Category: Features

English Rock Legends UFO and Saxon Announce U.S. Spring Tour

Pioneering English hard-rockers UFO have announced a spring tour commencing March 9, 2017 at Scout Bar in Houston, TX and concluding April 2, 2017 at Brighton Music Hall in Allston, MA. The tour also includes a two-night stay at the B.B. King Blues Club in New York, NY. UFO will be joined on all dates by fellow New Wave of British Heavy Metal progenitors Saxon along with special guest Jared James Nichols. This will be the first time UFO and Saxon have toured together since the 1980s.

Visit UFO, Saxon, and Jared James Nichols’ facebook pages to learn more.

UFO is busy in the studio comleting their 22^nd album, the follow-up to 2015’s A Conspiracy of Stars, which is reportedly a collection of covers. The current lineup features original members Phil Mogg (vocals) and Andy Parker (drums), as well as Paul Raymond (keyboard/guitar), Vinnie Moore (guitar), and Rob De Luca (bass).

Here’s live footage from earlier this year of UFO playing their classic “Rock Bottom.”

[embedyt] http://www.youtube.com/watch?v=l-kvk21KbsA[/embedyt]

Let Me Feel Your Power, a new double live album from British metal stalwarts Saxon, is due out October 28, 2016 in the United States on UDR Music. Saxon consists of Biff Byford (vocals), Paul Quinn (guitar), Nigel Glockler (drums), Doug Scarrett (guitar), and Tim “Nibbs” Carter (bass).

Check out Saxon performing “Wheels of Steel” in support of their new live album.

[embedyt] http://www.youtube.com/watch?v=iE4d4wjc1Lo[/embedyt]

UFO and Saxon Tour Dates:

Mar. 9 – Houston, TX – Scout Bar
Mar. 10 – Dallas, TX – Gas Monkey Live
Mar. 11 – San Antonio, TX – Alamo City Music Hall*
Mar. 14 – San Diego, CA – House Of Blues
Mar. 15 – San Francisco, CA – The Independent
Mar. 16 – Los Angeles, CA – Belasco
Mar. 18 – Anaheim, CA – The Grove
Mar. 19 – Las Vegas, NV – House Of Blues
Mar. 21 – Denver, CO – Summit Concert Hall
Mar. 24 – Sioux City, IA – Anthem at Hard Rock Casino
Mar. 26 – St. Charles, IL – Arcada Theater
Mar. 28 – Cleveland, OH – House Of Blues
Mar. 29 – New York, NY – B.B. King Blues Club & Grill
Mar. 30 – New York, NY – B.B. King Blues Club & Grill
Apr. 1 – Jim Thorpe, PA – Penn’s Peak
Apr. 2 – Allston, MA – Brighton Music Hall

October 12, 2016
Recess with Spinelli Interview with Caravan Palace

What do you get when you mix old swing music with modern electronic beats? Well, Electro-Swing of course! And who better to talk about the genre than the pioneers of Electro-Swing, Caravan Palace of Paris, France! From Robots, science-fiction to bras and vintage French porn and late night television, this is an interview you will not want to miss.

Listen to the abridged feature/interview

You can listen to the Full Radio Broadcast

On-stage, Caravan Palace proves they are performers and musicians; keeping the crowd engaged, dancing and of course swingin’.

Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT

Follow Recess with Spinelli: Instagram Twitter Facebook Youtube Soundcloud Mixcloud Tumblr and online at longbowmedia.us

October 11, 2016
Set Up Like a Bowling Pin: JRAD Knocks Down the Brooklyn Bowl Run

If the Brooklyn Bowl ever decides to create a Hall of Fame, Joe Russo’s Almost Dead (JRAD) can be sure to add “Fall Ball 2” to their list of accomplishments. As Saturday night wrapped up the sold out three-show run for this incredible quintet, I will non-apologetically say that they are the most important “cover band” in the world and are potentially better than anything Grateful Dead related today. The Bowl was where they capitalized on their first run as a newly developed powerhouse and years later, this all-star side project has become nationally recognized and a force to be reckoned with.

