NYS Music 20​13

Category: UpstateLIVE Archives

  • Allman Brothers Band and Steve Winwood at SPAC, August 27th

    There was no better way to spend the end of August in Upstate New York than with The Allman Brothers Band and Steve Winwood at Saratoga Performing Arts Center. The American rock group lineup currently consists of original member keyboardist Gregg Allman , drummer Butch Trucks and Jaimoe, vocalist and lead guitarist Warren Haynes and Derek Trucks, bassist Oteil Burbridge and Marc Quinones on congas and percussion.

    The evening started with singer-songwriter Steve Winwood and guitarist Jose Neto, sax player Paul Booth, drummer Richard Bailey, and percussionist Café DeSailva. Winwood’s set consisted of a little bit of everything as he touched base on his solo work to the Spencer Davis Group to Traffic and to Blind Faith. “Light Up or Leave Me Alone” was one of the highlights as it provided everyone with solos and a chance to showcase their individual talents. “Dear Mr. Fantasy” brought the crowd to their feet as the band went straight into “Gimme Some Lovin” as Warren Haynes and Derek Trucks could be seen from off stage with huge smiles on their faces.

    Setlist:  Rainmaker, I’m a Man, Can’t Find My Way Home, Had to Cry Today, Low Spark of High Heeled Boys, Light Up or Leave Me Alone, Higher Love, Dear Mr. Fantasy, Gimme Some Lovin’

    Download link 

    The Allman Brothers Band started the evening with Haynes and Trucks blasting a few high noted classic American badass frets. The two guitarists made their own musical language consisting of string sliding and plucking throughout the night that everyone in the audience could understand. The ABB bring a special energy to their shows that you can always channel with an open heart and mind. It’s a timeless sound, southern comfort smooth. “Revival” did just that, bringing a light to the inside audience that glowed over the folks on the lawn and energized everyone with the lighthearted gospel soul with the repeating chorus line, “People, can you feel it? Love is everywhere.”

    There was a steady psychedelic kaleidoscope slideshow on the backdrop that suited the spacey jams and relaxed atmosphere. The stage was loaded with vintage amps and instruments that carried the familiar sounds the ABB has been known for. Their lyrics are honest and easily relatable to listeners of all ages as each song holds a story to be told. From far out cosmic jams, ABB went from hard rock to a bluesy jazz “Midnight Rider.” At one point during the night, Marc Quinones nearly broke his bongos delivering a solo full of flavor. “I Found a Love” featured fantastic harmonies as Steve Winwood joined the band onstage for the first time this tour, accompanied by Jay Collins and Rachel Turner during “The Weight”. The evening came to a close with the encore of “One Way Out”, as fans from every decade left filled with feelings of appreciation and admiration.

    SetList:  Don’t Want You No More > Not My Cross To Bear, You Don’t Love Me, I Walk on Guilded Splinters, Woman Across the River, Revival, Key to the Highway, Who’s Been Talking*, Midnight Rider, I Found a Love^, The Weight^^, Dreams, The Same Thing%, Black Hearted Woman

    Encore: One Way Out
    Notes *with Jose Neto, Edson “Café” da Silva & Richard Bailey
    ^with Steve Winwood
    ^^with Steve Winwood, Jay Collins and Rachel “Stixx” Turner
    %with Paul Booth, Richard Bailey and Ben Stiver

  • Tallahassee Soothes at the Bug Jar

    Tallahassee strummed their tunes to an intimate Sunday night crowd at the Bug Jar in Rochester.

    Under dark lights the four-man band revealed their soulful sounds playing folk rock songs with an Americana twist.   Their haunting sounds kept the audience in a trance-like state only to be broken by the applause after each songs end.  This is not a band that gets lost in light shows and on stage spectacles.  They felt like home on stage, keeping it real from beginning to end.

