Venue (United Center): 4/6
I actually like this arena better than the Allstate it has a stronger sound system and is better coordinated. The set changes/set breaks were fast and nearly invisible. Though they need to adjust the base just a little, it overpowered vocals in a few places, especially on Jordin Sparks’ set. While I appreciate the full range of sound on the system, I didn’t need to hear the bass make sounds that more closely resemble a car hitting speed ribbing on the road. While it’s better than clipping out, it’s not a good sound.
The double-edged sword is that the United Center is almost twice as big as the Allstate. This makes some of the seating a little nerve-wracking. I did enjoy the fact that they had screens in addition to the stage work.
The Crowd (5/6): A very active, very expressive crowd, even during the second opener. (The first one was bad enough that it wasn’t going to get any crowd noise). It was also one of the loudest crowds I’ve ever been in. Seriously. Even taking into account the size, whenever the crowd was cued to sing or scream it was a wall of pure sound. It was crazy.
First Opener (Ashlyne Huff) (1/6): Wow. Just wow. Going to a pop show I expected a certain degree of prefabrication; it is the nature of pop to an extent.
There was no talent there whatsoever. None. The DJ was the only talent on the stage. To his credit he was trying very hard.
Just listening to the vocals was tolerable, bad, prefabricated pop, but ok to remix in a club.
Then there was the dancing. It was completely and utterly amateur and uncoordinated. They didn’t even coordinate the bow right. It looked like the dancers had been brought in unrehearsed for this tour, maybe even just for Chicago.
To her credit, she did seem earnestly into it and was trying hard, but honestly, I spent more time looking at my cell phone than at the stage. It was terrible.
Simply terrible.
Jordin Sparks (4/6): I was surprised how good she was live. She was engaging and very gracious. It was still a band to go to the bathroom during. She sounded like she’d had training, which was refreshing after our first opener. Very sweet, and talented. However, nothing really stuck out about her, good or bad. Just solid. Good voice, good legs, but she still needs to find her draw in a sea of similar woman-empowered female artists. Once she finds her ‘thing“ she’ll be fine, but I don’t think she’ll really take off.
Main act: Backstreet Boys/New Kids On the Block (5/6): A surprisingly fantastic show. I confess I was there mostly for nostalgia value. Most shows that combine two main acts are really more one band’s show than the other. They go on in a specific order, and that’s how it is. Not so with these bands. They alternated songs, and combined songs throughout the show constantly engaging the audience and each other.
There were many things than impressed me about both bands. First, was their ability to share the spotlight. This was especially true for the Backstreet Boys. Despite having two who are usually the most dominant voices, every member got their moment in the limelight, and it was smoothly done with the rest of the band still engaged.
New Kids on the Block had more of a set of people who were each separately in the limelight. Joey was particularly fun to see have his moment in the light, because when he was younger he was the top high end of the group, hitting notes that I assumed he could no longer hit as he’s no longer an adolescent. I was wrong. It had been about 21 years since I’d paid attention to The New Kids on the Block, so I didn’t recognize him until he did hit those notes. My jaw hit the floor.
Between the graciousness, toward each other both within the bands and between the two bands and the crowd interaction the show was already great. Add to that the fact that they enjoyed the music, and preformed beyond the choreography and orchestration. There was some improvising and a lot of fan engagement.
They did the mash up at the end. Both bands had their moments to shine (With ”Everybody (Backstreet’s back)“ for Backstreet Boys and "Hangin’ Tough” for New Kids on the Block.) Then they took two songs that already had so much energy and crowd engagement and they made a playfully competitive mash up out of them. It was amazing and so much fun. .
I would see either band again on their own, though Backstreet Boys more than New Kids on the Block.
June 19, 2011
May 18, 2011
Sick Puppies w/ Seven Day Sonnet at the Cubby Bear
The Venue: The Cubby Bear (3/6) I’d heard bad things about this venue so I came in expecting a disaster. It honestly wasn’t as bad as I anticipated though they defiantly could stand better mics. It was specifically the mics, not the amps as there was a lot of crackle and muffling to the speech. It was not much more than a bar with a stage. Nothing wrong with that, but It often leads to the venue doing neither well. It was also an odd size. It was smaller than even the 1000 person venues I’ve been to but not tiny enough to be a truly small venue. I didn’t really get to the bar or bathroom so no comments on those. The merch booth was set up in a very easy to get to place and there was surprisingly decent ventilation. It was disorganized from a time perspective, however. If the door is at seven I expect the show at eight at the latest, and the main act to go on at nine. The main act didn’t start until ten and there was a LOT of lag between sets.
The crowd (3/6): The crowd was too passive for what they were there for. This is your band’s first headlining tour. A band that was the first opener of four a year ago. I’ve seen what this band is capable of and, yes; Shimion Moor did manage to work his magic on them, but really? You do remember whom you’re here to see, don’t you? Show it.
First Opener: Seven Day Sonnet (3/6): It would be a lower score had it not been for the fact that I heard some of their recorded stuff. I feel like this band has many of the issues I see in many younger bands. They’re uncoordinated on stage and seem to be out there to have fun, which is fine, but they didn’t have the technical aspects down. Especially not the bassist. I was very close to the stage so I could see very clearly what was going on. At one point I looked up at the bassist was strumming, not picking, not slapping or popping, strumming. He was especially all over the place on stage. No precision to speak of and no real sense of give and take. The two guitarists were passable on a technical level, but at least didn’t draw attention to them over the lead consistently.
The lead was solid for his genre (Screamo is not known for its quality vocals) but if he’s going to make it his band needs to step up their game
Main Act: Sick Puppies (5/6) Always, a pleasure seeing this band. They are phenomenal with the crowd and very engaging. Shimon Moore is articulate, and knows how to balance talking with the music so that it feels personal, but doesn’t drag. They also have a stunning dynamic of give and take on stage that is magnificent. Emma Anzai (bass) and Shimon Moore (lead) have extent musical conversations on stage. Between his clear, velvety voice and her whisper soft lilt the vocals alone would be enough to make for an amazing show. Add to that Moor’s wonderfully precise guitar work and Emma’s masterful bass and you have one of the best shows ever.
I cannot say enough about Emma Anzai’s bass work, Every time I see her live I rave more. She is unlike any other bassist I’ve seen on stage. I would even go so far as to say, she is the best bassist I’ve ever seen. Full stop.
The other thing that continues to fascinate me is that this band is just three people, no synth, no sampling. Just instruments and vocals. And every one of them has near- unrivaled talent.
The crowd (3/6): The crowd was too passive for what they were there for. This is your band’s first headlining tour. A band that was the first opener of four a year ago. I’ve seen what this band is capable of and, yes; Shimion Moor did manage to work his magic on them, but really? You do remember whom you’re here to see, don’t you? Show it.
First Opener: Seven Day Sonnet (3/6): It would be a lower score had it not been for the fact that I heard some of their recorded stuff. I feel like this band has many of the issues I see in many younger bands. They’re uncoordinated on stage and seem to be out there to have fun, which is fine, but they didn’t have the technical aspects down. Especially not the bassist. I was very close to the stage so I could see very clearly what was going on. At one point I looked up at the bassist was strumming, not picking, not slapping or popping, strumming. He was especially all over the place on stage. No precision to speak of and no real sense of give and take. The two guitarists were passable on a technical level, but at least didn’t draw attention to them over the lead consistently.
The lead was solid for his genre (Screamo is not known for its quality vocals) but if he’s going to make it his band needs to step up their game
Main Act: Sick Puppies (5/6) Always, a pleasure seeing this band. They are phenomenal with the crowd and very engaging. Shimon Moore is articulate, and knows how to balance talking with the music so that it feels personal, but doesn’t drag. They also have a stunning dynamic of give and take on stage that is magnificent. Emma Anzai (bass) and Shimon Moore (lead) have extent musical conversations on stage. Between his clear, velvety voice and her whisper soft lilt the vocals alone would be enough to make for an amazing show. Add to that Moor’s wonderfully precise guitar work and Emma’s masterful bass and you have one of the best shows ever.
I cannot say enough about Emma Anzai’s bass work, Every time I see her live I rave more. She is unlike any other bassist I’ve seen on stage. I would even go so far as to say, she is the best bassist I’ve ever seen. Full stop.
The other thing that continues to fascinate me is that this band is just three people, no synth, no sampling. Just instruments and vocals. And every one of them has near- unrivaled talent.
May 11, 2011
Rammstein and Combichirst at the Allstate Arena in Rosemont
Venue: Allstate Arena, Rosemont, IL (4/6) I prefer the Allstate to the United Center. That being said, I’m not a fan of arenas, they’re too big and it puts a lot of distance between you and the artist. The energy is never very strong once it reaches the third tier.
The crowd (3/6): Something just wasn’t working in my section of the arena. The difficulty with such a big place is that it could have been a completely different experience elsewhere. But where I was there seemed to be this disconnect. I think part of it is a function of the language barrier. I sincerely doubt that many of the audience spoke any German (I don’t) and I think that makes connecting to the abundance a lot more difficult. It warmed back up significantly once Rammstin Played “Du Hast,” their biggest hit in the US. But the audience didn’t have the kind of energy I’d expect from such a vibrant show. I also think this was partly because they seemed to be paying more attention to recording the show than to enjoying it.
Opening act: Combichirst (4/6) I’m not really a big fan of Agrotech-- I find it tends to be shallow and repetitive as a genera. The sound is very cool, but I find the lyrics dull after a while. That being said, I found Combichirst to be an interesting act, very showy-- one of the drummers was playing with a pair of mourning stars. There weren’t very many instruments involved, but that’s partly the genera. The way the set was set up was also interesting as they had two percussionists and a synth. player set up to stay in sync roughly.
While I though the energy was very strong I don’t think the band itself has as much talent, it strikes me as the sort of music that teenagers listen to before they understand what industrial can really sound like. The front man was surprisingly articulate for a genre that favors grunts and screams over audible lyrics.
Having listened to them recorded and live now I find they are good lives but reordered they are quite off putting, they sound like Marylyn Manson’s kid brothers.
Main Act, Rammstein (3.5/6): Interesting show. Until last night I’d only heard about the kinds of things that go on at Rammstein show, including onstage simulated sodomy. I truthful was expecting ”worse“ than what I saw, but given that it was an all ages’ show I think they must have toned things down. The pyrotencics were unlike anything I’d ever seen. Most pyro heavy shows to see some explosions from the ceiling and floor, maybe the odd rocket, but nothing like this. People were set on fire both literally and figuratively by the theatrical, over the top style of the band. According to Wikipedia it’s partly to keep the fans engaged despite the language barrier.
While I felt there were some problems earlier in the show with the energy and connection to the audience I felt this tactic effective, because Rammstin is also a talented band within their genera. Industrial is not a genre known for its talent, so it is a very pleasant surprise to see a band that is articulate. Their precision wasn’t perfect on the guitar work, however I think that is partly the effect they were going for. The synthesizer work was very nice and the vocals were crystalline in their clarity.
The thing I missed was that the band was so caught up in the theatrical element, which is reason enough to see them perform, that there wasn’t a lot of effort put into working the crowd or connecting, there was too much reliance on the pyro. That being said an interesting thing happened.
The crowd was off, involved but something wasn’t quite catching until they played “Du Hast.” Suddenly there was a connection and the crowd woke like a sleeping giant. Most people knew something of the lyrics. I’m sure none of us knew exactly what we were saying but we knew the words. That seemed to be what both the band and the crowd needed to get themselves really moving.
That dissonance aside, the encore alone was worth the ticket price. I don’t think I’ll ever forget seeing “Engle” live. “Engle” is (if the translated lyrics are right) a song about not wanting to be an angel. Front man Till Lindemann appears in easily 10 foot long steel angle wings which shoot flames from their ends. It is phenomenal to see live. And that was just “Engle”. The show overall was gorgeous but could have used a little better energy.
The crowd (3/6): Something just wasn’t working in my section of the arena. The difficulty with such a big place is that it could have been a completely different experience elsewhere. But where I was there seemed to be this disconnect. I think part of it is a function of the language barrier. I sincerely doubt that many of the audience spoke any German (I don’t) and I think that makes connecting to the abundance a lot more difficult. It warmed back up significantly once Rammstin Played “Du Hast,” their biggest hit in the US. But the audience didn’t have the kind of energy I’d expect from such a vibrant show. I also think this was partly because they seemed to be paying more attention to recording the show than to enjoying it.
Opening act: Combichirst (4/6) I’m not really a big fan of Agrotech-- I find it tends to be shallow and repetitive as a genera. The sound is very cool, but I find the lyrics dull after a while. That being said, I found Combichirst to be an interesting act, very showy-- one of the drummers was playing with a pair of mourning stars. There weren’t very many instruments involved, but that’s partly the genera. The way the set was set up was also interesting as they had two percussionists and a synth. player set up to stay in sync roughly.
While I though the energy was very strong I don’t think the band itself has as much talent, it strikes me as the sort of music that teenagers listen to before they understand what industrial can really sound like. The front man was surprisingly articulate for a genre that favors grunts and screams over audible lyrics.
Having listened to them recorded and live now I find they are good lives but reordered they are quite off putting, they sound like Marylyn Manson’s kid brothers.
Main Act, Rammstein (3.5/6): Interesting show. Until last night I’d only heard about the kinds of things that go on at Rammstein show, including onstage simulated sodomy. I truthful was expecting ”worse“ than what I saw, but given that it was an all ages’ show I think they must have toned things down. The pyrotencics were unlike anything I’d ever seen. Most pyro heavy shows to see some explosions from the ceiling and floor, maybe the odd rocket, but nothing like this. People were set on fire both literally and figuratively by the theatrical, over the top style of the band. According to Wikipedia it’s partly to keep the fans engaged despite the language barrier.
While I felt there were some problems earlier in the show with the energy and connection to the audience I felt this tactic effective, because Rammstin is also a talented band within their genera. Industrial is not a genre known for its talent, so it is a very pleasant surprise to see a band that is articulate. Their precision wasn’t perfect on the guitar work, however I think that is partly the effect they were going for. The synthesizer work was very nice and the vocals were crystalline in their clarity.
The thing I missed was that the band was so caught up in the theatrical element, which is reason enough to see them perform, that there wasn’t a lot of effort put into working the crowd or connecting, there was too much reliance on the pyro. That being said an interesting thing happened.
The crowd was off, involved but something wasn’t quite catching until they played “Du Hast.” Suddenly there was a connection and the crowd woke like a sleeping giant. Most people knew something of the lyrics. I’m sure none of us knew exactly what we were saying but we knew the words. That seemed to be what both the band and the crowd needed to get themselves really moving.
That dissonance aside, the encore alone was worth the ticket price. I don’t think I’ll ever forget seeing “Engle” live. “Engle” is (if the translated lyrics are right) a song about not wanting to be an angel. Front man Till Lindemann appears in easily 10 foot long steel angle wings which shoot flames from their ends. It is phenomenal to see live. And that was just “Engle”. The show overall was gorgeous but could have used a little better energy.
May 1, 2011
Coheed and Cambria at House of Blues
Venue: House of Blues, Chicago (5/6): I’d been at The Aragon too much and forgotten that HOB had started me on concerts in Chicago back when I first moved here in ‘06. It was the first venue I went to by myself too. I have a deep affection for the place and after the Aragon I’d forgotten how nice it was to be able to see without going on tiptoe or jumping. It is a cozy little venue that I will always come back to and if you ask for a glass of water its free, h is rare.
The Crowd (5/6): The crowd was frenzy like I have rarely seen, even during the first half of the show, which was acoustic. I’ve been around Crowds don’t frenzy during acoustic numbers like this at any other show.
The Show Itself (6/6): The bar has risen for best concert I’ve ever been to. Period. This one blew all the others away. Initially, I was surprised there was no opener. Then the band came out with acoustic instruments, given that I knew the show was themed around their first album Second Stage Turbine Blade, I thought it might just be an acoustic show, which would have been a little disappointing but still breathtaking. They played for about forty five minutes and had a set break, then the electronics came out and they proceeded to rock out.
They were their own opener. Pure guts and brilliance.