“Blues for Allah” welcomed the crowd to the show. The Dead rarely performed the spacey and complex composition live, which JRAD seems to greet as a challenge and ambitiously took the “Blues” to another level before stepping into a starry “Eyes of the World.” A delicate transition into “Minglewood Blues” was highlighted by Scott Metzger’s fiery guitar solo turning into the first fist-pumping barn-burner of the night. The band slowly eased into “The Wheel” with an extended jam taken over by Tom Hamilton in between the first and second verses. I couldn’t help getting chills as the five pieces screamed out the lyrics “bound to cover just a little more ground.” Observing the usual peaks and valleys of “The Wheel” from a viewpoint that only JRAD could capture was truly a magical experience and one of the highlights of the first set. The breathtaking transition into “Ramble On Rose” got the predictable crowd explosion as “just like New York City” was sung to their hometown audience. There was a Tom Hamilton lyrical mishap but with the room in a trance, nobody seemed to give a flying flub.

M erle Haggard’s “Mama Tried” was technically the night’s first cover that this cover band covered (make sense?). The cowboy song gave the thirsty crowd a few short minutes to grab a beer before returning for the otherworldly “Morning Dew.” The unusually energetic intro to the tune made some Heads scratch their beards but the euphoric meltdown in the middle orchestrated by Joe Russo’s team-captain drumming leadership was as mellow as it gets on a Saturday night. The always-powerful refrain was given some extra juice by Dave Dreiwitz’s bass bombs shaking the rafters as the first set came to an impressive close.

The second set got asses shaking right off the bat with “Crazy Fingers” and I am pretty sure you could actually smell the reggae influenced magic in the air. Another incredibly silky transition led to the monster “Truckin’” and once again the crowd showed some extra excitement in the lyrical reference to New York. The band also got a kick out the lyrics “set up like a bowling pin” which was evident by their ear-to-ear smiles as they exchanged glances. Joe Russo instigated a quick “The Other One” tease to keep the set list note takers on their feet, but the scribes weren’t disappointed with the next rarity, Donny Hathaway’s “Magnificent Sanctuary Band” popularly performed by the Jerry Garcia Band.

“Help On The Way> Slipknot” was the jazzy cherry on top of the second set sundae and gave Marco Benevento a chance to have his wings spread bright on the organ. Where Hamilton vocally shined during the first section, Benevento added a haunting solo during the thick of the jam. While many came to expect a glowing and upbeat “Franklin’s Tower” to be the other piece of bread to this incomplete sandwich, Benevento and Russo teamed up to create an eerie transition into “Estimated Prophet” which was reminiscent of an early Pink Floyd sample. Benevento used an effect that sounded like a spaceship in Atari’s Galaga being abducted by a larger spacecraft and the retro noise was very suitable at this point in the night. The first guest appearance came during the set closer as Chris Harford (Band of Changes) joined the boys for Neil Young’s “Hippie Dream” off the 1986 album, Landing on Water. The gritty and bluesy piece gave each member the instrumental spotlight for a moment before they stepped off stage.

The encore was an unannounced nod to a long time friend and JRAD enthusiast that recently passed away. “He Was a Friend Of Mine”, a traditional folk song popularized by Bob Dylan was performed acoustically as the members displayed their first sorrowful tone on stage since “Morning Dew.” This version is not to be confused with the “He Was a Friend of Mine” cited in Grateful Dead set lists throughout the mid to late 1960’s and felt more like something you may hear off a Garcia/ Grisman compilation. While the somber acoustic tune mourned the loss of a loved one, “Not Fade Away” celebrated their friend’s life and memory. The boys were back on their electric instruments as half the crowd “air keyed” along with Marco. Seasoned Deadheads began the “Not Fade Away” ending clap-chant combo along with the band, which echoed for a solid five minutes even after they left the stage. Security opened the exits encouraging fans to leave, but the community energy was keeping everyone warm inside and sure enough, the group came back for a surprise second encore, “Bertha” to cap off an incredible evening.

As the house music played and the audience finally began to exit the venue, I couldn’t help but stare at the vintage poster that has hung above the side doors since the early days of the Brooklyn Bowl. While the band’s title bares the description “Almost Dead” the words next to this mystical werewolf poster read “Real, Alive” and after a throw down like Saturday night, I think we can all side with the wolf.

Joe Russo’s Almost Dead is covering a little more ground at the Brooklyn Bowl on December 29^th before taking a short trip north for their two night New Year’s run at the Capitol Theatre on December 30^th and 31^st. Tickets are going fast and after this past weekend they are sure to sell out soon!

October 11, 2016
Hearing Aide: Green Day’s “Revolution Radio”

I remember it vividly: On a long bus ride for an elementary school field trip, one of my oldest friends handed me a cassette that would be the very first turning point on the musical journey that my life has become.