  • 10 Years Later: In Memory of Warren Zevon

    I first learned of Warren Zevon sometime in the early 1990s, by way of the song “Werewolves of London,” which was playing on Dr. Demento, or perhaps it was just in the rotation on PYX 106 in Albany. Either way, I had those lyrics quickly memorized and thought the song was funny. But I paid no attention to the man behind the curtain for a long time.

    In 2000, I was introduced to Widespread Panic by my brother Chris and in the next couple years I saw the band a few times and collected bootlegs of shows along the way. In the process, I came across a great song, “Lawyers, Guns and Money”, which I would play and sing loudly during my travels. It took until later in 2002 to find out that the song was written by the same guy that wrote “Werewolves”, Warren Zevon. The adventure into learning more about this mysterious musician had begun and I was hooked on his music.

    Warren ZevonArt by RJ Matson

    But I was almost too late. I tuned into Letterman one night by pure happenstance, to watch what would be Warren’s final appearance on Late Show with David Letterman. He didn’t look sick, he looked like a Rock Star. I watched the conversation between two friends unfold, Letterman asking Zevon about what he had learned about life from the point of view of someone dying. Warren’s response was simple: “You’re reminded to enjoy every sandwich…”, a phrase that would become the title of his tribute album, released in 2004, featuring many of his friends, family and artists he influenced. Enjoy Every Sandwich is not only great advice but a proper tribute album, and one I highly recommend for even casual Warren fan unfamiliar with his catalog. Warren played a few songs that night, interacted with Paul Shaffer and Dave all the while in what became a classic night of Letterman.

    A year later, 10 years ago today, Warren Zevon died of inoperable peritoneal mesothelioma, but only after recording The Wind, which would win Two Grammy, including Song of the Year, and featured many of his friends and contemporaries – Bruce Springsteen, Dwight Yoakam, EmmyLou Harris, Joe Walsh, Jackson Browne and Tom Petty, among many others. Gone was a quietly influential, dark and twisted mind that crafted incredible ballads, classic rock tunes and sing-a-longs.

    Zevon is far more than the guy who wrote “Werewolves of London”. In fact, if that’s the only song you know of his, keep reading! Warren Zevon is an incredible singer-songwriter who took personal struggles and dark topics and turned them into hilarious, and at times depressing songs, which painted a picture of a troubled yet creative psyche.

    A couple examples of Warren’s lyrical stylings:

    “I called up my friend Leroy on the phone, I said buddy I’m afraid to be alone, cause I got some weird ideas in my head, about things to do in Denver when you’re dead” – “Things to Do in Denver When You’re Dead”

    “Michael Jackson in Disneyland, don’t have to share it with nobody else, lock the gates Goofy, take my hand, and lead me through the world of self” – “Splendid Isolation”

    “Well I’m going to Detox Mansion, way out on Last Breath Farm. I’ve been raking leaves with Liza, me and Liz clean up the yard” – “Detox Mansion”

    “Carmelita, hold me tighter. I think I’m sinking down. And I’m all strung out on heroin on the outskirts of town” – “Carmelita”

    Warren also on a classic episode of The Larry Sanders Show, provided “Even the Dog Can Shake Hands” as the theme song to the short-lived 1999 TV show Action, and Kevin Smith’s soon to air hockey film-turned-miniseries, Hit Somebody!, is based on the song of the same name by Zevon (featuring David Letterman’s vocals).

    You can find these and many other incredible songs in his collection on the Internet Archive, a wonderful resource for music and much, much more. Three shows from Upstate New York are featured on the Archive: Saratoga Performing Arts Center 1991, Saratoga Winners 1993 and Sideshow Music Hall in Lackawanna 1999. You can also listen to a full performance below from The Warehouse in Rochester in 1988 below.

    Warren Zevon was only 56 when he died, leaving behind his son Jordan, a singer-songwriter living in Los Angeles. A biography written by his ex-wife, Crystal Zevon, I’ll Sleep When I’m Dead: The Dirty Life and Times of Warren Zevon, received high praise when it was published in 2008 and is in the same league as Keith Richards’ rock and roll lifestyle detailed in his acclaimed memoirs. Warren is gone but not forgotten and his music lives on, as musicians like Widespread Panic and Bruce Springsteen, not to mention many Jerry Garcia Band recordings, continue to share his music and introduce future generations of fans to his music and songwriting genius.