I was very skeptical of Coheed and Cambria pulling off acoustic, I felt like something was going to be lost. I was thoroughly and utterly impressed with how precise and articulate Coheed and Cambria were with their instrumentation, especially, Claudio Sanchez’s guitar work. In most cases, if the front man plays the guitar they do rhythm guitar and have someone else handle the more complex lead. Not only did Sanchez manage to put on an amazing, clear voiced vocal performance, but also his guitar work was phenomenal and technically perfect. He was one of the few artists who I could clearly understand even during loud, rock numbers.
I’ve never seen a performance like it before.
And that was just Sanchez.
The rest of the band was incredible. Particularly, Travis Stever, the guitarist* had not only the talent to keep up with Sanchez’s guitar work but also match is insane range.
The acoustic set was haunting, reverent, and utterly beautiful.
By the set break I’d already figured out this was going to be unlike any other concert I’d ever seen. The second half was everything the first half was with an incredible burst of energy and power. Sanchez’s brilliant voice and off the hook dancing further augmented the explosive nature of the show. It had the energy, volume, and dynamic of a real rock show. No holds barred. This band is a force on stage like nothing else I’ve ever seen.
*Among other parts. It impressed me farther that every member of the band (except the drummer) plays no less than four instruments.
The Crowd (5/6): The crowd was frenzy like I have rarely seen, even during the first half of the show, which was acoustic. I’ve been around Crowds don’t frenzy during acoustic numbers like this at any other show.
The Show Itself (6/6): The bar has risen for best concert I’ve ever been to. Period. This one blew all the others away. Initially, I was surprised there was no opener. Then the band came out with acoustic instruments, given that I knew the show was themed around their first album Second Stage Turbine Blade, I thought it might just be an acoustic show, which would have been a little disappointing but still breathtaking. They played for about forty five minutes and had a set break, then the electronics came out and they proceeded to rock out.
They were their own opener. Pure guts and brilliance.
I was very skeptical of Coheed and Cambria pulling off acoustic, I felt like something was going to be lost. I was thoroughly and utterly impressed with how precise and articulate Coheed and Cambria were with their instrumentation, especially, Claudio Sanchez’s guitar work. In most cases, if the front man plays the guitar they do rhythm guitar and have someone else handle the more complex lead. Not only did Sanchez manage to put on an amazing, clear voiced vocal performance, but also his guitar work was phenomenal and technically perfect. He was one of the few artists who I could clearly understand even during loud, rock numbers.
I’ve never seen a performance like it before.
And that was just Sanchez.
The rest of the band was incredible. Particularly, Travis Stever, the guitarist* had not only the talent to keep up with Sanchez’s guitar work but also match is insane range.
The acoustic set was haunting, reverent, and utterly beautiful.
By the set break I’d already figured out this was going to be unlike any other concert I’d ever seen. The second half was everything the first half was with an incredible burst of energy and power. Sanchez’s brilliant voice and off the hook dancing further augmented the explosive nature of the show. It had the energy, volume, and dynamic of a real rock show. No holds barred. This band is a force on stage like nothing else I’ve ever seen.
*Among other parts. It impressed me farther that every member of the band (except the drummer) plays no less than four instruments.
April 16, 2011
My Chemical Romance with Neon Trees and the Architects.
Venue: See previous night’s review of the Aragon. It’s a good venue but desperately needs a few well-placed fans. The sound was better last night.
First Opener: The Architects (NR): Previously I’d seen both Neon Trees and The Architects and they weren’t that good. So I was at the merch booth for most of the set. However, when I went back inside I was pleasantly surprised by the quality of what I heard. They’re still basically 80’s revival (and say as much on their site) but the quality of sound improved dramatically
Second Opener: Neon Trees (4/6): Wow. I was blown away by how much this band has improved. I had to go back in the blog to make sure it was the same band. They went from being one of the worst live shows I’ve seen to being a solid show. Frontman Tyler Glenn both engaged the crowd and fellow band mate while singing surprisingly clearly. Neon Trees had solid sound and recognizable lyrics (I knew Animal from the radio). They are catchy enough to be contagious, but not a manufactured sound. Very good radio potential. Their sound was pop punk and fit the show very well. Too often I see bands that are decent but just don’t fit the sound of the evening. These people had the right feel and sound and were decently talented.
Main Act: My Chemical Romance (5/6): I’d heard that My Chemical Romance didn’t put on the best show live, so, I had my hopes set very low. I loved it. I think the people who didn’t like them live were expecting the wrong thing. My Chemical Romance is punk pop, not rock or mainstream pop. They are not a technical band, however, technical finesse is not something that pop punk is really known for. Punk, and particularly pop punk are meant to have scratchy vocals, rough guitar work and a lot of energy with good lyrics.
Is front man Gerard Way’s voice good? Not especially. But energy and lyrics Way has in spades. His dynamic with is his fans are wonderful and he is incredibly gracious. He is also very humble for someone who’s been performing to large audiences for the better part of 10 years.
My Chemical Romance has surprising depth and breadth of song style. Most pop-punk bands are one trick pony, with only the odd slower number. My Chemical Romance has a balance of slower numbers and traditional thrashy punk songs. They have an underlying energy that makes their sound sing and touch people. Particularly live I noticed “Cancer” was heart wrenching and hearing “I’m Not Okay (I Promise)” (the song that put My Chemical Romance on the map) live was a real treat.
I would go back to see them in a heartbeat. And I encourage others to do so as well, but don’t go expecting clear articulation or precision. Go expecting raw energy and you won’t be disappointed.
First Opener: The Architects (NR): Previously I’d seen both Neon Trees and The Architects and they weren’t that good. So I was at the merch booth for most of the set. However, when I went back inside I was pleasantly surprised by the quality of what I heard. They’re still basically 80’s revival (and say as much on their site) but the quality of sound improved dramatically
Second Opener: Neon Trees (4/6): Wow. I was blown away by how much this band has improved. I had to go back in the blog to make sure it was the same band. They went from being one of the worst live shows I’ve seen to being a solid show. Frontman Tyler Glenn both engaged the crowd and fellow band mate while singing surprisingly clearly. Neon Trees had solid sound and recognizable lyrics (I knew Animal from the radio). They are catchy enough to be contagious, but not a manufactured sound. Very good radio potential. Their sound was pop punk and fit the show very well. Too often I see bands that are decent but just don’t fit the sound of the evening. These people had the right feel and sound and were decently talented.
Main Act: My Chemical Romance (5/6): I’d heard that My Chemical Romance didn’t put on the best show live, so, I had my hopes set very low. I loved it. I think the people who didn’t like them live were expecting the wrong thing. My Chemical Romance is punk pop, not rock or mainstream pop. They are not a technical band, however, technical finesse is not something that pop punk is really known for. Punk, and particularly pop punk are meant to have scratchy vocals, rough guitar work and a lot of energy with good lyrics.
Is front man Gerard Way’s voice good? Not especially. But energy and lyrics Way has in spades. His dynamic with is his fans are wonderful and he is incredibly gracious. He is also very humble for someone who’s been performing to large audiences for the better part of 10 years.
My Chemical Romance has surprising depth and breadth of song style. Most pop-punk bands are one trick pony, with only the odd slower number. My Chemical Romance has a balance of slower numbers and traditional thrashy punk songs. They have an underlying energy that makes their sound sing and touch people. Particularly live I noticed “Cancer” was heart wrenching and hearing “I’m Not Okay (I Promise)” (the song that put My Chemical Romance on the map) live was a real treat.
I would go back to see them in a heartbeat. And I encourage others to do so as well, but don’t go expecting clear articulation or precision. Go expecting raw energy and you won’t be disappointed.
April 8, 2011
Three Days Grace with My Darkest Days.
Venue (Riviera Theater--3/6):
Many venues in Chicago are converted theaters or former ballrooms like the Aragon. The Riviera is a smaller such building; while the capacity isn’t listed on their site I’d estimate it’s close to 2000 people at most. The floor itself looked like it had three tiers, which is rare and very useful for people who are shorter. A faded glory, the ceiling was once ornate and now the paint is pealing and chipping. The fake marble is perhaps the most well maintained part of the paint job. It’s clear that the building was not meant to house a concert as the merch. booth and ticking were burred in a corner. I encountered a curious anomaly when I went for water; the price of water is different once you’re on the floor than when you’re at the outside bar. (1$ inside versus 4$ outside) I didn’t see the bathrooms, but I’d expect nothing pleasant.
The sound system was out of balance, like with many smaller venues, the system was bass heavy, and the vocals were not very clear. Unlike many other smaller venues, there wasn’t much compensation for it. One thing I did enjoy about this venue was the fact that they had a spot explicitly railed off for people in wheel chairs. Not every venue does this and I find it very nice.
The Opener (My Darkest Days--3/6):
I had low expectations for these guys and they were met. This band sounded like someone who would open for the opener for Nickelback. They were fun to listen to but, crude and redundant, overall not worth buying an album from. I could predict most of their lyrics (usually something about “light it up” or something about girls). My Darkest days also weren’t the most precise when it comes to the technical work on the instruments. However, there was potential for them to become a radio band, perhaps something on par with Filter. It was easy to sing along and dance to but I found they were trying a bit to hard. The guitarist had decent amounts of talent and could work the crowd better than the frontman. Overall they were decent, but not great.
The Main Act (Three Days Grace--5/6):
This is the second time I’ve seen Three Days Grace live and they have yet to disappoint. Front-man Adam Gontier may not have a perfect voice, but he brings a level of energy few bands these days put forth. A second performance gave me the opportunity to appreciate the rest of the band, especially after My Darkest Days. Hearing that level of clarity and precision was a treat. Gontier loves his fans and they love him back. He is also fearless, in both his original work and his covers. I hadn’t heard three days grace cover anything before so when Gontier came out with Eminem’s “Lose yourself”-- a song of a clearly different genre from his own-- it was gutsy and he managed to pull it off brilliantly. Especially paired with “Home” the song’s ferocity was amplified wonderfully. He then went on to cover Tom Petty’s “Free Fallin’” which was pleasantly strange. I’ve commented on Goiter’s incredible stage presence before but even when he wasn’t the focus, I felt my eyes drawn to him. The best part of this energy is that he hasn’t grown arrogant about it. He’s still just Adam, there to do a rock show.
Some of the rest of the band could show off last night too. Drummer, Keyboardist, and backup vocalist Neil Sanderson, put on a several minute long drum machine solo, followed by a several minute long standard drum solo. Both solos were absolutely through the roof. Given how powerful Gontier is I hadn’t truly appreciated their drummer until this show. It was amazing. I’m truly impressed.
I am also impressed with the fact that Gontier still does a lot of the guitar work. Most bands where the lead man is also a guitarist you only really hear the lead man doing guitar work on the albums because of how hard it is to do both at once and still really perform. Gontier did, and did so very well. I appreciate his dedication to both aspects of his craft.
Overall, I continue to find three days grace a dynamic force on stage and in their album work. Gontier hinted that they are working on yet another album and I cannot wait to see what these people do next.
Many venues in Chicago are converted theaters or former ballrooms like the Aragon. The Riviera is a smaller such building; while the capacity isn’t listed on their site I’d estimate it’s close to 2000 people at most. The floor itself looked like it had three tiers, which is rare and very useful for people who are shorter. A faded glory, the ceiling was once ornate and now the paint is pealing and chipping. The fake marble is perhaps the most well maintained part of the paint job. It’s clear that the building was not meant to house a concert as the merch. booth and ticking were burred in a corner. I encountered a curious anomaly when I went for water; the price of water is different once you’re on the floor than when you’re at the outside bar. (1$ inside versus 4$ outside) I didn’t see the bathrooms, but I’d expect nothing pleasant.
The sound system was out of balance, like with many smaller venues, the system was bass heavy, and the vocals were not very clear. Unlike many other smaller venues, there wasn’t much compensation for it. One thing I did enjoy about this venue was the fact that they had a spot explicitly railed off for people in wheel chairs. Not every venue does this and I find it very nice.
The Opener (My Darkest Days--3/6):
I had low expectations for these guys and they were met. This band sounded like someone who would open for the opener for Nickelback. They were fun to listen to but, crude and redundant, overall not worth buying an album from. I could predict most of their lyrics (usually something about “light it up” or something about girls). My Darkest days also weren’t the most precise when it comes to the technical work on the instruments. However, there was potential for them to become a radio band, perhaps something on par with Filter. It was easy to sing along and dance to but I found they were trying a bit to hard. The guitarist had decent amounts of talent and could work the crowd better than the frontman. Overall they were decent, but not great.
The Main Act (Three Days Grace--5/6):
This is the second time I’ve seen Three Days Grace live and they have yet to disappoint. Front-man Adam Gontier may not have a perfect voice, but he brings a level of energy few bands these days put forth. A second performance gave me the opportunity to appreciate the rest of the band, especially after My Darkest Days. Hearing that level of clarity and precision was a treat. Gontier loves his fans and they love him back. He is also fearless, in both his original work and his covers. I hadn’t heard three days grace cover anything before so when Gontier came out with Eminem’s “Lose yourself”-- a song of a clearly different genre from his own-- it was gutsy and he managed to pull it off brilliantly. Especially paired with “Home” the song’s ferocity was amplified wonderfully. He then went on to cover Tom Petty’s “Free Fallin’” which was pleasantly strange. I’ve commented on Goiter’s incredible stage presence before but even when he wasn’t the focus, I felt my eyes drawn to him. The best part of this energy is that he hasn’t grown arrogant about it. He’s still just Adam, there to do a rock show.
Some of the rest of the band could show off last night too. Drummer, Keyboardist, and backup vocalist Neil Sanderson, put on a several minute long drum machine solo, followed by a several minute long standard drum solo. Both solos were absolutely through the roof. Given how powerful Gontier is I hadn’t truly appreciated their drummer until this show. It was amazing. I’m truly impressed.
I am also impressed with the fact that Gontier still does a lot of the guitar work. Most bands where the lead man is also a guitarist you only really hear the lead man doing guitar work on the albums because of how hard it is to do both at once and still really perform. Gontier did, and did so very well. I appreciate his dedication to both aspects of his craft.
Overall, I continue to find three days grace a dynamic force on stage and in their album work. Gontier hinted that they are working on yet another album and I cannot wait to see what these people do next.
April 1, 2011
Album Review: Within Temptation, The Unforgiving
Within Temptation has set the bar very high with their previous albums (notably The Heart of Everything (2007)). This Dutch band considers themselves symphonic rock with various other influences. To most fans they are closer to the edge of symphonic metal with heavy fantasy metal influences, though they are a lot smoother than most metal. Front woman Shannon Del Adel has an operatic voice with a powerful range hitting notes that would make sopranos jealous and extends deep into the alto range.. Her voice is a force. I had the privilege of being introduced to the band via a live performance and I’ve not heard voices like that in American rock.
The Unforgiving took a little warming up as it has a more modern edge and sounds like the score to an action packed film. No surprise when you consider that it was inspired by a comic book. The band also incorporates a strong bass line that wasn’t present in pervious albums.
It starts off more like a traditional metal album and I confess I was a little disappointed, missing the symphonic sound and they’re above average emotional content.
A few tracks in came the song “Iron” which sounded like it should have had some rugged death grunts and scream work layered in with Del Adel’s voice. It didn’t but the guitar work was absolutely wonderful. A traditional metal song from a symphonic band that proved interesting and quite catching.
I noticed the male vocals were more prevalent on “Murder” which added a nice bottom to Del Adel’s voice resulting in a deeper, richer sound.
The layering that was common practice in their previous albums was subtler on The Unforgiving but still very much present and still brought the symphonic sound Within Temptation fans have come to expect and love. The addition of spoken word to these layers created an eerie magical feel.
Solid album over all. 4/5
The Unforgiving took a little warming up as it has a more modern edge and sounds like the score to an action packed film. No surprise when you consider that it was inspired by a comic book. The band also incorporates a strong bass line that wasn’t present in pervious albums.
It starts off more like a traditional metal album and I confess I was a little disappointed, missing the symphonic sound and they’re above average emotional content.