The year was 1993, and I was very much into rap at the tender age of 8. Caleb, who had a serious disdain for my musical choices at the time, took my Walkman and inserted a recently released tape of Kerplunk, Green Day’s second album. I’d never heard of the band, and was not sure what to expect.

The snarling growl that accompanied Billie Joe Armstrong’s guitar slapped my eardrums around on the opening track, “2,000 Light Years Away,” and I didn’t know what to do. It was odd, at first, but as I made my way through the tracks, I became quickly hooked on the pop-punk that would soon propel Green Day into super-stardom.

And this was only the beginning of what became my first, and biggest, band obsession. I made my parents get me their debut album, 1,039 Smoothed Out Slappy Hours, which was a compilation of all their earliest material. I loved Green Day before anyone knew who they were.

Later that year, a friend and I devised a plan to get our parents to take us to see them at Union College in Schenectady. To make a very long and boring story short, the two of us ended up by ourselves at the concert, swinging and swaying in a rowdy group of maybe 1,000 people, and I will never forget the awe I felt seeing a trio of early 20s kids playing the fastest and catchiest rock and roll on the planet. It started a live music obsession that, to this day, comes first in my life after my family and work.

I can talk about how Dookie is my all-time favorite album ever released by anyone, or about how Insomniac spoke to my pre-pubescent self better than anyone, or how Nimrod, while not universally liked, showed how Green Day can shake things up. What about Warning, which featured a bevy of instruments which helped the band veer away from three-chord pop-punk? Or how American Idiot vaulted the band back to super popularity and brought music and politics together again? I don’t think we need to talk much about 21st Century Breakdown, or their quickly released trio of albums, Uno, Dos and Tres, which were not Green Day’s best efforts.

Now, 23 years later, Green Day just dropped its 12th studio album, Revolution Radio, and I have to say that for a band I idolized growing up, then grew to despise a bit in the mid-2000s, they have reeled me right back in. Gone are the days of songs about masturbation, moving out of mom’s house and staying up all night snorting meth.

And while it has some political undertones, Revolution Radio really is a 12-song collection of angst, anger, mortality and youthful remembrance by Armstrong, Mike Dirnt and Tre Cool. And it’s fast, loud, mean and chock full of emotion and that “we don’t give a fuck what you think” attitude that made me fall head over heels 23 years ago.

“Somewhere Now” starts the album with a Clash kind of feel. Its catchy chorus and clever wording simply give way to the meat of this album. “Bang Bang,” the first single released, shoots out at you like a bullet from a stolen gun. “Daddy’s little psycho and mommy’s little soldier” is a line that hits close to home, as this was me as a child. Great choice for a single, and it’s mean as hell with that charm that only Green Day can insert into a morbid song.

“Revolution Radio” is the catchiest song on the album, and is as close to classic Green Day as it gets. Think the anger and destruction captured throughout Insomniac and this is what you’re getting in the title track. “Say Goodbye” opens with a vibe of The Wall-era Pink Floyd, then quickly transforms into a preachy ditty that touches on, presumably, the recent spate of violence in this country involving police.

“Outlaws” is a love song that misses its mark. It is the only song that seems out of place here. “Bouncing Off The Wall” is another throwback to Armstrong’s wilder days, before he went to rehab a few years ago.

“Still Breathing,” “Youngblood” and “Too Dumb To Die” are a trilogy of songs that I have listened to over and over in the last 72 hours. “Youngblood” is a punk rock love song that ends with the subject saying “but fuck you I’m from Oakland” and is a great way to close it out.

“Too Dumb To Die” is about reckless behavior from the band’s past, and became my favorite song from the band in many, many years. It’s the most punk rock thing on the entire album, and maybe of the band’s career. “Troubled Times,” “Forever Now” and “Ordinary World” touch back on the societal and political unrest in the country, without slamming it down our throats like American Idiot did.

Overall, this is the best Green Day album, in my opinion, since Nimrod. Green Day returned to what made the world fall in love with them and made it angrier, faster, louder and catchier.

I am certainly back into this band like it’s 1997.

Key Tracks: Too Dumb To Die, Revolution Radio, Youngblood, Bang Bang

October 11, 2016
Travel back in Time with the Boy Band Review Tribute Show

If you loved the boy band music of the 90’s, then the Boy Band Review – a Boy Band Tribute, is the show for you! Made up of six members, the Boy Band Review consists of former Broadway stars who shine as they lay their hearts on the line to bring you a truly nostalgic performance. They bring their all to the stage with an energetic, fun performance chock full of hits from the likes of New Kids On The Block, N’sync, Boyz II Men, Hanson and more.