    New York Times – Warren Zevon’s Last Waltz

    The Guardian – Warren Zevon: the man behind the demons

    UltimateClassicRock.com – Top 10 Warren Zevon Songs

    Warren Zevon Internet Forums – tons of music, links, discussion on all things Warren.

  • It’s Back to Labor Day Weekend for moe.down in 2014!

    For the first 10 years of moe.down, Snow Ridge Ski Resort in Turin was the home and Labor Day was the weekend – an end of summer tradition everyone in the Northeast that called themselves a moe.ron looked forward to experiencing. Then there was the ill-advised shift to Mohawk at Gelston Castle for moe.downs 11 and 12, but fortunately fans convinced the band to move back to Turin, with a shift to mid-August for moe.downs 13 and 14. Now, things have come full circle in the past 5 years and moe.down 15 will return to Snow Ridge Ski Resort for moe.down 15 on Labor Day weekend.

    labor day weekend moeA message from moe.: “We are excited to announce moe.down is moving back to Labor Day Weekend! A lot of thought has gone into this decision. It wasn’t easy: so many people liked the new weekend, but a number of people also missed the advantages of the holiday weekend. We hope all of you can still join us. Watch for updates, 15 will be moe.mentous! August 29,30&31 2014 Snow Ridge Ski Resort Turin, NY”

    Fans were asked to vote on the preferred date for moe.down, and while Mid-August was the fan favorite, Labor Day was the decision fans went with. Looks like Phish at Dick’s  may have some competition for fans of both bands. Or maybe not.

    Read Amy Fischer’s review of moe.down 14. moe. plays December 30th and 31st at The Palace Theater in Albany. Pick up tickets here.

  • Jahman Brahman at Fontana’s, August 15th

    The hustle and bustle of Chinatown subdues itself into the night as Cantonese-speaking shopkeepers wind up their little theaters along the street. If you didn’t notice the group of people flocking onto the corner of Grand and Eldridge, you’d think that this Manhattan borough was done for the day. Outside Fontana’s, people are taking their IDs out, waiting in line to get in. Past the pool people, they follow the shredding and flowing music to its source in the room below and find themselves in the presence of jam band Jahman Brahman.

    The place is dark and the only light comes from a bunch of girls’ light-up hula-hoops from across the room. A seemingly lost woman stumbles her way to the dance floor in her salmon colored dress and before you know it, the place is packed. There are couples holding hands, people sporting bizarre animal costumes…the works. And judging by the passionate crowd that has mustered, you would think that the band has played on this stage a hundred times before even though it’s their first time in the city.

    The Asheville-based band fuels the crowd with a burst of energy as they open and it isn’t long before guitarist Casey Chanatry shreds his Paul Reed Smith guitar with Santana swag. As Brown sings the words “So much bigger than you”, the whole crowd starts singing along. Between rim shots in the dark scene and the delirious expressions on drummer Keelor’s face, the crowd cheers in excitement. Josh Loffer programs spacey animal sounds into his keystrokes, creating an elusive special atmosphere with his histrionics.

    The groovy bass line pumps up the crowd as they close with “Cannonball”. Bearing traits from electronica to classic rock and jazz, the band’s unique style offers something for everyone. Whether it was the man in the suit trying to relax with his beer or the couple on a date, there is no doubt that everyone had a good time and left the venue content with what they heard.

  • “User Correction” by Jeff Bujak is an Electronic Innovation

    User Correction by Jeff Bujak finds itself at the corner of fun and innovative. Like a well rounded student, his composing is intelligent and party worthy. On the album Jeff explores the world of electronica through the looking glass of a classical composer. His music makes the perfect argument to anyone who claims that electronica isn’t “real music”. As a five year old living in Syracuse, Jeff was already learning about real music through piano lessons which comes as no surprise after hearing his intricate work. Now all grown up and a resident of North Hampton, Massachusetts, he has a tour roster that would rival that of many successful musicians and quite the impressive online following.