A few tracks in came the song “Iron” which sounded like it should have had some rugged death grunts and scream work layered in with Del Adel’s voice. It didn’t but the guitar work was absolutely wonderful. A traditional metal song from a symphonic band that proved interesting and quite catching.
I noticed the male vocals were more prevalent on “Murder” which added a nice bottom to Del Adel’s voice resulting in a deeper, richer sound.
The layering that was common practice in their previous albums was subtler on The Unforgiving but still very much present and still brought the symphonic sound Within Temptation fans have come to expect and love. The addition of spoken word to these layers created an eerie magical feel.
Solid album over all. 4/5
March 20, 2011
Album Review: Self titled by The Allegiance
This was another album that I got off the street at a comic book convention this time. I wasn’t even wearing my Sehnnhisers this time.
The Allegiance has a standard rock sound with some metal influence. The instrumentation is solid, but has a prefabricated, simplistic sound. The overall sound improves on a second listen, but it does not catch and would not stand out among the rest of my collection as anything more than good background music.
Similarly, the vocals are only average, neither attracting nor deterring the ear. Front man, Ben “shanks”(sic. They gave themselves nicknames) has a tendency to be inarticulate and cannot seem to make up his mind if he wants to be a metal front man or a rock front man. Either way the he would do well to articulate more and hone his vocal skills.
The lyrics are on the generic side, however they are pretty consistent with a band this green.
The bass work is solid, noting special, but nothing horrid either.
I could hear this band at a festival as somewhere around the 4pm slot, or perhaps as an early opener for a large rock show.
(2.5/5)
March 15, 2011
30 Seconds To Mars with Anberlin and CB7(unreivewed)
Venue: The Aragon Ballroom (4/6): The Aragon is one of my usual haunts. It’s a gorgeous venue with an ornately painted ceiling and ornately decorated balconies reminiscent of Spanish architecture, every time I visit the Aragon I notice another little detail in the painting or in the way the balconies are decorated. It is also one of the largest small venues in the area. Most hold about one thousand people, but the Aragon’s capacity is four thousand. It feels crowed even when it’s not that crowed thanks to how disorganized the place is. It is obvious the Aragon was not meant to be a concert venue. First, there is absolutely no ventilation on the floor. I’m not exaggerating. It feels like being outside on a humid day surrounded by people who are packed close together. It is hard to breathe on the floor itself, more so than even being on the floor in an arena. The “bars,” if they can be called that, more closely resemble kiosks at outdoor venues than true bars.
The sound system was particularly out of balance this time, but frankly it’s never been stellar. Everything comes out at the same volume, which often results in the vocals being drowned out.
The Crowd (3.5/6): I should throw in a caveat here; I’m comparing this crowd not to a normal crowd but to a normal Escalon (30 Seconds to Mars’ fan base) Crowd. They are normally quite a wild crowd. Not the case last night. However, part of that I don’t blame the crowd itself for (see below)
The first opener: CB7: I only truly heard one song of so I’m not really going to give a full review. What I did hear was decent but a little discordant. They also lacked energy. If I had to review off of what I saw I’d give them a 2.5/6
Second opener: Anberlin (3/6 live, 4/6 recorded): Oh dear. I was pleased when I heard that Anberlin were touring with 30 Seconds To Mars, as I quite like what I’ve heard of theirs on album. I have a feeling some of the issues I had with them stemmed from the sound system being off balance (example the fact that the instrumentation was not well balanced). Their front man was inarticulate and the band sounded completely uncoordinated and a little cacophonous. Except for the drummers. Plural. That earned them a point all by itself, because they were fantastic and had better timing than the entire rest of the band combined.
They did put forth considerable effort I will give them that. They tried; unfortunately their own issues combined with the sound system’s problems made them fall flat.
The Main Act: 30 Seconds To Mars:(4/6): What Happened? This is the band that made me extend my rating scale to six. They set the bar very high with their last two performances, so I was expecting a lot more than they put out. Don’t get me wrong the show was still amazing. 30 Seconds To Mars is always amazing, but front man Jared Leto relied entirely too much on the crowd for support. I love crowd sings they can be very cathartic and give a wonderful intimacy when done right. I’ve never before seen a band where I found there was too much crowd interaction. However, when the crowd is singing more of the songs consistently than the singer is there is a problem. Granted if any group of fans can carry that, it’s the Echelon, but we paid to hear the band, not our drunk fellow fans. It seems to me that Leto needs a break from touring to get his energy and his voice back in shape. He has a lovely, clear voice. The strain was audible. Leto still gave everything he had, but he didn’t have the usual explosive energy he brings to a show.
On the other hand, there was a lot of fan interaction and it was clear that Leto was putting fort the effort at least. What impressed me most was an odd bit of circumstance. This was drummer Shannon Leto’s first show back after being hospitalized for an extended period of time. I couldn’t tell. Normally when one of the members is ill or injured things are a little off. The drumming was flawless as usual. Bravo.
I should also add that it was still a good solid rock show, Jared Leto was a diva as always. I will come back if they do.
The sound system was particularly out of balance this time, but frankly it’s never been stellar. Everything comes out at the same volume, which often results in the vocals being drowned out.
The Crowd (3.5/6): I should throw in a caveat here; I’m comparing this crowd not to a normal crowd but to a normal Escalon (30 Seconds to Mars’ fan base) Crowd. They are normally quite a wild crowd. Not the case last night. However, part of that I don’t blame the crowd itself for (see below)
The first opener: CB7: I only truly heard one song of so I’m not really going to give a full review. What I did hear was decent but a little discordant. They also lacked energy. If I had to review off of what I saw I’d give them a 2.5/6
Second opener: Anberlin (3/6 live, 4/6 recorded): Oh dear. I was pleased when I heard that Anberlin were touring with 30 Seconds To Mars, as I quite like what I’ve heard of theirs on album. I have a feeling some of the issues I had with them stemmed from the sound system being off balance (example the fact that the instrumentation was not well balanced). Their front man was inarticulate and the band sounded completely uncoordinated and a little cacophonous. Except for the drummers. Plural. That earned them a point all by itself, because they were fantastic and had better timing than the entire rest of the band combined.
They did put forth considerable effort I will give them that. They tried; unfortunately their own issues combined with the sound system’s problems made them fall flat.
The Main Act: 30 Seconds To Mars:(4/6): What Happened? This is the band that made me extend my rating scale to six. They set the bar very high with their last two performances, so I was expecting a lot more than they put out. Don’t get me wrong the show was still amazing. 30 Seconds To Mars is always amazing, but front man Jared Leto relied entirely too much on the crowd for support. I love crowd sings they can be very cathartic and give a wonderful intimacy when done right. I’ve never before seen a band where I found there was too much crowd interaction. However, when the crowd is singing more of the songs consistently than the singer is there is a problem. Granted if any group of fans can carry that, it’s the Echelon, but we paid to hear the band, not our drunk fellow fans. It seems to me that Leto needs a break from touring to get his energy and his voice back in shape. He has a lovely, clear voice. The strain was audible. Leto still gave everything he had, but he didn’t have the usual explosive energy he brings to a show.
On the other hand, there was a lot of fan interaction and it was clear that Leto was putting fort the effort at least. What impressed me most was an odd bit of circumstance. This was drummer Shannon Leto’s first show back after being hospitalized for an extended period of time. I couldn’t tell. Normally when one of the members is ill or injured things are a little off. The drumming was flawless as usual. Bravo.
I should also add that it was still a good solid rock show, Jared Leto was a diva as always. I will come back if they do.
February 1, 2011
Album Review: Punk Wrapper: Outta sync
UPDATE: Apparently this guy has a website, for your entreatment, ladies and gents: http://punkwrapper.net/
I will present to you: Stuff that finds me on myspace and youtube and one even on the street.
A while back a random guy approached me on the street because i had on Sennheiser headphones because I don’t do crappy headphones. Recognizing he at least somewhat knew his audio equipment we chatted a little.
He approached me again at the post office not to long ago and finally had a presence on the web. Considering it was free, and all I was waisting was my time, I checked it out.
Formally: this is Punk Wrapper, with Outta Sync.
This was the worst music(using the term lightly) I’ve ever heard in my entire life. As luck would have it I have the CD baby link stored I my computer’s history.
Don’t say I didn’t warn you.
Dear gods, that was bad, and rest assured when I say the stuff that was on his now dead site was worse. THe lack of rhythm in Outta Sync and the utterly cacophonous, seemingly random sounds, scratches and so fourth make for one truly atrocious album. I couldn’t even listen to a full song without getting a headache.
This would almost be tolerable if it weren’t for his utterly horrid voice.
(0/5 seriously that bad)
That was hard on my ears, But it got me thinking. I get dozens of links from artists trying to break into the music industry (when you say you have a review blog, you attract them) some are alright, some good, but the vast, vast majority are outright terrible.
So I decided to hone my critical streak and show them here.
Unrelated, I also promised a friend I’d review his stuff. Soon to come:
Aaron Ruiz
And more of the terrible stuff with
Blare LeVoir
I will present to you: Stuff that finds me on myspace and youtube and one even on the street.
A while back a random guy approached me on the street because i had on Sennheiser headphones because I don’t do crappy headphones. Recognizing he at least somewhat knew his audio equipment we chatted a little.
He approached me again at the post office not to long ago and finally had a presence on the web. Considering it was free, and all I was waisting was my time, I checked it out.
Formally: this is Punk Wrapper, with Outta Sync.
This was the worst music(using the term lightly) I’ve ever heard in my entire life. As luck would have it I have the CD baby link stored I my computer’s history.
Don’t say I didn’t warn you.
Dear gods, that was bad, and rest assured when I say the stuff that was on his now dead site was worse. THe lack of rhythm in Outta Sync and the utterly cacophonous, seemingly random sounds, scratches and so fourth make for one truly atrocious album. I couldn’t even listen to a full song without getting a headache.
This would almost be tolerable if it weren’t for his utterly horrid voice.
(0/5 seriously that bad)
That was hard on my ears, But it got me thinking. I get dozens of links from artists trying to break into the music industry (when you say you have a review blog, you attract them) some are alright, some good, but the vast, vast majority are outright terrible.
So I decided to hone my critical streak and show them here.
Unrelated, I also promised a friend I’d review his stuff. Soon to come:
Aaron Ruiz
And more of the terrible stuff with
Blare LeVoir
December 19, 2010
Album Review: My Chemical Romance—Danger Days: The True Lives of Fabulous Kill Joys.
This is technically a little behind the time, but the album is new to me (November 23d was the release date) I hadn’t heard hide nor hair of My Chemical Romance since about 2005, when their most mainstream album Three Cheers for Sweet Revenge hit the stores, debuting the single “I’m Not Okay (I Promise)” a bouncy, goofy, slightly bitter number that is still sometimes on the radio. I was never terribly impressed, they were a decent band, but not worth really investing in. Gerard Way sounded a bit like Robby Takac but lower pitched. He looked like a gremlin with pink eyeliner and stringy black hair, which was appealing to me at the time. It seems the gremlin has cleaned up quite a bit and the band’s s sound has coalesced quiet a bit. This revamp started with Black Parade in 2006, from what I’ve seen and heard but black parade was still on the darker side, like their older stuff. Honing into a punk-pop sound, without the immaturity of some of the others in that scene, My Chemical Romance has found a sound that is catchy, deliberately cacophonous, and all around fun; leaving behind their darker roots, while keeping hold of some of their cynicism. This is one of the few albums I’ve seen in this decade that sounds like one cohesive piece and hearkens back to concept albums, but there is not story that I can discern. Way has referred to it as an “anti-concept” album. Fun to listen to but no tracks that really grabbed me With the interspersed radio-like tracks, Danger Days: The True Lives of Fabulous Kill Joys gives the feel of something of a last broadcast—a party at the end of the world. The downside of this cohesiveness is many of the songs sound similar, other than the single “Na Na Na (Na Na Na Na Na Na Na Na Na Na)” and the radio tracks, none of the songs sick out particularly from the others, while listening I’ve had to check repeatedly which song was which. Fun to listen to but no tracks that really grabbed me. There is almost no distinction track to track, both in its cord progressions, and in the vocal style as well as the tempo of the songs—always upbeat, fast-paced numbers. However, I would almost argue that the indistinct nature of the tracks worked to the album’s benefit. While there are no “single” songs, it also doesn’t sound per se redundant, rather, it plays like one track. Its also a very honest album I don’t hear any tracks that are trying to be radio numbers. Overall a fun, catchy album.
(3.5/5 for technical skill, 4/5 for genuine entertainment)
(3.5/5 for technical skill, 4/5 for genuine entertainment)
December 12, 2010
Music Update and Concert review : Sick Puppies and Bad City
Sorry folks, it’s been a rough few months in real life land for me and I ran into a slight case of broke, so there was a hiatus. Mea culpa.
Musical things of note that have happened:
The Show itself: Alter Bridge (not reviewed) with Sick Puppies, and Bad City. (House of Blues, Chicago)
The Venue: The House of Blues, Chicago (4/5): I've reviewed it countless times. However, they've made some changes than I'm still not sure about. Initially, The House of Blues had the balcony as exclusively VIP. I never had any desire to go up there, as a rocker, my place is on the floor whenever possible, and so I can't comment on how it is up there. However, I've never seen the place more crowed on the floor. I'm pleased one of my favorite venues has gained more patronage.
They've also added more security in the bar area (which is 21+ for obvious reasons, they have other areas meant for younger patrons, though truthfully the House of Blues is really designed for a 21+ crowd.
The Crowd: (2.5/5) While I didn't stay for Alter Bridge, I sincerely hope the crowd improved for them. These people were very still and had a dulled vibe. They improved for Sick Puppies, but I think that is a function of Sick Puppies being that good, rather than a function of the crowd.
The First Opener: Bad City (2.5/5 live, 3/5 recorded) First openers are always a little green, a little uncoordinated, and a little unbalanced as they are unpracticed. However, they also tend to have a lot of often-misplaced energy. This band was a perfect example of all these things, a clumsy, but energetic and some how they had a little charm. Their sound seemed quite disparate from their look, lead man Josh caddy looks as though he would fit in more with bands like My Chemical Romance than in a rock show. Their sound was very much rock, with a little bit of an eighties nostalgia flare. Their look fit more in this decade however. They certainly put in effort though and you could tell that, unlike many of these greener bands, they had practiced a good deal. I'm not sure these boys will make it beyond the local scene.
Second Opener: Sick Puppies (5/5) these guys are in my top three for live shows. Shimon Moore (the front man) is fantastic with the crowd, he can get them moving even when it’s a slow song, and he got a good portion of the people there for Alter Bridge to jump. One of his tactics, which I’m quite fond of, is to challenge the people who are Sick Puppies fans to "show them how we do things at a Sick Puppies show" so to speak. In a very still, often unforgiving crowd people who by a show of hands had never seen Sick Puppies before, I saw most of the pit jumping and eve some slam dancing-- a rarity for an opener.
One of the things I particularly like about these guys is that they are constantly improving their show, altering their set lists, and they clearly put a lot of work into their shows. It’s a treat when you see a band for your second or third time and it’s an even better set, with even tighter coordination than the last one.
Another thing that caught my attention was that we're seeing more vocals from their bassist, Emma Anzai. Anzai has a wonderful, very soft alto voice that is not often heard on their albums. I'm looking forward to hearing more of her on their next album.
I unfortunately had to bail for Alter Bridge, the weather was nasty. More reviews later.
Musical things of note that have happened:
- 10/4 Kill Hannah front man, Mat Divine, upon landing a roll in Spiderman: Turn Off the Dark, canceled his long standing tradition of a huge, mutli-day music event in December ( Called New Heart for Xmass) In favor of something on a similar scale in New York, offending many Chicago fans.
- 9/12--the VMAs happened: I admit I should have reviewed them highlights include:
- 30 Seconds to Mars riding in on bikes as tribute to their "Kings and Queens" video
- And one of their members, Shannon Leto, had to take an emergency break when he got glitter in his eye thrown by more exuberant fans.
- Rihanna made a "surprise" performance with Eminem.
- Gucci Mann tossed hundreds of dollars onto the carpet.
