: Coheed And Cambria. (5/6)– Coheed and Cambria is the band that set the bar in my book for top live show. From how articulate front man Claudio Sanchez is to the technically astonishing guitar work and brilliant stage presence, Coheed and Cambria brings a level of showmanship and talent not seen in many artists.  Sanchez has innate confidence but has a willingness to share the spotlight with his band mates and a young lady who I suspect is his wife. He also has a very strong relationship with the fans and knows exactly how to work with the crowd while not slacking off on performing.  In addition to his phenomenal vocal work Sanchez has a gift for guitar work.  The majority of artists I’ve seen who both play and do vocals stick to rhythm guitar as it is much simpler to do when sinning. Not so with Sanchez, he does a great deal of the lead guitar exquisitely.

Guitarist Travis Stever is a marvel in his own right.  He can do things with guitar work that I didn’t know were possible. He is amazingly talented and brings his own magic to the show. His backing vocals also complement Sanchez’s own tenor voice lending an ethereal quality to their overall sound.

Their energy and sound are always amazing to experience. A Coheed And Cambria show is unlike anything else I’ve seen.