    In addition to his talent on the piano, it is apparent that Bujak is a jack of all instruments and uses his widely versatile taste and skill sets to push the musical envelope. Bujak is the kind of musician with a great knack for keeping the listeners attention. There are no two tracks on this album that have the same feel. Each song has a different inspiration. The first track on the album titled “User” creatively samples snipits of “Everybody Rules the World” by Tears for Fears, but keeps you steady grooving without temptation to switch to the original song. The third track “Fiks” does this as well and almost takes you by surprise when you realize the cool vocals are from the song “Fix You” by Coldplay.

    Later in the album Jeff shows off his ability to challenge the electronic genre with the piano. I have never before heard an artist make classical piano so easy to rave to but Jeff seamlessly pulls this off multiple times in the album in the tracks “Cleen”, “Laylice” and “Abbeat”. He concludes the work with a hilarious electronic ode to hipster haters with a vibey drum pattern – ironically of course exactly the type of thing a hipster would jam to and finally ends it with a stunning stripped down piano showcase.

    Watch Bujak’s Live Performance at Mojo’s, Jamestown NY

    Check out Jeff’s tour dates HERE !

    To stay updated like Jeff Bujak on Facebook

  • Woodstock Sessions with Alan Evans Trio: Taking the Concert to the Studio

    The opportunity of a lifetime. “No overdubs, no second chances – just a moment captured in time”, says guitarist Danny Mayer. History was made in just 85 minutes of creative passion. The Alan Evans Trio caught lightning in a bottle with what looked like relative ease as the band embarked on the first ever Woodstock Sessions last weekend, where they got the chance to record a live album with thirty exclusive guests at Applehead Recording Studios.

    AE3_6688_1
    photos by Chris Daniele and Barry Bellamy

    Anticipation ran high as something special was surely going to be made that Saturday night. The scenic drive up offered only brief distractions. This was more than just a concert, and overwhelmingly felt that way. There aren’t many things on the same level as your wedding day or the day your child is born, but this was approaching that intensity. You could feel how special this truly was from the second you drove up the dirt access road. It was both making history and laying the groundwork for future sessions at the same time. We weren’t on the actual grounds in Bethel, but maybe there was a reason they were calling this the Woodstock Sessions.

    The atmosphere as you arrived felt intimate and inviting, which would set the tone for the evening. The studio itself sat hidden in what appeared to be an old barn, set quite a ways back from the road. Drummer Alan Evans said, “The Woodstock Sessions had a little bit of everything. It felt like a small festival, it felt like a family get together, it felt like a gig. It was really unique.” Thirty guests from all over the country descended upon the property and slowly trickled in one by one. The band, relaxed and easily blending in, greeted everyone as they arrived and began settling in. As the food was cooked and setup, Alan, Danny, and Beau were just hanging out, drinking beer, and shooting the breeze. There might not have been any true family relation, but there was definitely a shared appreciation for creative expression, musical intelligence, and one class-act band that brought everyone together. Studio owner Michael Birnbaum noted, “We wanted to accommodate the intimacy of the relationship between an artist and their fans and have the people be an energetic accelerant for the entire process.”

    As dinner wrapped up and the sun slowly began to set, everyone knew that it was time. We slowly funneled into the studio for what was going to be the experience of a lifetime. The inside was in striking contrast to the exterior and drew everyone’s eyes up and down as they stepped through the doors. The wood that covered the interior was warm and rich in color, a winding staircase gave a birds-eye view, and there was nothing but equipment that separated you from the band. As you sat in anticipation, you realized how real this was becoming. Guitarist Danny Mayer, says, “The vibe in the room when we played was almost the same as the barbecue, but with a significant amount of excitement in the air.” It was like an MTV Unplugged session, but imagine sitting on the stage. There were no barriers. The instruction was to just have a good time, nothing else. The band looked around at each other to make sure all were ready to begin. The time was finally here.