- Lady Gaga came out in a dress made of raw meat, I'm not entirely sure why, possibly because she's gaga.
- 11/23 30 Seconds to Mars released their "Hurricane" 14 minute movie and MTV banned the video within two days for its sexual content. 30 Seconds to Mars released to the fans that day, and an uncensored version is due out the sixteenth of this month. I watched the video and I can see why MTV banned it. Hurricane was full of very sexual imagery, and some things that bordered on pornography. However, it was incredibly artistic and had an interesting message
- 12/11 Q101 kicks off its Twisted Event-- I attended the first day (review below)
The Show itself: Alter Bridge (not reviewed) with Sick Puppies, and Bad City. (House of Blues, Chicago)
The Venue: The House of Blues, Chicago (4/5): I've reviewed it countless times. However, they've made some changes than I'm still not sure about. Initially, The House of Blues had the balcony as exclusively VIP. I never had any desire to go up there, as a rocker, my place is on the floor whenever possible, and so I can't comment on how it is up there. However, I've never seen the place more crowed on the floor. I'm pleased one of my favorite venues has gained more patronage.
They've also added more security in the bar area (which is 21+ for obvious reasons, they have other areas meant for younger patrons, though truthfully the House of Blues is really designed for a 21+ crowd.
The Crowd: (2.5/5) While I didn't stay for Alter Bridge, I sincerely hope the crowd improved for them. These people were very still and had a dulled vibe. They improved for Sick Puppies, but I think that is a function of Sick Puppies being that good, rather than a function of the crowd.
The First Opener: Bad City (2.5/5 live, 3/5 recorded) First openers are always a little green, a little uncoordinated, and a little unbalanced as they are unpracticed. However, they also tend to have a lot of often-misplaced energy. This band was a perfect example of all these things, a clumsy, but energetic and some how they had a little charm. Their sound seemed quite disparate from their look, lead man Josh caddy looks as though he would fit in more with bands like My Chemical Romance than in a rock show. Their sound was very much rock, with a little bit of an eighties nostalgia flare. Their look fit more in this decade however. They certainly put in effort though and you could tell that, unlike many of these greener bands, they had practiced a good deal. I'm not sure these boys will make it beyond the local scene.
Second Opener: Sick Puppies (5/5) these guys are in my top three for live shows. Shimon Moore (the front man) is fantastic with the crowd, he can get them moving even when it’s a slow song, and he got a good portion of the people there for Alter Bridge to jump. One of his tactics, which I’m quite fond of, is to challenge the people who are Sick Puppies fans to "show them how we do things at a Sick Puppies show" so to speak. In a very still, often unforgiving crowd people who by a show of hands had never seen Sick Puppies before, I saw most of the pit jumping and eve some slam dancing-- a rarity for an opener.
One of the things I particularly like about these guys is that they are constantly improving their show, altering their set lists, and they clearly put a lot of work into their shows. It’s a treat when you see a band for your second or third time and it’s an even better set, with even tighter coordination than the last one.
Another thing that caught my attention was that we're seeing more vocals from their bassist, Emma Anzai. Anzai has a wonderful, very soft alto voice that is not often heard on their albums. I'm looking forward to hearing more of her on their next album.
I unfortunately had to bail for Alter Bridge, the weather was nasty. More reviews later.
October 24, 2010
so
I was gonna rant about how Kill Hannah Canceled one of their biggest reoccurring shows because their front man is on Broadway, but that’s old news at this point (and can’t for the life of me find the draft) Due to the recent dearth of good shows/ depression on my part/ general life intervention, things have been numbingly slow around here.
So I figured I’d start on these non-review posts
How about a little “Who are you and why re you doing this?”
I’m Arin. I live just outside of Chicago, which is the best city on earth, particularly when it comes to one of my two big passions: Music (the other being writing, funny how they go together). In my other life, I’m an author of a few fantasy/urban novels, and a bunch of sci-fi short stories. (Not so published yet. Depressing.) When I was a kid, this wasn’t what i wanted, I wanted to be a rock star, still do, but i’ve recognized its not really my calling-- no talent in that arena. What I do have though is an overabundance of passion for music-- all sorts of genres too, though rock/metal are my pet-genres. I’ve ben going to concerts for most of my life at this juncture (from the time i was 3, but more seriously when i hit 14) I do it for the energy and for the people who’ve changed my life. I know a lot of people say that but for me it is really true, the music that I’m passionate about profoundly affects my life. There are literally songs that have saved my life.
Music is my driving force without any exaggeration.
Well yeah, you and a bunch of teenagers, but what makes you so special?
I also write, that's my other big passion. I started that around the same age I started on music-- i ‘wrote’ my first book at 3. It was a 5 page thing the size of a post-it pad that was constructed largely because i saw a think on how to make a book out of cardboard and wrapping paper on “3, 2, 1 Contact." dictated to a baby sitter, but it was there. I’ve been trying to write ever since. First novel was written at 15, you get the gist. I was born doing two things-- writing and listening to music.
I figured out-- after much insistence/ persistence that i did not, in fact, have any talents worthy of the stage and while I pretended to move on it away stung. I wanted to be up there, dammit. Bin back stage was NOT cutting it. Once I got through college and got on my feet, i was set loose on the city of Chicago. It took me a few years to figure out that i should turn my post concert critiques into something constructive, but one i did it became a self feeding habit. I needed the concerts for the blog, I needed the blog to keep me hunting when I got depressed.
And thus, a new outlet for my addiction was born.
So that’s why I’m here, in short-- I have an addiction to feed.
So I figured I’d start on these non-review posts
How about a little “Who are you and why re you doing this?”
I’m Arin. I live just outside of Chicago, which is the best city on earth, particularly when it comes to one of my two big passions: Music (the other being writing, funny how they go together). In my other life, I’m an author of a few fantasy/urban novels, and a bunch of sci-fi short stories. (Not so published yet. Depressing.) When I was a kid, this wasn’t what i wanted, I wanted to be a rock star, still do, but i’ve recognized its not really my calling-- no talent in that arena. What I do have though is an overabundance of passion for music-- all sorts of genres too, though rock/metal are my pet-genres. I’ve ben going to concerts for most of my life at this juncture (from the time i was 3, but more seriously when i hit 14) I do it for the energy and for the people who’ve changed my life. I know a lot of people say that but for me it is really true, the music that I’m passionate about profoundly affects my life. There are literally songs that have saved my life.
Music is my driving force without any exaggeration.
Well yeah, you and a bunch of teenagers, but what makes you so special?
I also write, that's my other big passion. I started that around the same age I started on music-- i ‘wrote’ my first book at 3. It was a 5 page thing the size of a post-it pad that was constructed largely because i saw a think on how to make a book out of cardboard and wrapping paper on “3, 2, 1 Contact." dictated to a baby sitter, but it was there. I’ve been trying to write ever since. First novel was written at 15, you get the gist. I was born doing two things-- writing and listening to music.
I figured out-- after much insistence/ persistence that i did not, in fact, have any talents worthy of the stage and while I pretended to move on it away stung. I wanted to be up there, dammit. Bin back stage was NOT cutting it. Once I got through college and got on my feet, i was set loose on the city of Chicago. It took me a few years to figure out that i should turn my post concert critiques into something constructive, but one i did it became a self feeding habit. I needed the concerts for the blog, I needed the blog to keep me hunting when I got depressed.
And thus, a new outlet for my addiction was born.
So that’s why I’m here, in short-- I have an addiction to feed.
September 20, 2010
non-review type entries
Quick survey folks, what would people think if I posted things here that weren’t per se reviews?
Ideas include: Rants about the industry, pieces about specific bands/genreras et.
Anyone?
Just brainstorming things to put here between shows/albums.
Ideas include: Rants about the industry, pieces about specific bands/genreras et.
Anyone?
Just brainstorming things to put here between shows/albums.
September 2, 2010
9/1/10: Appcalptca w/ Dir En Grey and Evaline
The Venue: (3/5) HOB, Chicago. See previous reviews
The Crowd:(3/5) I’m gong to be honest, I wasn’t paying attention to the crowd as I was a bit distracted. But there was good crowd action, and they even participated when the band wasn’t its strongest. They erupted when Dir en Grey came out and were not raucous as some crowds i’ve seen, but still had energy.
Evaline(2/5): Sometimes, there is a reason a band is just the opener and not the headliner. Evaline was simply discordant and the vocalist had no talent to speak of live, recorded they were slightly better, but all told Front man,
Richard Perry needs to learn to articulate. Evaline sound disorganized and ultimately not worth paying attention too. They earned a point for their drum-work. I suspect the drummer is what holds the band together and at one point every member took a drum and played. It was much ore engaging than the rest of the act.
Dir En Grey(4/5) I had rather low hopes for DIr En Grey, as they were only average recorded and they’re of a genera (Visual Kei) that is notorious for disturbing, shock value lyrics. However, I assume most of the fan-base in the US was blissfully unaware of this element as the majority of their songs are in Japanese.
Front man, Kyo has an insane range, and verity of sounds he can produce. Everything from deep, long death grunts, to high pitched 80’s style shrieks, to melodic tenor vocals that bordered on operatic. If the range weren’t enough, he had unparalleled stage presence and inexhaustible energy. He is also unfathomably committed as he’s apparently had three vocal surgeries and is still going strong.
Even without knowing the lyrics, the atmosphere defiantly evokes darker sentiments. The listener is certainly aware they aren’t sining about lollypops and butterflies.
especially.
It’s not music for everybody, especially if you’re like me and look at the translations which I’m not going to link to because of their violent nature. Its full of strange vocalizations, and lots of bright lights. However, I enjoyed it throughly and it certainly takes a vast degree of talent to make the sort of music they have.
Apocalyptica (4/5) It’s quite a feat to even describe Apocalyptica, let alone properly review one of their shows. The band is comprised of three cellos and a drummer. And they play metal. Occasionally, they bring in guest vocalists, or as is the case with live shows, a touring vocalist. But thats all of them. The vast majority of their numbers are instrumental, yet they managed to tare the roof off a packed venue of metal-heads. Weather playing carrying what amounted to cello chamber music or running the length of the stage while carrying and playing the cello(holding it like a guitar at some points)they engaged the audience thoroughly.
Just seeing Apocalyptica is something to behold, beyond even their huge talent. They are four muscular men three of which have easily waist length hair and more closely resemble members of lacuna coil, than cellists (well one’s drummer). An they head bang while playing things that make you sit up and take notice.
Their playing is innovative and flawless. If i hadn’t seen it with my own eyes, i wold have believed they brought in a guitarist in places. They are a powerhouse of energy and talent. Quite simply astounding.
The Crowd:(3/5) I’m gong to be honest, I wasn’t paying attention to the crowd as I was a bit distracted. But there was good crowd action, and they even participated when the band wasn’t its strongest. They erupted when Dir en Grey came out and were not raucous as some crowds i’ve seen, but still had energy.
Evaline(2/5): Sometimes, there is a reason a band is just the opener and not the headliner. Evaline was simply discordant and the vocalist had no talent to speak of live, recorded they were slightly better, but all told Front man,
Richard Perry needs to learn to articulate. Evaline sound disorganized and ultimately not worth paying attention too. They earned a point for their drum-work. I suspect the drummer is what holds the band together and at one point every member took a drum and played. It was much ore engaging than the rest of the act.
Dir En Grey(4/5) I had rather low hopes for DIr En Grey, as they were only average recorded and they’re of a genera (Visual Kei) that is notorious for disturbing, shock value lyrics. However, I assume most of the fan-base in the US was blissfully unaware of this element as the majority of their songs are in Japanese.
Front man, Kyo has an insane range, and verity of sounds he can produce. Everything from deep, long death grunts, to high pitched 80’s style shrieks, to melodic tenor vocals that bordered on operatic. If the range weren’t enough, he had unparalleled stage presence and inexhaustible energy. He is also unfathomably committed as he’s apparently had three vocal surgeries and is still going strong.
Even without knowing the lyrics, the atmosphere defiantly evokes darker sentiments. The listener is certainly aware they aren’t sining about lollypops and butterflies.
especially.
It’s not music for everybody, especially if you’re like me and look at the translations which I’m not going to link to because of their violent nature. Its full of strange vocalizations, and lots of bright lights. However, I enjoyed it throughly and it certainly takes a vast degree of talent to make the sort of music they have.
Apocalyptica (4/5) It’s quite a feat to even describe Apocalyptica, let alone properly review one of their shows. The band is comprised of three cellos and a drummer. And they play metal. Occasionally, they bring in guest vocalists, or as is the case with live shows, a touring vocalist. But thats all of them. The vast majority of their numbers are instrumental, yet they managed to tare the roof off a packed venue of metal-heads. Weather playing carrying what amounted to cello chamber music or running the length of the stage while carrying and playing the cello(holding it like a guitar at some points)they engaged the audience thoroughly.
Just seeing Apocalyptica is something to behold, beyond even their huge talent. They are four muscular men three of which have easily waist length hair and more closely resemble members of lacuna coil, than cellists (well one’s drummer). An they head bang while playing things that make you sit up and take notice.
Their playing is innovative and flawless. If i hadn’t seen it with my own eyes, i wold have believed they brought in a guitarist in places. They are a powerhouse of energy and talent. Quite simply astounding.
August 23, 2010
Through the Pain: The Matthew Leone Benefit (the Frantic (unreviewed) Makeshift Prodogy,Local H, Kill Hannah and lovehammers(unreviewed))
The Event (5/5):
Never have I been prouder to make Chicago my home. I think Mat Divine said it best when he said that nowhere else-- not in LA, Not in New York, only in Chicago could this have been pulled off.
I apologize in advance if this section becomes a bit unprofessional; I am extremely passionate about this event.
In case you haven’t been plugged into the Chicago music scene, or missed the news report, let me fill you in.
Madina Lake bassist, Matthew Leone, is home now after needing brain surgery due, because he did a heroic thing, and very nearly paid with his life.
According to his brother, Madina Lake frontman Nathan Leone, Matthew was walking to go meet a friend for a drink when he saw a man assaulting his wife. Matthew intervened, subdued the man called the cops, and the man beat him nearly to death. He suffered severe injuries and was left to die on the sidewalk. The woman left with her husband. (Article and follow up here, here, and here if you’re interested.)
Being a young musician, Matthew had no insurance and barely any money.
So Chicago, being the kind of city it is, stepped up. Many Musicians from Chicago came home to perform at the benefit shows. Not only did musicians donate their time, but also the Hard Rock Hotel and several other organizations donated both space and equipment. . Literally every penny went to Leone via Sweet Relief. Filter even came down and played a few songs when they found out about the show.
If this had happened in LA, he’d be dead. I’m unbelievably proud of all of the bands involved. And deeply honored to be a part of it.
Now, on to the show.
The Venue (3/5)( Hard Rock Hotel):
Honestly, like much of the Hard Rock franchise, it was glossy and pretentious, without real backing for it. The equipment was quality but the sound balance was terrible. Vocals were excessively quiet and the lead guitar was so loud I lost hearing in one ear part way through the show. Before the band I actually came for. It was upsetting.
The Crowd (3/5):
It was the typical Kill Hannah crowd in all honesty. I’ve noticed that the Kill Hannah audience does not have the same energy that the band they follow does. I love the fan community, I do, but I’ve seen how much they look up to these people-- they should act like it. You’re at a rock show for peat’s sake, not watching TV. Give back what is being thrown to you.
When filter made their surprise appearance, the crowd lit up like new years in time square and I think it primed them fro Kill Hannah. Which really turned up the energy of the overall show, but sit was still not the kind of energy I would expect.
The show itself:
Makeshift Prodigy (3/5)
This band has improved since the last time I reviewed them. I feel I owe my readers a bit of an apology, I was nervous when I wrote the original review as one of the people who work with them was going to be reading it, so I erred on the side of being nice.
These people are good, no question, but honestly they need more grab. They are great to listen to but there is nothing keeping me interested. They are one of those bands that I don’t actively listen to, but every time I hear one of their songs when my mp3 player is on shuffle I think, “wow, who are these guys?” and love it. But something isn’t quite making me actively seek them out. I can’t quite put my finger on what exactly it is.