Featuring Jeb Roberts (Guitar), Adam Egizi (Bass), Andy Davis (Drums) and Dom Scott, KC Comeaux and Josh Hobbs on vocals, this tribute show is a true throw-back experience that will most definitely transport you back to your adolescent years. Complete with singing, dancing, and great stage lighting, the Boy Band Review comes dressed to impress in the most memorable of outfits worn by your most beloved boy band members. They interact with you on stage and off, enticing you to let your guard down and shout out the lyrics during each of these nostalgic songs.

Surrounded by die-hard 90’s boy band fans it is virtually impossible to resist the urge to join in, sing along, and just plain let loose with those who remember every word and dance articulation of the artists they knew and loved. They might even surprise you as they welcome your participation in an intimate, personal moment – like the drummer proposing to his girlfriend. Not something you would expect from a grown man in overalls with one of his shoulder straps undone!

As promised, the Boy Band Review – a Boy Band Tribute really is a throw back experience and these “New Kids” definitely “bring the heat up to 98 degrees” to bring you back and relive your best years- even if only for a moment in time.

Setlist: Backstreets Back, Byebyebye, No Diggity, Mmmbop, I’ll Make Love To You / End Of The Road / On Bended Knee Medley, It’s Gonna Be Me, Motown Philly, You’ve Got It, All My Life / All Or Nothing, I Want It That Way / Larger Than Life

Encore: Summer Girls, What Makes You Beautiful, Pop

Be sure to follow the Boy Band Review on Facebook. Have your high tops and wrist bands ready for when the Boy Band Review announces a performance in your city!

October 10, 2016
Hearing Aide: Aqueous ‘Best in Show’

It’s been almost two years since Buffalo groove rockers Aqueous released their fourth studio effort, the acclaimed Cycles. Shortly after the release, the band’s founding trio found themselves struggling to keep a pair of sticks behind the kit. After a national search, drummer Rob Houk joined the band full time and the quartet headed into the studio. The resulting EP, Best in Show, is a four song reflection not only of the band’s time without a permanent drummer, but also a glimpse into the band’s future as Houk melts into the Aqueous groove with fluid rhythm that feels as if he’s always been here.

Kicked off by the infectious opening track, “Don’t Do It,” Best in Show is a shining example of how Aqueous uses time in the studio to expand on their signature live sound. The band and producer Dan Brace of Sonic Farm Studios find a way to build depth and layers into “Don’t Do It” that surpasses the way the band already deposits the song’s structures live.

Production on the song, as well as throughout the entire album, is thoughtful and subtle. It leaves room for exploration upon each subsequent listen. Best in Show presents like a musical onion, revealing something new every time you listen. It’s a theme that is present in all four tracks. New nuances, subtle changes, and microscopic effects take some of the band’s newest songs and turns them into some of the band’s most laser focused studio work to date.

“Underlyer” has seen plenty of stage time, but from the studio the song takes on a whole new life with a slightly different tempo. Tender and soulful, it’s one of the album’s lyrical gems. Musically, the tune is funky while moving, highlighted by a delicious groove anchored by bassist Evan McPhaden. On keys and synth, Dave Loss creates beautiful and whimsical layers that highlight the song as its most intense yet reflective moments. Lead guitarist and vocalist Mike Gantzer explores moments of falsetto and vocally the song is a showpiece for his continued vocal growth. Gantzer continues to develop a rich, milky quality that settles neatly against Aqueous’ harder and more polished technical musical edge.

“Random Company” and “Calling Out” although vastly different in composition, highlight Aqueous’ ability to structurally string together a variety of musical genres and styles that you wouldn’t naturally blend. Listening to many Aqueous tracks is akin to strapping in for the front row of a musical roller coaster. It’s an ebb and flow that is reflective of the band’s moniker. It’s a musical device that Aqueous executes with precision, keeping their sound fresh and their live shows full of astonishment to first time listeners.

The four songs are highlighted by tiny nuggets of rightness; lyrically, musically and in its production Best in Show turns a pointed spotlight on how much Aqueous has grown in the two years since their last studio release. But more importantly, Best in Show is Aqueous’ resolve from the challenges they have faced and proves their tenacity to move forward while solidifying their line-up.

Houk flourishes on drums. His previous work as a studio drummer is evident with thoughtful punctuation and temperate pressure. But it is also evident that Houk, Gantzer, Loss and McFadden have wasted no time in melding together a sound that is uniform, distinct and cohesive.