    DSC_0765
    photos by Chris Daniele and Barry Bellamy

    And just like that, the band exploded into the set with the relentless attack of “They Call Me Velvet”. At any normal show, the guys would just be getting their feet under them, but they hit the ground running on this night. As the set evolved, the band had such command over the feel and sound. At times, they sent you blasting off into the atmosphere with their forceful play and other times they would reel you back down to Earth. The dynamics were simply beautiful. The band was firing on all cylinders, churning out a mix of the tightest funk, the most emotional of blues, and expressed to the jazz degree. They were more locked in and focused than most had ever seen them. Bandleader Alan Evans commanded the tempo like few drummers have the ability to do. His poise and power behind the kit delivered a beat that grabbed your foot and tapped it for you. Ears and souls were satisfied to the fullest. Michael Birnbaum, says, “It was shocking how powerful the recording sounded when we played it back.” At the end of the final song, there was an apex and one last sendoff as Alan used his kick drum in a manner that sounded like fireworks to appropriately close the session.

    The expression of “What just hit me?” was plastered over everyone’s face around the room. Music fans of the world, take note, this band and this studio just made a profound discovery that everyone needs to know: this is the way music is supposed to be recorded and the quintessential way for music to be listened to. Music is supposed to have human error and flaws; it’s what keeps things real. There was no auto tuning applied, fixing of solos or patching anywhere. This was raw and done in just one take, as they achieved something as close to flawless as real music is supposed to go. It truly achieved perfection though through the deep expression of the band and the energy that the guests gave right back.

    To steal a line from Ralphie, this was “electric sex”. Instead of light glowing through a window though, this was a penetrating sound that was experienced within feet. It hinged on feeling like a religious experience as your soul felt enlightened after experiencing music in a way it had never been experienced before as a fan. The humbleness and appreciation the band expressed was second to none as well. Al might have moved away from his hometown of Buffalo, but The City of Good Neighbors has clearly left a resonating impression that he carries with him today. Seconds after the closing note, each of the guys jumped into deep conversations with the fans who attended on topics ranging from their gear to how the experience felt. This was family now as this group shared something that will bond them together forever.

    As some camped out that night and others went back to their hotels, there was a collective high and feeling of privileged unity as we all bore witness to a performance that had never been captured quite like that. The drive home felt as though you were awaking from one of those dreams you clench your eyes to get back into. The reflective solitude of silence after something like that is powerful. Thankfully for everyone that didn’t get the opportunity to share in this, the studio plans on making live attended recording sessions a regular occurrence. And while other bands will surely share something intimate with their fans in future iterations, there’s just something about the first time.

  • JAMerica the Beautiful – A Book Review

    Peter Conners takes on a noble task in his recently published work, JAMerica: The History of the Jam Band and Festival Scene. He attempts to bring to light a clear definition of the term ‘jam band’ and everything it entails. By noting all the similarities and influences of the artists and bands that fall into this seemingly broad genre, Conners makes every effort to give the reader a better idea of how this term has made its way into popular culture and why it’s still there. He offers insight into the seminal moments and venues that have helped spur this counterculture movement into what it is today. And he does this in, perhaps, the most fitting way possible: by having the people who were directly involved in the origins of the scene as well as those who are still prominently involved in it tell their own story.

    jamerica

    The book is molded in the same fashion as another popular read that attempts to define and explain a different musical genre, Legs McNeil’s Please Kill Me: The Uncensored Oral History of Punk. Conners spent two years interviewing people who were prominently involved in the early days of the jam band scene and they share their memories and offer insight from everything to early gigs, to developing fan bases, to the rise of show tapers. Whether it’s John Popper rehashing old details from an early gig at Columbia University or Mickey Hart theorizing on the power of music, JAMerica gives the reader first hand tales with little to no filter on them that shine a light on both the jam band scene and the music industry as a whole.