Part of it is they need to hone the coordination of their instrumentation and work on balancing the parts. Also front man, Anthony Banagara needs to articulate his words more clearly. He has a lovely voice, but it’s hard to understand the lyrics live.
I can tell you what they aren’t missing though: Energy and presence. These people are constantly in motion; Bangara is simply off the hook, literally doing back flips off the piano. All of them are in constant motion. You can’t help but watch.
Local H (4/5)
As a warning due to the above mentioned speaker issues I actually lost my hearing in one ear half way through their set so my review is little truncated.
What a pleasant surprise! I had only heard of “Local H” in passing, maybe seen them on a few lineups, but never really listened to them. For a starter, front man guitarist and bassist Scott Lucas’ voice has slight gravel to live that doesn’t exist recorded. It’s sexy. Lucas is of a slight build, so it’s quite a surprise to hear the voice of a seasoned gunslinger come out of his mouth.
Despite having seen just him and his guitar for most of the show, he had a strong presence and fantastic energy. He is playing was often dramatic, and very well done. I was intrigued to learn that on the albums he plays everything but the drums, an impressive feat indeed. Lucas’ lyrics grab the listener’s attention forcefully especially in the song “Hands on the Bible.”
Extent, catching, energy.
Kill Hannah (4/5): I adore these people; even half deaf they were a treat to see. Mat Devine has wonderful energy and presence with a band that is full of talented members, flawless coordination and with songs that are steeped in passion, jadedness, and hope all at once. I’ve previously gushed at great length about how dear Kill Hannah’s music is to me.
Mat also knows how to work a crowd, and his fans are devoted enough to know exactly how to respond. The result is an intimate give and take with wonderful, touching moments.
The band itself is also in constant motion, however it all happens so smoothly that its hardly noticeable until one of them is standing in front of you.
They are wonderful performers, very talented artists, and very kind to their fans.
I Have to add something here, I feel their tour guitarist, Michael Maddox, is a wonderful performer, and has a very good rapport with the fans. I would love to see him take the place of former guitarist Johnny Ratdke as a permanent member.
Great show, average venue to be honest. Truly wonderful cause.
Never have I been prouder to make Chicago my home. I think Mat Divine said it best when he said that nowhere else-- not in LA, Not in New York, only in Chicago could this have been pulled off.
I apologize in advance if this section becomes a bit unprofessional; I am extremely passionate about this event.
In case you haven’t been plugged into the Chicago music scene, or missed the news report, let me fill you in.
Madina Lake bassist, Matthew Leone, is home now after needing brain surgery due, because he did a heroic thing, and very nearly paid with his life.
According to his brother, Madina Lake frontman Nathan Leone, Matthew was walking to go meet a friend for a drink when he saw a man assaulting his wife. Matthew intervened, subdued the man called the cops, and the man beat him nearly to death. He suffered severe injuries and was left to die on the sidewalk. The woman left with her husband. (Article and follow up here, here, and here if you’re interested.)
Being a young musician, Matthew had no insurance and barely any money.
So Chicago, being the kind of city it is, stepped up. Many Musicians from Chicago came home to perform at the benefit shows. Not only did musicians donate their time, but also the Hard Rock Hotel and several other organizations donated both space and equipment. . Literally every penny went to Leone via Sweet Relief. Filter even came down and played a few songs when they found out about the show.
If this had happened in LA, he’d be dead. I’m unbelievably proud of all of the bands involved. And deeply honored to be a part of it.
Now, on to the show.
The Venue (3/5)( Hard Rock Hotel):
Honestly, like much of the Hard Rock franchise, it was glossy and pretentious, without real backing for it. The equipment was quality but the sound balance was terrible. Vocals were excessively quiet and the lead guitar was so loud I lost hearing in one ear part way through the show. Before the band I actually came for. It was upsetting.
The Crowd (3/5):
It was the typical Kill Hannah crowd in all honesty. I’ve noticed that the Kill Hannah audience does not have the same energy that the band they follow does. I love the fan community, I do, but I’ve seen how much they look up to these people-- they should act like it. You’re at a rock show for peat’s sake, not watching TV. Give back what is being thrown to you.
When filter made their surprise appearance, the crowd lit up like new years in time square and I think it primed them fro Kill Hannah. Which really turned up the energy of the overall show, but sit was still not the kind of energy I would expect.
The show itself:
Makeshift Prodigy (3/5)
This band has improved since the last time I reviewed them. I feel I owe my readers a bit of an apology, I was nervous when I wrote the original review as one of the people who work with them was going to be reading it, so I erred on the side of being nice.
These people are good, no question, but honestly they need more grab. They are great to listen to but there is nothing keeping me interested. They are one of those bands that I don’t actively listen to, but every time I hear one of their songs when my mp3 player is on shuffle I think, “wow, who are these guys?” and love it. But something isn’t quite making me actively seek them out. I can’t quite put my finger on what exactly it is.
Part of it is they need to hone the coordination of their instrumentation and work on balancing the parts. Also front man, Anthony Banagara needs to articulate his words more clearly. He has a lovely voice, but it’s hard to understand the lyrics live.
I can tell you what they aren’t missing though: Energy and presence. These people are constantly in motion; Bangara is simply off the hook, literally doing back flips off the piano. All of them are in constant motion. You can’t help but watch.
Local H (4/5)
As a warning due to the above mentioned speaker issues I actually lost my hearing in one ear half way through their set so my review is little truncated.
What a pleasant surprise! I had only heard of “Local H” in passing, maybe seen them on a few lineups, but never really listened to them. For a starter, front man guitarist and bassist Scott Lucas’ voice has slight gravel to live that doesn’t exist recorded. It’s sexy. Lucas is of a slight build, so it’s quite a surprise to hear the voice of a seasoned gunslinger come out of his mouth.
Despite having seen just him and his guitar for most of the show, he had a strong presence and fantastic energy. He is playing was often dramatic, and very well done. I was intrigued to learn that on the albums he plays everything but the drums, an impressive feat indeed. Lucas’ lyrics grab the listener’s attention forcefully especially in the song “Hands on the Bible.”
Extent, catching, energy.
Kill Hannah (4/5): I adore these people; even half deaf they were a treat to see. Mat Devine has wonderful energy and presence with a band that is full of talented members, flawless coordination and with songs that are steeped in passion, jadedness, and hope all at once. I’ve previously gushed at great length about how dear Kill Hannah’s music is to me.
Mat also knows how to work a crowd, and his fans are devoted enough to know exactly how to respond. The result is an intimate give and take with wonderful, touching moments.
The band itself is also in constant motion, however it all happens so smoothly that its hardly noticeable until one of them is standing in front of you.
They are wonderful performers, very talented artists, and very kind to their fans.
I Have to add something here, I feel their tour guitarist, Michael Maddox, is a wonderful performer, and has a very good rapport with the fans. I would love to see him take the place of former guitarist Johnny Ratdke as a permanent member.
Great show, average venue to be honest. Truly wonderful cause.
August 12, 2010
Carnival of Maddess: Shinedown at Charter One Pavilion
The Venue (Charter One Pavilion): (3/5) I continue to be unimpressed with the staff at this venue. They are not knowledgeable about the event, or even the facility. The security is relatively lax, which happens at temporary venues. The venue is cobbled together rather chaotically with minimal signs and minimal layout. If one can get lost in a few yard area, there is something wrong. For being temporary bathrooms, the bathrooms were acutely relatively nice.
The sound and lighting quality were solid especially for a temporary venue.
Honestly, the biggest perk about this venue is the artists that come to it.
The Crowd (3/5): Typical, lazy festival crowd, even Brent Smith had to work hard to get the crowd moving. And when Shinedown’s front man has to work hard, you know it’s a lazy crowd. Interesting phenomenon, they were significantly quieter for the songs from Leave A Whisper(2003), than from either Us and Them(2005) or Sound Of Madness(2008).
On to the show:
Shinedown (4/5): Shinedown is in my top three bands from a raw energy standpoint. Smith is phenomenal with the audience and very gracious. However, the energy wasn’t as good as other shows of theirs I’ve seen, but it was still amazing. For me there was a little much of the oldest album, as it didn’t seem to work for the crowd that well. While it is important to keep the older albums alive as a hat tip to the fans that have stuck with the band since the beginning, it is also imperative you pay attention to the crowd and their reactions.
I also find Shinedown’s sets have a disproportionate number of their slower songs. While many of their singles are the ballads, Shinedown at its core is right on the edge of metal. Most of their stuff is hard-edged power rock. That being said, those slow songs are some of the most powerful songs I’ve heard, partly because I “get” them on some deep level.
All of the band members are showmen, if nothing else. In addition to their incredible talent, Smith and guitarist Zach Myers have a wonderful dynamic on stage. They are in a constant, very well balanced give and take. Even from the audience, the bond this band shares is palpable, especially between Smith and Myers.
The member I was most struck with last night, however, was the drummer. I noticed that one of the things that distinguish Shinedown from other acts in their genera is the superb quality of the drum work. I don’t usually notice the drummers, save for the occasional solo, but drummer, Barry Kerch, absolutely blew me away with the sheer power of the his drumming.
Overall, it was a hard crowd and a wonderful show.
The sound and lighting quality were solid especially for a temporary venue.
Honestly, the biggest perk about this venue is the artists that come to it.
The Crowd (3/5): Typical, lazy festival crowd, even Brent Smith had to work hard to get the crowd moving. And when Shinedown’s front man has to work hard, you know it’s a lazy crowd. Interesting phenomenon, they were significantly quieter for the songs from Leave A Whisper(2003), than from either Us and Them(2005) or Sound Of Madness(2008).
On to the show:
Shinedown (4/5): Shinedown is in my top three bands from a raw energy standpoint. Smith is phenomenal with the audience and very gracious. However, the energy wasn’t as good as other shows of theirs I’ve seen, but it was still amazing. For me there was a little much of the oldest album, as it didn’t seem to work for the crowd that well. While it is important to keep the older albums alive as a hat tip to the fans that have stuck with the band since the beginning, it is also imperative you pay attention to the crowd and their reactions.
I also find Shinedown’s sets have a disproportionate number of their slower songs. While many of their singles are the ballads, Shinedown at its core is right on the edge of metal. Most of their stuff is hard-edged power rock. That being said, those slow songs are some of the most powerful songs I’ve heard, partly because I “get” them on some deep level.
All of the band members are showmen, if nothing else. In addition to their incredible talent, Smith and guitarist Zach Myers have a wonderful dynamic on stage. They are in a constant, very well balanced give and take. Even from the audience, the bond this band shares is palpable, especially between Smith and Myers.
The member I was most struck with last night, however, was the drummer. I noticed that one of the things that distinguish Shinedown from other acts in their genera is the superb quality of the drum work. I don’t usually notice the drummers, save for the occasional solo, but drummer, Barry Kerch, absolutely blew me away with the sheer power of the his drumming.
Overall, it was a hard crowd and a wonderful show.
July 21, 2010
Goo Goo Dolls with Then Spill Canvas(unreviewed) and Switchfoot(unreviwed) at the Charter One Pavillion
The Charter One Pavilion(3/5): This venue tends to feel a little jury-rigged despite being designed explicitly for music purposes. At this show, in addition to the built in bleacher, there were rows of folding chairs in what is normally part of the pit and then there was a smaller pit gated off in front of it. The barriers and seats were all completely temporary and security was minimal. Which worked to my advantage as I ended up standing in the isle.
Every time I’ve been to this venue, the merch booth and concessions booths have been very hodgepodge and the crowd management was poor. With the names that come through there, I’m frankly surprised it hasn’t been addressed.
To be honest, this venue always has festival feeling too it, except it’s not as well organized and set up as most festivals.
The sound quality is decent, however and oftentimes the names they bring in make up for the mediocrity outside the amphitheater itself, as does the ability to see surprisingly well from most locations. Another nice thing is that the merch booth does take credit cards.
And every show I’ve been to at this venue there have been signings.
On to the show:
The crowd: (3/5) It felt like a festival crowd, very laid back and mildly indifferent about the openers. They did pick up significantly during the show but even then it wasn’t the fury I’ve seen in other crowds.
The Goo Goo Dolls were sadly the only band I got to really pay attention to due to some logistic issues. However I did snag a signed ticket from the Spill Canvas.
The Goo Goo Dolls(4/5) I admit I had to focus hard to get past the huge amount of nostalgia and review. I have been following The Goo Goo Dolls since 1996 and have been to shows of there several times, everytime was wonderful.
The Goo Goo Dolls have an interesting dynamic because they have two front men with two relatively different styles. Johnny Rzeznik is the more predominant front man and favors pop-rock vocals and Robby Takac on the secondary lead has more of a punk-rock flavor to his songs and distinctive voice.
Rzeznik writes the majority of the lyrics, which is what drew me to the band when I was fifteen. Their music spans from irreverent punk to loves songs by way of hope and despair.
It is a deep pleasure to see a band whose core members have been together for so long. Rezeznik and Takac founde the band in 1986 and the newest member , drummer Mike Malinin joined in 1995, just after Boy Named Goo debuted. The dynamic is wonderful between the two front men especially, and between both artists and the audience. Rzeznik has a stronger presence, however and is more popular amongst the fans. Personally though, Robby has grown on me significantly over the years and I find his gremlin like appearance and voice utterly charming.
And there was a saxophone dueling with two guitars. In a rock song.
They haven’t released a lot of new material since 2006, so that could have been disappointing for some fans. I should take off points for this but the fact is they put on the same wonderful quality show they always have, so who am I to complain if they take five years to write an album? And according to wikipedia they went back to the studio out of professionalism, to make the album even better.
And based on the few songs they did play off that album--we haven’t seen anything yet.
I went into this review trying to be honest and analytical, but the truth is Johnny Rzeznik has been an inspiration to me since I was young and I owe a large part of my emotional survival to The Goo Goo dolls. It was an emotionaly charged, energetic show and I loved every minute. Well, done, guys, well fucking done.
Every time I’ve been to this venue, the merch booth and concessions booths have been very hodgepodge and the crowd management was poor. With the names that come through there, I’m frankly surprised it hasn’t been addressed.
To be honest, this venue always has festival feeling too it, except it’s not as well organized and set up as most festivals.
The sound quality is decent, however and oftentimes the names they bring in make up for the mediocrity outside the amphitheater itself, as does the ability to see surprisingly well from most locations. Another nice thing is that the merch booth does take credit cards.
And every show I’ve been to at this venue there have been signings.
On to the show:
The crowd: (3/5) It felt like a festival crowd, very laid back and mildly indifferent about the openers. They did pick up significantly during the show but even then it wasn’t the fury I’ve seen in other crowds.
The Goo Goo Dolls were sadly the only band I got to really pay attention to due to some logistic issues. However I did snag a signed ticket from the Spill Canvas.
The Goo Goo Dolls(4/5) I admit I had to focus hard to get past the huge amount of nostalgia and review. I have been following The Goo Goo Dolls since 1996 and have been to shows of there several times, everytime was wonderful.
The Goo Goo Dolls have an interesting dynamic because they have two front men with two relatively different styles. Johnny Rzeznik is the more predominant front man and favors pop-rock vocals and Robby Takac on the secondary lead has more of a punk-rock flavor to his songs and distinctive voice.
Rzeznik writes the majority of the lyrics, which is what drew me to the band when I was fifteen. Their music spans from irreverent punk to loves songs by way of hope and despair.
It is a deep pleasure to see a band whose core members have been together for so long. Rezeznik and Takac founde the band in 1986 and the newest member , drummer Mike Malinin joined in 1995, just after Boy Named Goo debuted. The dynamic is wonderful between the two front men especially, and between both artists and the audience. Rzeznik has a stronger presence, however and is more popular amongst the fans. Personally though, Robby has grown on me significantly over the years and I find his gremlin like appearance and voice utterly charming.
And there was a saxophone dueling with two guitars. In a rock song.
They haven’t released a lot of new material since 2006, so that could have been disappointing for some fans. I should take off points for this but the fact is they put on the same wonderful quality show they always have, so who am I to complain if they take five years to write an album? And according to wikipedia they went back to the studio out of professionalism, to make the album even better.
And based on the few songs they did play off that album--we haven’t seen anything yet.
I went into this review trying to be honest and analytical, but the truth is Johnny Rzeznik has been an inspiration to me since I was young and I owe a large part of my emotional survival to The Goo Goo dolls. It was an emotionaly charged, energetic show and I loved every minute. Well, done, guys, well fucking done.
June 29, 2010
Summerfest2010: Saliva, Adelitas Way, Sick Puppies, Halestorm
Venue/Event (Summerfest (warning: flash heavy), Milwaukee, WI): Why I’m Spoiled for Life on Music Festivals (4/5)
I’ve been going to Summerfest most years since since1998.
Summerfest is, easily the best music festival I’ve been to. It claims to be the world’s largest music festival, and at least in the midwest, I’ve not found anything that even comes close in capacity, length, or quality. Eleven stages, eleven nights, at the peak of the Midwestern summer it runs from noon to midnight. If you’ve never been and you can get to Milwaukee next June, go. It is the best music in the Midwest.
The best part, unless you’re at the ‘main stage’ at the Marcus Amphitheater, it’s 15$ a day for evenings or 8$ for afternoons. Period.
The main stage acts are killer. Such acts this year included, Justin Beiber, Rush, and Tom Petty. However, in the evening you will get things that are just as good on the free stages. In addition to what I saw this year, some highlights were: The Offspring, Papa Roach, Joan Jett, and Sheryl Crow, just to name a few. There is no assigned seating in the free stages either so if you’re willing to camp you can get as close as you want to these bands..
There’s also the food. You can get the standard midwestern festival food like roasted corn, funnel cake, and cotton candy, but you can also head to the ethnic food court for Thai, Mexican, and German. For festival food its not badly priced.
There’s also extensive shopping. Local artists and artisans come to Summerfest to sell their work and you can find shops for everything from clothes to incense to palm readings.
There are also booths for video game systems and a large section for children including several inflatable castles, face painting and more.
In case you overheat, they have an air-conditioned area as well as the first aid tent and information booths.
And on 3 July they have fireworks
Most years I go more but this year my wallet couldn’t take it quite as much so I only went two days.
So unbelievably worth it
Day one (6/28): Warm up on a Cold Day.
Crowd: (3/5) typical, tired festival crowd. Not a lot of energy but still willing to give what they had left for the band.
Saliva: Click, Click Superstar, pt. 2 (2/5)
I’d been curious about Saliva as the few songs I did have of theirs were solid and I enjoyed them quite a bit.
Little did I know that I would be hearing one of them over and over throughout the show.
I stood up to see the act, hopped up on my bench, and prepared for a long anticipated chance to cut loose and head bang.
Saliva came out and tried to pump the crowd, I rocked a little but as they played something just wasn’t working. Then they played their big number “Click, Click, Boom!” The crowd woke up and we rocked.
Then as the next few numbers played and the got to “Superstar, II” that’s when it hit me. Every, single song with the exception of their one other hit “Always” had the same cord progression as “Click, Click, Boom!” I thought I had to be mistaken, so I tried a little experiment and softly sang “Click, Click, Boom!” under my breath. Sure enough, same song.
Redundancy is lethal to any good band, but sometimes the live show can still be good if the energy is strong. Not so once again. It was as though front man Joesy Scott was miming a concert. He had the approximate energy of a piece of lint. He acted as though he had energy but it fell flat
While it was lovely to hear “Always” and Click Click boom, the show it self was a bit of a waste.
Okay I’m sick of listening to click click boom, next band
Day 2(July 4th): Its too frikin’ hot.
The Crowd (3/5) a little more lively than yesterday’s crowd but I attribute that to Sick Puppies amazing performance.
Adelitas Way: Survive, Dirty little thing. (3/5)
I nabbed their debut album when I saw them last year with Theory of A Dead man and while I had to hop out mid set to get Halestorm’s autographs, it was a nice listen. They’ve grown up a little and I very much look forward to new material. Hearing “Dirty Little Thing“ never gets old. On seeing them a second time they are really growing on me as an up and coming dirty little rock band. I’m keeping this review short as truthfully I only heard about two or three songs and one was a cover of “Survive.”
Sick Puppies: Wake Up The Festival (5/5)
If you pick up one new band this year, pick these guys up. I predict that they will explode in the next year or two. Wonderfully energetic and very talented this Australian born LA based band comes on with an intensity I’ve only really seen in a metal show. They got a hot, tired festival crowd to move, scream and head bang. Considering they weren’t the final act of the evening and that by a show of hands about half the crowd hadn’t seen them before that was a feat.
Front man Shimon Moore has an interesting range, which isn’t expressed as well on the album as it is live. He’s predominantly a tenor, but throws out some grunts and gravely low notes that smolder. He also has incredible energy and a great deal of drive. Not only was he constantly in motion but also, he was constantly encouraging the crowd, priming them and reacting to them. I find even energetic artist can often be flummoxed by an unanticipated crowd reaction, not Shim (as his fans and band mates call him), Shim rolled with even the unexpected reactions. I think that shim alone could have the energy to work an arena, though he sometimes isn’t spot on in choosing the songs to pump the crowd for. That will come with practice.
But, this isn’t the Shimon Moore show.
Bassist Emma Anzai, could also have brought down an arena all by her self. She is a slim little thing, and soft voiced who at first look doesn’t look as though she could carry, let alone play the bass she hammers.
Using both slap bass and plucking, Anzai is on fire on stage. She has a fierce presence not often seen or heard from the bass. She brings out an element you don’t see often in rock shows these days: mind blowing bass solos.
Sick Puppies are far from a one trick pony, in addition to their throttling, head banging rock; they also have songs that are poignant romances that speak to every man.
Halestorm(4/5): One Good Trick from a One Trick Pony
I love Halestorm, but seeing them as the last act didn’t hold up the way I thought it would. Lzzy hale is breathtaking, and has wonderful energy and a voice like none other, but it was very hard for them to follow sick puppies. Which was a little disappointing, considering how much I love theses people.
That being said, what I saw of their set was still as epic as ever. I think they need new material because all of their songs are breakup songs.
I still have faith in them. They are a truly amazing band. However, I think I’ll let my other reviews of their work speak for their talent.
I’ve been going to Summerfest most years since since1998.
Summerfest is, easily the best music festival I’ve been to. It claims to be the world’s largest music festival, and at least in the midwest, I’ve not found anything that even comes close in capacity, length, or quality. Eleven stages, eleven nights, at the peak of the Midwestern summer it runs from noon to midnight. If you’ve never been and you can get to Milwaukee next June, go. It is the best music in the Midwest.
The best part, unless you’re at the ‘main stage’ at the Marcus Amphitheater, it’s 15$ a day for evenings or 8$ for afternoons. Period.
The main stage acts are killer. Such acts this year included, Justin Beiber, Rush, and Tom Petty. However, in the evening you will get things that are just as good on the free stages. In addition to what I saw this year, some highlights were: The Offspring, Papa Roach, Joan Jett, and Sheryl Crow, just to name a few. There is no assigned seating in the free stages either so if you’re willing to camp you can get as close as you want to these bands..
There’s also the food. You can get the standard midwestern festival food like roasted corn, funnel cake, and cotton candy, but you can also head to the ethnic food court for Thai, Mexican, and German. For festival food its not badly priced.
There’s also extensive shopping. Local artists and artisans come to Summerfest to sell their work and you can find shops for everything from clothes to incense to palm readings.
There are also booths for video game systems and a large section for children including several inflatable castles, face painting and more.
In case you overheat, they have an air-conditioned area as well as the first aid tent and information booths.
And on 3 July they have fireworks
Most years I go more but this year my wallet couldn’t take it quite as much so I only went two days.
So unbelievably worth it
Day one (6/28): Warm up on a Cold Day.
Crowd: (3/5) typical, tired festival crowd. Not a lot of energy but still willing to give what they had left for the band.
Saliva: Click, Click Superstar, pt. 2 (2/5)
I’d been curious about Saliva as the few songs I did have of theirs were solid and I enjoyed them quite a bit.
Little did I know that I would be hearing one of them over and over throughout the show.
I stood up to see the act, hopped up on my bench, and prepared for a long anticipated chance to cut loose and head bang.
Saliva came out and tried to pump the crowd, I rocked a little but as they played something just wasn’t working. Then they played their big number “Click, Click, Boom!” The crowd woke up and we rocked.
Then as the next few numbers played and the got to “Superstar, II” that’s when it hit me. Every, single song with the exception of their one other hit “Always” had the same cord progression as “Click, Click, Boom!” I thought I had to be mistaken, so I tried a little experiment and softly sang “Click, Click, Boom!” under my breath. Sure enough, same song.
Redundancy is lethal to any good band, but sometimes the live show can still be good if the energy is strong. Not so once again. It was as though front man Joesy Scott was miming a concert. He had the approximate energy of a piece of lint. He acted as though he had energy but it fell flat
While it was lovely to hear “Always” and Click Click boom, the show it self was a bit of a waste.
Okay I’m sick of listening to click click boom, next band
Day 2(July 4th): Its too frikin’ hot.
The Crowd (3/5) a little more lively than yesterday’s crowd but I attribute that to Sick Puppies amazing performance.
Adelitas Way: Survive, Dirty little thing. (3/5)
I nabbed their debut album when I saw them last year with Theory of A Dead man and while I had to hop out mid set to get Halestorm’s autographs, it was a nice listen. They’ve grown up a little and I very much look forward to new material. Hearing “Dirty Little Thing“ never gets old. On seeing them a second time they are really growing on me as an up and coming dirty little rock band. I’m keeping this review short as truthfully I only heard about two or three songs and one was a cover of “Survive.”
Sick Puppies: Wake Up The Festival (5/5)
If you pick up one new band this year, pick these guys up. I predict that they will explode in the next year or two. Wonderfully energetic and very talented this Australian born LA based band comes on with an intensity I’ve only really seen in a metal show. They got a hot, tired festival crowd to move, scream and head bang. Considering they weren’t the final act of the evening and that by a show of hands about half the crowd hadn’t seen them before that was a feat.
Front man Shimon Moore has an interesting range, which isn’t expressed as well on the album as it is live. He’s predominantly a tenor, but throws out some grunts and gravely low notes that smolder. He also has incredible energy and a great deal of drive. Not only was he constantly in motion but also, he was constantly encouraging the crowd, priming them and reacting to them. I find even energetic artist can often be flummoxed by an unanticipated crowd reaction, not Shim (as his fans and band mates call him), Shim rolled with even the unexpected reactions. I think that shim alone could have the energy to work an arena, though he sometimes isn’t spot on in choosing the songs to pump the crowd for. That will come with practice.
But, this isn’t the Shimon Moore show.
Bassist Emma Anzai, could also have brought down an arena all by her self. She is a slim little thing, and soft voiced who at first look doesn’t look as though she could carry, let alone play the bass she hammers.
Using both slap bass and plucking, Anzai is on fire on stage. She has a fierce presence not often seen or heard from the bass. She brings out an element you don’t see often in rock shows these days: mind blowing bass solos.
Sick Puppies are far from a one trick pony, in addition to their throttling, head banging rock; they also have songs that are poignant romances that speak to every man.
Halestorm(4/5): One Good Trick from a One Trick Pony
I love Halestorm, but seeing them as the last act didn’t hold up the way I thought it would. Lzzy hale is breathtaking, and has wonderful energy and a voice like none other, but it was very hard for them to follow sick puppies. Which was a little disappointing, considering how much I love theses people.
That being said, what I saw of their set was still as epic as ever. I think they need new material because all of their songs are breakup songs.
I still have faith in them. They are a truly amazing band. However, I think I’ll let my other reviews of their work speak for their talent.
June 7, 2010
Q101 Jamboree: Story of the Year, Janus, Coheed and cambria, Puddle of Mud, Papa Roach, Seether, Three Days Grace
Sorry for the delay folks, Blogger decided it didn't feel like posting for a bit.
Venue(the First Midwest Bank Amphitheater, Tinley Park, IL):(2.5/5) I personally am not a big fan of large amphitheaters, but they’re a necessary evil sometimes when you need to house 28,000 fans. They aren’t as obnoxious as arenas and centrally help facilitate outdoor events, but they tend to be lesser sound quality and overcrowded even for someone who has tolerated arenas.
The sound system was well balanced for a larger venue, but the microphone quality was simply put sub par. I’d expect this from an arena show, where the venue is not meant for music, but if you’re designed for music the vocals should be clear not distorted. It’s unprofessional.
The festival line up was wonderful but the festival itself was a little below average. There was nothing entertaining outside of the music and the random strippers, who weren’t doing much. For a radio-sponsored festival I expected more than ridiculously over priced food. Luckily, my reason for going was the music.
Audience (3/5): typical festival audience not really active until the headline act showed up. However, for Three Days Grace and Papa Roach, they were on fire.
Now on to the reason the rain, really expensive food, (seriously I’ve paid for 2 people on what it cost me for one) and shoddy mics: the show.
It started off with a bang, and kept going. At festivals there is a distinct difference in the treatment/ set length and often quality of the day acts versus the night acts. I was anticipating sitting through shitty music for a few hours.
What a pleasant surprise.
(Due to the shorter sets and a very long day some of these reviews are shorter and hazier than my usual work.)
Story of the Year-- (3/5)(alternative rock) I admit I was still settling in during this set, so my focus wasn’t perfect. I spent as much time listening to front man’s vocals and watching his own energetic dancing as watching the guitarist run full tilt around the drum set, through the back stage and back out front again. It was hilarious, and wonderful.
The music itself was decent, not quite buy the album worthy but good enough for a day act.
Janus-- (4/5)(alternative rock) Exceptionally unexpected amount of energy and outright force on stage. Curiously, unlike many other bands the energy wasn’t exclusively from front man, the entire band was positively electric. I was blown away to the point that I don’t actually remember the visual elements that well. I do remember my hair standing on end and the guitar work being articulate and impressive.
(Lunch break doing the majority of Saliva’s set)
Coheed and Cambria-- (4/5)(other--see below) As a friend put it front man, Claudio Sanchez, is a tiny robot built to rock. Their music is a combination of progressive rock, metal and alt rock. Sanchez’ vocals are, frankly, insane. Strangely intoned, both in pitch and tenure, his voice draws the listener in and made me stop and take a solid listen, a hard thing to master when I’m as tired as I was. The guitar work was wonderful as well. Sanchez also never held still, he was a ball of energy and preformed outstandingly.
Puddle of Mud --(3/5) Being only a casual listener I spent the bulk of their set thinking, “Oh, that’s them?” Puddle of Mud was decent live, very hard to see at that juncture so it’s hard to comment on the performance itself. From an auditory standpoint they were a solid, often nostalgia-inducing band. Lots of energy from these guys, the audience was finally starting to warm up and get into it. They also knew how to balance the set between the songs that every one knew and the lesser-known songs.
(Dinner break during Hollywood Undead, from what I overheard I didn’t miss much)
Papa Roach--(3/5) I admit I lapsed into a food coma and sleep deprivation induced nap during half of their set so no full review. However, I had very low expectations of them based on the few songs I knew. What an improvement! Still the same things for the most part (Teenage angst filled rap-rock), however, they had very good energy and the crowd was really into their set, especially when they played their old stuff. I’d forgotten how much I secretly liked “Last Resort.” They also played “Dead Cell”, which was a nice hat tip to the older fans.
Seether --(2/5) I have two of their albums (Karma and Effect and Disclaimer II) and they are solid, though they sound the same much of the time and I keep confusing them with Hinder (a better band with a very similar sound). I’ve also seen them live before and they weren’t half bad then.
This set however, was different. Somehow they managed to suck the majority of the energy out of the audience. Half the audience was sitting. After the kind of show Papa roach put on, there shouldn’t be people sitting. The front man also has apparently lost his sense of aesthetic entirely.
And did I mention he actually messed up some of the lyrics? Only slightly mind you, but I noticed. I even sat down and watched the screen. Front man, Shaun Morgan just seemed tired for most of the set and the only songs that had energy were covers (although, I do encourage checking out their rendition of “careless whisper” its a wonderful angry version)
And then the amphitheater exploded.