    It tells the story of just how influential the now defunct New York City club Wetlands Preserve was for acts like The Spin Doctors and Blues Traveler. It highlights the truly unique and ground breaking origins of the H.O.R.D.E. Festival and how successful modern festivals like Bonnaroo can trace its roots back to this roving experiment of “hippy” bands. It offers an explanation as to how a band like Phish went from playing small club shows to arenas in a matter of years and serves as an excellent teaching tool for any current band looking to do the same. It shows the vast and seemingly universal influence that The Grateful Dead had on bands ranging from Dark Star Orchestra to Jane’s Addiction and everything in between. Along the way, JAMerica tries to take these stories and first hand personal encounters and use them to offer explanations on musical improvisation and paint a picture of the scene that relies on this so heavily. It even attempts to lock down the origins of the word “jam band”. Spoiler alert: esteemed Relix editor Dean Budnick is prominently involved.

    Like any good “jam” concert, the book does tend to be a little all over the map at points and shifts from one musical era to another in the blink of an eye. It would also be a little more helpful if the sources were better identified when first used or if there was an earlier written notice that a list of contributing sources and a short bio for each is found in the back of the book. Unless the reader is prominently involved in the music industry, there are bound to be some sources used in this that are not recognizable by name alone.

    By having these sources open up and tell their own stories, Peter Conners does an admirable job in giving this popular musical genre both a more tangible definition and the credit it so richly deserves in influencing a generation of bands and artists. Interestingly, it even shows how some acts were initially opposed to being associated with the ‘jam band’ label but have now fully embraced it. By all accounts, JAMerica is the most complete work out there that attempts to tell the story of the jam band scene and how it has reached its current state of popularity. However, it’s important to note that this is still a story being re-written and modified every day.

    Buy book on Amazon or at Pete’s website Jamerica.net.

     

  • Review: A Glimpse of CARNIVAL OF MADNESS

    The music playing in the overhead speakers came to a screeching halt, hinting it was time for the insanity known as Carnival of Madness to begin. We As Human was the first to hit the stage, starting their speedy setlist with “Sever” and “Dead Man”. Skillet’s John Cooper accompanied the band for the performance of “Zombie”, and the band finished the set with “I Stand” and their current single “Strike Back”. They left the eager concertgoers hungry for more of their music, but they all knew it was time for In This Moment to carry the torch of madness.

    In This Moment began with the first song from their latest record, “Rise with Me”, the daunting setting intensified as a cool fog rolled across the stage and the two white-masked backup dancers made their way to their posts and waited for Upstate New York’s siren to make her presence known. Maria Brink, clad in a red ringmaster coat and a top hat, stepped onto the platform and grabbed the skull staffs as the band began to play “Adrenalize”. Her dancers then handed her a smoke gun, hinting the next song to play was “Blazin’”, her piercing shriek gave the ever-adoring fans such chills. For the next song, “Whore”, Maria wore a white button down shirt and a plaid mini skirt with a cone hat that read WHORE. At the end of the song, Brink gave the hat to an over-eager fan. In This Moment ended their set with “Burn” and “Blood”. During those two songs, Maria wore a red billowing cape, definitely a fitting outfit for both songs. In This Moment definitely pumped the fans up for Skillet’s heavenly arrival.

    To say Skillet‘s introduction was “awesome” is a huge understatement. They started with a heavy electronic remixed version of “Hero”, the anticipation from the fellow concert junkies growing within every booming second. Finally, Skillet made their presence known, immediately starting their set with “Hero”, quickly followed by “Whispers in the Dark”. John introduced the next song from their latest album, Rise, “Sick of It” to which the fans began to chant with Cooper, then the band went straight into the catchy, heavy-beat song. Skillet then brought out their two musicians who played the strings intro for “Comatose”. The next to be performed was “Rise” and the band surprised their fans with their rising platforms during the performance of “Awake and Alive”. Before Skillet proceeded with “The Last Night”, John gave a brief explanation of the song, of a close friend attempted to end her life, and he wrote the song to say that God is more than willing to give second chances, because everyone deserves them. Afterwards, the band played “Not Gonna Die”, “Circus for a Psycho”, ending the set with “Monster” and “Rebirthing”. Skillet sure did put on a very powerful performance, filled with songs that will haunt the back of the music lovers mind for the rest of the night. Oh, but the madness did not end there. It was Papa Roach‘s turn to reveal what they had in store for us.