Three Days Grace --(5/5): Three Days Grace hales from Ontario, Canada, so they aren’t often in the US and I’ve wanted to see fro some time now so there was major anticipation. However, after Seether I wasn’t holding out for a high-energy performance.
Some of the Radio crew came out to talk at us while they adjusted the pyrotechnics due to the wind.
Then they hit the stage.
From opening siren to final note, Three Days Grace was a force on stage. With the often-depressive tone of their music I’d expected some lulls when the inevitable slow numbers came up. The energy never stopped. (At some point before they came out I’d managed to climb onto a seat so I could see all of the stage. Not a task for the faint of heart, or poorly balanced, my shins still haven’t forgiven me) Front man Adam Gointer also never stopped, weather singing or talking to the crowd, Gointer putt of a charisma and energy that you don’t see often. It wasn’t that he was an arrogant front man, or that the rest of the band was sub-par (on the contrary the guitar work was wonderful) far from it. It was that Gointer was a force all on his own. The way he worked the audience was amazing and his encouragement of the audience made for an unreal amount of participation (when the kids in the seats in the second tear are slam dancing, you know you have something powerful indeed) At one point about half way through the show Gointer actually made his way all the way back to the lawn to perform in the crowd. How he came back with his hat intact I’ll never know.
The music itself was a powerhouse of rock and occasional moments of very deliberate stillness timed perfectly with a brilliant light and pyrotechnic. Show that brought the house down.
For a festival show, that was unreal. Seriously, these guys are artists both in performance and in musical talent.
Venue(the First Midwest Bank Amphitheater, Tinley Park, IL):(2.5/5) I personally am not a big fan of large amphitheaters, but they’re a necessary evil sometimes when you need to house 28,000 fans. They aren’t as obnoxious as arenas and centrally help facilitate outdoor events, but they tend to be lesser sound quality and overcrowded even for someone who has tolerated arenas.
The sound system was well balanced for a larger venue, but the microphone quality was simply put sub par. I’d expect this from an arena show, where the venue is not meant for music, but if you’re designed for music the vocals should be clear not distorted. It’s unprofessional.
The festival line up was wonderful but the festival itself was a little below average. There was nothing entertaining outside of the music and the random strippers, who weren’t doing much. For a radio-sponsored festival I expected more than ridiculously over priced food. Luckily, my reason for going was the music.
Audience (3/5): typical festival audience not really active until the headline act showed up. However, for Three Days Grace and Papa Roach, they were on fire.
Now on to the reason the rain, really expensive food, (seriously I’ve paid for 2 people on what it cost me for one) and shoddy mics: the show.
It started off with a bang, and kept going. At festivals there is a distinct difference in the treatment/ set length and often quality of the day acts versus the night acts. I was anticipating sitting through shitty music for a few hours.
What a pleasant surprise.
(Due to the shorter sets and a very long day some of these reviews are shorter and hazier than my usual work.)
Story of the Year-- (3/5)(alternative rock) I admit I was still settling in during this set, so my focus wasn’t perfect. I spent as much time listening to front man’s vocals and watching his own energetic dancing as watching the guitarist run full tilt around the drum set, through the back stage and back out front again. It was hilarious, and wonderful.
The music itself was decent, not quite buy the album worthy but good enough for a day act.
Janus-- (4/5)(alternative rock) Exceptionally unexpected amount of energy and outright force on stage. Curiously, unlike many other bands the energy wasn’t exclusively from front man, the entire band was positively electric. I was blown away to the point that I don’t actually remember the visual elements that well. I do remember my hair standing on end and the guitar work being articulate and impressive.
(Lunch break doing the majority of Saliva’s set)
Coheed and Cambria-- (4/5)(other--see below) As a friend put it front man, Claudio Sanchez, is a tiny robot built to rock. Their music is a combination of progressive rock, metal and alt rock. Sanchez’ vocals are, frankly, insane. Strangely intoned, both in pitch and tenure, his voice draws the listener in and made me stop and take a solid listen, a hard thing to master when I’m as tired as I was. The guitar work was wonderful as well. Sanchez also never held still, he was a ball of energy and preformed outstandingly.
Puddle of Mud --(3/5) Being only a casual listener I spent the bulk of their set thinking, “Oh, that’s them?” Puddle of Mud was decent live, very hard to see at that juncture so it’s hard to comment on the performance itself. From an auditory standpoint they were a solid, often nostalgia-inducing band. Lots of energy from these guys, the audience was finally starting to warm up and get into it. They also knew how to balance the set between the songs that every one knew and the lesser-known songs.
(Dinner break during Hollywood Undead, from what I overheard I didn’t miss much)
Papa Roach--(3/5) I admit I lapsed into a food coma and sleep deprivation induced nap during half of their set so no full review. However, I had very low expectations of them based on the few songs I knew. What an improvement! Still the same things for the most part (Teenage angst filled rap-rock), however, they had very good energy and the crowd was really into their set, especially when they played their old stuff. I’d forgotten how much I secretly liked “Last Resort.” They also played “Dead Cell”, which was a nice hat tip to the older fans.
Seether --(2/5) I have two of their albums (Karma and Effect and Disclaimer II) and they are solid, though they sound the same much of the time and I keep confusing them with Hinder (a better band with a very similar sound). I’ve also seen them live before and they weren’t half bad then.
This set however, was different. Somehow they managed to suck the majority of the energy out of the audience. Half the audience was sitting. After the kind of show Papa roach put on, there shouldn’t be people sitting. The front man also has apparently lost his sense of aesthetic entirely.
And did I mention he actually messed up some of the lyrics? Only slightly mind you, but I noticed. I even sat down and watched the screen. Front man, Shaun Morgan just seemed tired for most of the set and the only songs that had energy were covers (although, I do encourage checking out their rendition of “careless whisper” its a wonderful angry version)
And then the amphitheater exploded.
Three Days Grace --(5/5): Three Days Grace hales from Ontario, Canada, so they aren’t often in the US and I’ve wanted to see fro some time now so there was major anticipation. However, after Seether I wasn’t holding out for a high-energy performance.
Some of the Radio crew came out to talk at us while they adjusted the pyrotechnics due to the wind.
Then they hit the stage.
From opening siren to final note, Three Days Grace was a force on stage. With the often-depressive tone of their music I’d expected some lulls when the inevitable slow numbers came up. The energy never stopped. (At some point before they came out I’d managed to climb onto a seat so I could see all of the stage. Not a task for the faint of heart, or poorly balanced, my shins still haven’t forgiven me) Front man Adam Gointer also never stopped, weather singing or talking to the crowd, Gointer putt of a charisma and energy that you don’t see often. It wasn’t that he was an arrogant front man, or that the rest of the band was sub-par (on the contrary the guitar work was wonderful) far from it. It was that Gointer was a force all on his own. The way he worked the audience was amazing and his encouragement of the audience made for an unreal amount of participation (when the kids in the seats in the second tear are slam dancing, you know you have something powerful indeed) At one point about half way through the show Gointer actually made his way all the way back to the lawn to perform in the crowd. How he came back with his hat intact I’ll never know.
The music itself was a powerhouse of rock and occasional moments of very deliberate stillness timed perfectly with a brilliant light and pyrotechnic. Show that brought the house down.
For a festival show, that was unreal. Seriously, these guys are artists both in performance and in musical talent.
May 22, 2010
Album Reivew: The Delivery Boys: Starry Skies and Fireflies (sic)
The Delivery Boys: Starry Skies and Fireflies (3/5):
The Delivery Boys are an exceptionally young band from Schaumburg IL. I purchased their album from one of the band members for two dollars selling it out of a duffel bag behind the main stage at Bamboozle last week, so my expectations were low.
I was quite surprised that this was a first album when I sat down to listen to them. Had I not seen the CD (a burn, very clearly home made) I would have guessed they were the latest new band on the radio. They are quite talented and quite professional.
Listening to the album you can tell they grew up in the Chicago music scene with influences such as, The Academy is... audible in their music. They have a pleasantly bouncy sound with many of the quintessential elements of indi/alternative music-- breakup, romance, and budding optimism. Its music you can dance to. These guys were a ton of fun to listen to, if a little on the generic side.
Front man Paul Holloway has a pleasant voice and drummer, Matt Dailly, has the clearest sound of the entire band. Where these boys need a little work is balancing the precision of the guitar work.
They have an impressively seasoned sound for such a green band with some interesting little things that make them stand out, especially amongst smaller bands. This is a first album, completely self produced, but it sounds like a second or third professionally produced album.
The Delivery boys are an excellent find. I have seen headliners that don’t meet with the same standards these guys are starting with
I’ve received word that there is a new album in the works, I very much look forward to it and to seeing what they are like live.
I would listen to this album to: Dance around the apartment, drive.
May 20, 2010
Nickelback and Breaking Benjamin,with Shinedown and Sick Puppies.(Road trip show:Rosemont, IL)
The Venue (Allstate Arena, Rosemont IL): (3/5) I once again feel like I’m comparing two very different things. Arena shows are very different animals from smaller venue shows. This is only one of two arenas I’ve been to for music, the other being the Bradley Center, in Milwaukee, WI) Arenas are not designed to house concerts, so the space always feels a bit jury rigged when they set up a show, but frankly where else would be equipped to hold 20,000 screaming, jumping fans?
Personally, I’m not much of a fan of arena settings. The majority of the seats are too far away and it’s often much more expensive (though this area is pleasantly not as pricey as others (in this case 85$ for floor tickets)) and people are more inclined to sit. As Brent Smith said during Shinedown’s performance, you’re at a rock show not church, stand up. I always feel like sitting through the majority of a rock show is insulting, these people are out there, performing so that you will dance and have a good time. Dance! Tangent aside, this venue did one thing right, they had better ventilation on the floor than I’ve seen in many smaller venues. I could actually feel a cool breeze when I was all the way in the front by the stage.
Another thing this venue has to offer that smaller ones don’t is the ability to use screens and pyrotechnics, which can really enhance a good show (or cover for a bad one like strobe lights)
As with all arenas, the food and drinks were over priced and the merch was rather limited. The bathrooms were clean considering the number of people they served. They were relatively clean, with good, working fixtures and no graffiti.
However, one of the downsides was that the sound system was sub par. Not horrid, just not the best one I’ve encountered.
The Crowd: (2/5) Again, this is partly a function of being at an area show, but the crowd was entirely too laid back for beginning at a show that had at least two bands that should have blown the roof of the place. They were also entirely too drunk to care.
On to the show itself.
First act (Sick Puppies) (3/5 show, 4/5 album): Ladies and gents sharpen your ears, these folks have talent. In person they were good, surprisingly metal for another wise straight up rock show. Being the opener they only played five songs. On the metal side of rock, these folks came all the way from Australia to rock us solid. The vocals were a nice combination of screams, grunts, and melody. Sick Puppies are a small three-person band (guitar/vocals, base, drums), two guys and a girl. Curiously, while bassist Emma Anzai rocks a mean bass, she didn’t sing in the live show (she does on a few tracks on the albums) I am always impressed with a good looking, hard rocking woman, especially in a genera that is dominated by men. Front man, Shimon Moore, can sing, rock out, and play a decent guitar at the same time. Most artists, in my experience, either focus on playing, or singing even when they do both, Moore did both the entire time. While his guitar work isn’t the most complex, it still takes talent to multi-task on that level, especially when there is no rhythm guitar backing him up. Those that do attempt both, often times end up standing still, not true with Moore, he head banged as hard as any other band I’ve seen.
Did I mention the hot girl playing both slap and standard bass? Yeah, there was that.
Anzai tore the bass up in ways I’ve not seen in a long time. Especially not from the first opener.
Well done, folks. Well fucking done.
I would put this music on to: Rock out, Angst, or get rid of pent up anger
Second Act (Shinedown): (4/5) I’ve gushed at length about Shinedown in a previous review. While they played a short set, as they were only the second of four acts. Shinedown is a four-man alternative metal show. Brent smith has a voice that is so powerful that he had to hold the mic back from his mouth when he really belted (see above Re: the mediocre sound system). This particular set didn’t quite have the energy of one of their main act shows, but Smith still managed to get complete strangers to the band to jump and move. His stage presence and ability to work the crowd continue to blow my mind. He’s flirtatious, gracious, and sincere. I was a little surprised “45” never got played, as it was one of their single tracks, however, I think that was because the show was already a heavy on the emotional songs.
Speaking of which, there was a very nice touch about halfway through the set. Ronnie James Dio passed on recently, and they played their cover of Skynard’s “Simple Man,” in tribute to him. Smith put an incredible amount of emotion into it, I’d be lying if I said my eyes were dry for that number and I never really listened to Dio. Smith puts so much emotion and energy into what he does that you can feel it somewhere deep in your chest, its rending.
Unlike many acts, Shinedown’s shows aren’t all about the front man. He plays off his guitarist especially but other band mates as well and is very, very deferential when they have solos and is sure to give his band their moments in the light.
I would put on this music to: Cry, to make myself feel like I can overcome the odds.
Third Act (Breaking Benjamin)(2/5):I tried to like them, because they have a similar style to many bands I listen too, but ultimately I was more interested in the videos they played than the band itself. (Especially when they played a Halo video, I’m nothing if I’m not a geek.) Front man, Benjamin Burnley certainly tried hard, so he gets credit there, but frankly, the band lacked energy, and what energy the crowd produced was absorbed and not returned.
Also, the Burnley, if you read this, its pounced Poly-am-er-ous not Poly-aim-er-us. It’s a little thing, but man it bugged me. The song and video for polyamorous also insulting to people who practice polyamory.
I would put this on to: tune it out, get annoyed
Main Act(Nickelback): (4/5) A Nickelback show is a party that has 20,000 guests. This is the second show of theirs I’ve seen and while it gets a little predictable the second time around, is a true rock show. Frontman Chad Kroeger is a huge flirt and knows how to talk to the crowd. He’s got a terrific, dirty, sense of humor without crossing the line between naughty and crude. He’s a party animal without getting so caught up in the party atmosphere that he forgets how to sing and play. Its obvious that as much work as Kroger puts into his art, he’s there hanging with his best friends and his fans, who he treats as friends--even handing out shots to those who can show ID and shooting free t-shirts into the crowd. Other than for the sentimental songs, the grin never left his face.
Kroger also interacted very closely with his band mates, more so than others I’ve complemented for it. He even threw his band mates' names into a few of the songs to direct the crowd to them.
Then there was the drum solo, which was simply epic. Daniel Adair is an excellent drummer and has the endurance of a horse.
I don’t think I could talk about their set without talking about the pyro-show. Many times, Shiny Bright Things are used to distract the audience when the artist isn’t as goo d. However, in Nickelback’s case it functioned as punctuation, accentuating an already great show.
I would put this music on to: Party, kick back, drink, get laid.
Personally, I’m not much of a fan of arena settings. The majority of the seats are too far away and it’s often much more expensive (though this area is pleasantly not as pricey as others (in this case 85$ for floor tickets)) and people are more inclined to sit. As Brent Smith said during Shinedown’s performance, you’re at a rock show not church, stand up. I always feel like sitting through the majority of a rock show is insulting, these people are out there, performing so that you will dance and have a good time. Dance! Tangent aside, this venue did one thing right, they had better ventilation on the floor than I’ve seen in many smaller venues. I could actually feel a cool breeze when I was all the way in the front by the stage.
Another thing this venue has to offer that smaller ones don’t is the ability to use screens and pyrotechnics, which can really enhance a good show (or cover for a bad one like strobe lights)
As with all arenas, the food and drinks were over priced and the merch was rather limited. The bathrooms were clean considering the number of people they served. They were relatively clean, with good, working fixtures and no graffiti.
However, one of the downsides was that the sound system was sub par. Not horrid, just not the best one I’ve encountered.
The Crowd: (2/5) Again, this is partly a function of being at an area show, but the crowd was entirely too laid back for beginning at a show that had at least two bands that should have blown the roof of the place. They were also entirely too drunk to care.
On to the show itself.
First act (Sick Puppies) (3/5 show, 4/5 album): Ladies and gents sharpen your ears, these folks have talent. In person they were good, surprisingly metal for another wise straight up rock show. Being the opener they only played five songs. On the metal side of rock, these folks came all the way from Australia to rock us solid. The vocals were a nice combination of screams, grunts, and melody. Sick Puppies are a small three-person band (guitar/vocals, base, drums), two guys and a girl. Curiously, while bassist Emma Anzai rocks a mean bass, she didn’t sing in the live show (she does on a few tracks on the albums) I am always impressed with a good looking, hard rocking woman, especially in a genera that is dominated by men. Front man, Shimon Moore, can sing, rock out, and play a decent guitar at the same time. Most artists, in my experience, either focus on playing, or singing even when they do both, Moore did both the entire time. While his guitar work isn’t the most complex, it still takes talent to multi-task on that level, especially when there is no rhythm guitar backing him up. Those that do attempt both, often times end up standing still, not true with Moore, he head banged as hard as any other band I’ve seen.
Did I mention the hot girl playing both slap and standard bass? Yeah, there was that.
Anzai tore the bass up in ways I’ve not seen in a long time. Especially not from the first opener.
Well done, folks. Well fucking done.
I would put this music on to: Rock out, Angst, or get rid of pent up anger
Second Act (Shinedown): (4/5) I’ve gushed at length about Shinedown in a previous review. While they played a short set, as they were only the second of four acts. Shinedown is a four-man alternative metal show. Brent smith has a voice that is so powerful that he had to hold the mic back from his mouth when he really belted (see above Re: the mediocre sound system). This particular set didn’t quite have the energy of one of their main act shows, but Smith still managed to get complete strangers to the band to jump and move. His stage presence and ability to work the crowd continue to blow my mind. He’s flirtatious, gracious, and sincere. I was a little surprised “45” never got played, as it was one of their single tracks, however, I think that was because the show was already a heavy on the emotional songs.
Speaking of which, there was a very nice touch about halfway through the set. Ronnie James Dio passed on recently, and they played their cover of Skynard’s “Simple Man,” in tribute to him. Smith put an incredible amount of emotion into it, I’d be lying if I said my eyes were dry for that number and I never really listened to Dio. Smith puts so much emotion and energy into what he does that you can feel it somewhere deep in your chest, its rending.
Unlike many acts, Shinedown’s shows aren’t all about the front man. He plays off his guitarist especially but other band mates as well and is very, very deferential when they have solos and is sure to give his band their moments in the light.
I would put on this music to: Cry, to make myself feel like I can overcome the odds.
Third Act (Breaking Benjamin)(2/5):I tried to like them, because they have a similar style to many bands I listen too, but ultimately I was more interested in the videos they played than the band itself. (Especially when they played a Halo video, I’m nothing if I’m not a geek.) Front man, Benjamin Burnley certainly tried hard, so he gets credit there, but frankly, the band lacked energy, and what energy the crowd produced was absorbed and not returned.
Also, the Burnley, if you read this, its pounced Poly-am-er-ous not Poly-aim-er-us. It’s a little thing, but man it bugged me. The song and video for polyamorous also insulting to people who practice polyamory.
I would put this on to: tune it out, get annoyed
Main Act(Nickelback): (4/5) A Nickelback show is a party that has 20,000 guests. This is the second show of theirs I’ve seen and while it gets a little predictable the second time around, is a true rock show. Frontman Chad Kroeger is a huge flirt and knows how to talk to the crowd. He’s got a terrific, dirty, sense of humor without crossing the line between naughty and crude. He’s a party animal without getting so caught up in the party atmosphere that he forgets how to sing and play. Its obvious that as much work as Kroger puts into his art, he’s there hanging with his best friends and his fans, who he treats as friends--even handing out shots to those who can show ID and shooting free t-shirts into the crowd. Other than for the sentimental songs, the grin never left his face.
Kroger also interacted very closely with his band mates, more so than others I’ve complemented for it. He even threw his band mates' names into a few of the songs to direct the crowd to them.
Then there was the drum solo, which was simply epic. Daniel Adair is an excellent drummer and has the endurance of a horse.
I don’t think I could talk about their set without talking about the pyro-show. Many times, Shiny Bright Things are used to distract the audience when the artist isn’t as goo d. However, in Nickelback’s case it functioned as punctuation, accentuating an already great show.
I would put this music on to: Party, kick back, drink, get laid.
May 19, 2010
Tangent: Bad fans and Booze.
This is a tangent that has been brewing in my brain since i started paying attention to the audience. Hell, some of it has been brewing for longer.
so here are some mini rants for you:
section one: Booze
so here are some mini rants for you:
section one: Booze
- If you go to a show, don’t get to drunk to actually enjoy the show or drunk enough to bother other people. I’m not talking the “its my first time really drinking, and I had a beer/ shot too many” drunks. Those people i can deal with, they wobble a little, maybe even go politely puke somewhere. Everyone has a little too much occasionally, whatever, its cool. But I’ve run into far, far too many people so waisted they can’t stand properly, are being belligerent and oblivious, or are just plain rude.
- If you’re spilling your drink without anyone running into you, you can’t possibly have enough taste buds left to enjoy the taste, and you should not be trying to get more ‘buzzed.’ True story. My girlfriend and I were at a show at the lovely Metro on the floor. Someone on the balcony above repeatedly spilled her beer on us and the people around us. I brushed it off the first few times. It got bad enough that one of the other gals got security to talk to her. Her response: “where did my beer go?” perhaps another point should be “if you don’t notice it’s missing, you don’t need it.”
- Nearly knock me over, hit me hard enough to really hurt * or try to shove me out of the way while your trying to carry drinks and you will get elbowed/ shoved back. I have no issue defending myself/ my space. (see section 2: Bad fans)
- If you are so drunk that you are crying, its time to stop.
- Don’t even try if you’re under 21, you will get caught. Have the grace to go drink at a house, or a parking lot or somewhere where there aren’t dozens of security guards.
- If you arrived late, your ass is stuck in the back, I’m sorry. No, I will not move if you shove me out of the way. I will let you past but this is my spot. I got here at door. You couldn’t be arsed to stand through the openers? Tough titties. The exception to my spot guarding is the polite, 5’1 and under people who aren’t shovy and just really want to see, if i can see over you and you can’t see past me, you’re free to have some of the space in front of me. We’re all in this to enjoy the show. Or if you say “excuse me I’m just trying to get to my friend,” Fine, by all means nothing is scarier than getting isolated in a wild crowd.
- I am not paying to see your cell phone/ camera. I know you brought the camera to snag a few shots of the act, fine and dandy. Don’t just sit there with your camera in front of my face. Snag, and stash. I’m not paying to watch TV on a shitty LCD.
- If you shove, I will shove back. I have no problems doing so. I except some of this but if you’re being a shit, I’ll be a worse one guaranteed. and I’ll do it without bothering my bubble-mates. I’ m fine with a little jostling, that's par for the course.
- Don’t split up, you won’t find them again: This is mostly for the really huge packed crowds at places like areas/ on the floor. If your friend is buried in the crowd and you decided to get a beer mid show, you are stuck, I’m sorry.
Rating change
I’m going back to the 1-6 system because for some reason the 1-10 system is hurting my head. Same criteria really:
1. reserved for the worst of the worst. Something hopefully you will never see.
2: Not worth buying the CD, but tolerable
3: Alright, might be worth the CD if its a 5-10$ concert CD probably not worth shipping price. This is where I expect the majority of bands I’m not actively seeking out will fall
4.Worth buying, very good stuff.This is the stuff I actively seek out.
5 stuff a step above the average that really, really sands out.
6. reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
EDT:
A new addition, in the sprit of making some of this more personal, I’m going to add a line about what I think this music is good for. (ie good makeout music, good dance music, good angry music)
1. reserved for the worst of the worst. Something hopefully you will never see.
2: Not worth buying the CD, but tolerable
3: Alright, might be worth the CD if its a 5-10$ concert CD probably not worth shipping price. This is where I expect the majority of bands I’m not actively seeking out will fall
4.Worth buying, very good stuff.This is the stuff I actively seek out.
5 stuff a step above the average that really, really sands out.
6. reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
EDT:
A new addition, in the sprit of making some of this more personal, I’m going to add a line about what I think this music is good for. (ie good makeout music, good dance music, good angry music)
May 16, 2010
Bamboozel 2010: Kill Hannah, 3OH!3 at the Charter One Pavillion
Bamboozle (8/10): Music festivals are an entirely different animal than most other shows. They tend to be outside and people don’t usually come explicitly for one artist. Some people come just for the atmosphere. Overpriced beer and junk-food may not be as appealing in other arenas but when you’re hanging out with friends and hearing live music, to some that is excellent.
And of course, there’s the music, for the price of one show (or less for some festivals) you can see multiple artists. The sets and the fame usually get bigger as the night progresses.
In Bamboozle’s case it was $35 for up to twelve acts (some were DJ). I was a little more selective than that and went to just three acts(I skipped reviewing Treaty of Paris as I was exhausted) and overheard the rest. One of the things that made Bamboozle unique from what I’ve seen is that you could actually see all of the acts present. There was no overlap between sets. While this meant shorter sets, it also meant you didn’t have to pick and choose. The side stage was also close to the main stage so you didn’t have to bolt between sets.
This was like the speed dating of festivals. other festivals i’ve seen are 3 days or more with 1-2 hour sets (my old home town, Milwaukee festival Summerfest (warning flash site), is a full 11 days long) Bamboozle managed to cram what could have been two days worth of music into one. The result could have been catastrophic, but it was amazing. The sets i saw were only 30 minutes a piece, and were very close together.
The Venue--( Charter One Pavilion at Northerly Island)(7/10) I feel like im comparing apples to oranges when rating an outdoor venue against indoor venues. They are really differnt animals. The Charter One Pavilion has an enormous 7,500 person capcity, yet I’ve been in several plces at the venue and you can generally see fairly well (exception is the par for the corse 6 foot tall guy in front of my 5’1“ self, which thankfully didn’t happen this go). Another nice thing about sprawling outdoor venues is you get all the volume without as much pain on the ears. This venue has been suprisingly cheep too. I think the most I’ve paid for a show there was $75.
I feel most of the downsides are part of the nature of outside venues (weather, not as clean). However, the food and beverage prices are a bit ridiculous even for a concert ($4-5 for a 20oz bottle of water, $8 for nachos)
There was one odd nice touch, the merch booth took credit cards wich I’ve never seen before at an outdoor festival, heck some indoor shows don’t take credit, wich was a huge load off my mind.
The crowd--(6/10) The usual festival crowd which was a mix of very lively fans and laid back folks who were just there for the festival. A very comfortable, but hard to rate and even harder to anylize crowd.
On to the shows:
First Act-- (Kill Hannah)(7/10) An old favorite of mine that I’ve gushed over repeatedly, so I’ll keep it short. This was the welcome home show after an intense three week tour of Europe. They were wonderful as usual, with front man Mat Divine’s powerhouse energy and unique voice carried over a set that comprised of as many songs as the band could play in thirty minutes. It was a pleasure to see the guys back on their home stomping grounds.
And even more of a pleasure to see the guys Just hanging out and signing and chatting with fans. It was not the traditional Meet them from behind a table, be forced to buy a CD and wait in a huge line set up. They were just there among the people. While not part of the set, i found it really cool how amicable they are with their fans.
Second Act (3OH!3) (8/10): A total surprise considering It took a very long time for me to warm up to their recorded work and even now I only really like a few songs. They really brought the metaphoric house down.
3OH!3 is an odd band that is hard to figure out what to make of (according to wikipeda they are ”crunkcore“ I’d put them closer to hip-hop). On first listen their lyrics are rude, and seem sexist but there is something inexplicably catchy about it. However, the more i listen to them, the more i think they are parodying the hip hop culture, a bold move for young men who very clearly don’t look like they are a part of that culture. Its tongue in cheek that often comes very close to the style it is parodying.
Frontmen Nat Motte and Sean Forman were smashing on stage. I’ve never seen a hip hop show live before, and this was really something. The two of them were not only very articulate but incredibly fast spoken. I found myself genuinely liking them which frankly surprised me. They also took a moment to introduce the rest of the band, a nice touch and balanced the set nicely only intruding one completely new song, which the crowd liked as much as the previous set.
Electronic is hard to balance, and I think they did a very nice job incorporating electronic elements without it being a distraction.
Overall a good show.
And of course, there’s the music, for the price of one show (or less for some festivals) you can see multiple artists. The sets and the fame usually get bigger as the night progresses.
In Bamboozle’s case it was $35 for up to twelve acts (some were DJ). I was a little more selective than that and went to just three acts(I skipped reviewing Treaty of Paris as I was exhausted) and overheard the rest. One of the things that made Bamboozle unique from what I’ve seen is that you could actually see all of the acts present. There was no overlap between sets. While this meant shorter sets, it also meant you didn’t have to pick and choose. The side stage was also close to the main stage so you didn’t have to bolt between sets.
This was like the speed dating of festivals. other festivals i’ve seen are 3 days or more with 1-2 hour sets (my old home town, Milwaukee festival Summerfest (warning flash site), is a full 11 days long) Bamboozle managed to cram what could have been two days worth of music into one. The result could have been catastrophic, but it was amazing. The sets i saw were only 30 minutes a piece, and were very close together.
The Venue--( Charter One Pavilion at Northerly Island)(7/10) I feel like im comparing apples to oranges when rating an outdoor venue against indoor venues. They are really differnt animals. The Charter One Pavilion has an enormous 7,500 person capcity, yet I’ve been in several plces at the venue and you can generally see fairly well (exception is the par for the corse 6 foot tall guy in front of my 5’1“ self, which thankfully didn’t happen this go). Another nice thing about sprawling outdoor venues is you get all the volume without as much pain on the ears. This venue has been suprisingly cheep too. I think the most I’ve paid for a show there was $75.
I feel most of the downsides are part of the nature of outside venues (weather, not as clean). However, the food and beverage prices are a bit ridiculous even for a concert ($4-5 for a 20oz bottle of water, $8 for nachos)
There was one odd nice touch, the merch booth took credit cards wich I’ve never seen before at an outdoor festival, heck some indoor shows don’t take credit, wich was a huge load off my mind.
The crowd--(6/10) The usual festival crowd which was a mix of very lively fans and laid back folks who were just there for the festival. A very comfortable, but hard to rate and even harder to anylize crowd.
On to the shows:
First Act-- (Kill Hannah)(7/10) An old favorite of mine that I’ve gushed over repeatedly, so I’ll keep it short. This was the welcome home show after an intense three week tour of Europe. They were wonderful as usual, with front man Mat Divine’s powerhouse energy and unique voice carried over a set that comprised of as many songs as the band could play in thirty minutes. It was a pleasure to see the guys back on their home stomping grounds.
And even more of a pleasure to see the guys Just hanging out and signing and chatting with fans. It was not the traditional Meet them from behind a table, be forced to buy a CD and wait in a huge line set up. They were just there among the people. While not part of the set, i found it really cool how amicable they are with their fans.
Second Act (3OH!3) (8/10): A total surprise considering It took a very long time for me to warm up to their recorded work and even now I only really like a few songs. They really brought the metaphoric house down.
3OH!3 is an odd band that is hard to figure out what to make of (according to wikipeda they are ”crunkcore“ I’d put them closer to hip-hop). On first listen their lyrics are rude, and seem sexist but there is something inexplicably catchy about it. However, the more i listen to them, the more i think they are parodying the hip hop culture, a bold move for young men who very clearly don’t look like they are a part of that culture. Its tongue in cheek that often comes very close to the style it is parodying.
Frontmen Nat Motte and Sean Forman were smashing on stage. I’ve never seen a hip hop show live before, and this was really something. The two of them were not only very articulate but incredibly fast spoken. I found myself genuinely liking them which frankly surprised me. They also took a moment to introduce the rest of the band, a nice touch and balanced the set nicely only intruding one completely new song, which the crowd liked as much as the previous set.
Electronic is hard to balance, and I think they did a very nice job incorporating electronic elements without it being a distraction.
Overall a good show.
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