    By the looks of it, Papa Roach was more than ready to blow everyone away, starting their set with “Still Swingin’”, proceeded by “Blood Brothers”, and “Give Me Back My Life”. The madness brewing from the crowd was definitely kicked up a notch with Papa Roach‘s killer performance. But the party was really getting started, they continued their set with “Between Angels and Insects”, “Where Did the Angels Go”, and “Burn”. The moshing and head-banging intensified with every waking minute that Jacoby Shaddix was doing what he does best, riling up the crowd with his fantastic pipes. Still, he was not done with heating the fans up with “Forever”, their current single, “Leader of the Broken Hearts”, and their classic, “Scars”. Papa Roach left the very excited crowd with “…To Be Loved”, “Getting Away with Murder”, and their very well known single, “Last Resort”. Now it was time for Shinedown to blow a hole in the stormy sky.

    Shinedown started with a giant black drape set in front of the stage with their symbol in the dead center of it. The lights dimmed, hinting it was time for the madness to continue. Brent Smith’s powerful, melodic voice could be heard from behind the drape as he began to sing “I’m Not Alright”, then the drape dropped and revealed what was really going on behind the curtain. Street performers waving flames around, fire-breathers on the stage, it was the very definition of what is expected of the Carnival of Madness. Shinedown continued their set with “Enemies”, “Devour”, and “Unity”. Through the speedy setlist, they proceeded with “The Crow and the Butterfly”, their fast paced track, “Adrenaline”, and their very moving yet powerful current single, “I’ll Follow You”. The next song to play was “Diamond Eyes (Boom-Lay, Boom-Lay, Boom)”, the overhead lights spelled out BOOM after each time Shinedown yelled out the word. The thunderstorm outside of the amphitheater began to intensify with every beat of the song and at the last BOOM, a crack of thunder shook the ground, as if God was really rocking out to Shinedown as well. They then continued with “If You Only Knew”, “Amaryllis”, and “45”. But the evening did not end there. Shinedown briefly left the stage, leaving some of the fans chanting their name, begging for more. They then returned to the stage, giving the crowd the encore they’ve all been waiting for: the song that fits their performance perfectly, “Sound of Madness”, “Second Chance”, and their infamous cover of Lynyrd Skynyrd‘s “Simple Man”. Shinedown ended the evening with the first single from their latest record, “Bully”. One mind-blowing way to end the evening.

    All in all, this event was just definitely indescribable. One would have to be there to witness the insanity known as Carnival of Madness. Be sure to check out upcoming tour dates on the website, www.carnivalofmadness.com. This is something you will not want to miss!

  • Review: SURRENDER THE FALL Rocked House of Rock

    Despite the fact that not that many people seemed to be interested in the opening bands, quite a few fellow concert junkies really warmed up to Surrender the Fall.

    Surrender the Fall

    Surrender the Fall started their speedy setlist with “Love Hate Masquerade”, quickly followed by “Everything You Want Me to Be”, and “Bleed”. The concert goers from the back of the small venue began to make their way towards the front of the stage, intrigued by this band’s unique gruff sound. The band then continued with “Pitiful” and “Deeper Inside”, by the end of the song, a small group had formed in front of the Tennesseean band, completely mesmerized by their killer sound and rocked their hearts out. The band finished their set with their current single, “Some Kind of Perfect” and “Nothing”.

    To say the least, this opening band made their mark with their energizing vibe, their very catchy tunes, and their strong ability of connecting with the fans. All in all, Surrender the Fall rocked the House of Rock.