As a producer, Brace clearly utilizes his experience with mixing a variety of the band’s live efforts, including their Aqueous Halloween 2015 Dark Side of the Oz release, to the band’s advantage in the studio. He seems to be coaching them in the best ways to enhance their sound. A nod to not only his skills as a producer, but also a nod to Aqueous for taking direction in nuance.

Best In Show will be available through hard copy purchase starting Thursday Oct 13 and Friday Oct 14 during the Best in Show CD release party at Buffalo Iron Works in the band’s hometown of Buffalo, New York. Digitally, the EP will be available through online services such as iTunes, Spotify, Amazon and Google Music starting Oct 14.

October 10, 2016
Photo Gallery: Riot Fest 2016 Douglas Park Chicago Day 3
Day 3 of Riot Fest 2016 has arrived and it is the day I have been waiting for since I was twelve years old. The original Misfits lineup will be taking the stage and performing together for the first time since 1983.

Santa Cruz punk band the Swinging Utters kicked off the third day of Riotfest. Led by frontman Johnny “Peebucks” Bonnel, the band led off with their classic hit “The Librarians are Hiding Something.” The crowd took over the singing duties during “No Eager Men” as Johnny jumped wildly around the stage. After a very spirited and entertaining set the band expressed their thanks and bid the crowd farewell.

Of course I have to mention the frontman for Twisted Sister, Dee Snider. Snider is currently touring in support of his solo album, We Are the Ones, scheduled to be released in October. Snider has acknowledged that the album is a new direction for him and he hopes fans like it and will continue to show their support. Snider gave the crowd a little taste of what he meant by “new direction” when he performed his version of the Nine Inch Nails hit “Head Like a Hole.” He performed a nice mix of his new music and of course Twisted Sister classics like “I Wanna Rock” and “We’re Not Gonna Take It.” It was truly a memorable performance by the rock legend. I was very fortunate to have been able to sit down with Dee Snider later that day and chat about his new music project.

There were so many memorable performances that it is tough to sum it all up. Bad Religion was amazing. Punk band Leftover Crack really got the audience revved up. Tiger Army brought their blend of punk and rockabilly to the festival, not to mention they were the best dressed band of the weekend. Me First and the Gimme Gimmes performed their unique versions of cover songs such as “Jolene” and my personal favorite “Over the Rainbow.” Earlier that day, I had the privilege of sitting down with Me First and the Gimme Gimme’s lead singer, Spike, to chat about Riotfest and the bands that he was looking forward to checking out.

The day kept getting better and better. The master of modern horror heavy metal, Rob Zombie, took the stage and performed the White Zombie classic album Astrocreep 2000 in its’ entirety. I have seen Rob Zombie live multiple times and had only heard him perform select tracks such as “More Human Than Human.” But getting to hear the entire album was awesome! Zombie’s current band consisting of John 5, Piggy D (Matt Montgomery) and Ginger Fish brought the album to a new level of intensity and depth.

Now, after 2 days and too many bands to count , it leads me to the one musical moment I have waited for since I was 12 years old… the Original Misfits were about to take the stage to close out Riot Fest 2016 in Chicago!

Looking around all you can see is an ocean of people jam packed into Douglas Park waiting to witness the music history that was about to unfold. The stage lights go down and the smoke rolls out over the stage and you could feel the anticipation building. Suddenly the curtain drops revealing two enormous pumpkins (from the Halloween 7” cover) on each end of the stage complete with eerie glowing eyes, and a wall of crimson ghost amps in the background. The crowd gets revved and then explodes into a massive mosh pit as Glenn, Jerry and Doyle lead right off with “Death Comes Ripping” the perfect song to set the tone for their set. They didn’t waste any time belting out classics like “20 Eyes,” “I Turned Into A Martian” and “Where Eagles Dare.” Backing up the original trio was the incredible and heavy hitting Dave Lombardo (formerly of Slayer) on drums and Acey Slade (Dope) on guitar. Both were excellent choices! Glenn took time between songs to tell stories about how he and Jerry formed the band back in 78. At one point Glenn paused and asked the audience if they liked pumpkins. Glenn and company played a lengthy set list of 26 songs from the bands 38 year history. They even played the first song Glenn and Jerry ever wrote and performed together “She” during their encore.

For me, this was the band that I had listened to since I was a kid. I collect their records, posters and memorabilia. I never thought I would witness an original lineup reunion in my lifetime and I have to say that I was completely floored by their performance. It was everything I expected and more, not-stop, high energy punk, massive mosh pits and bodies crowd surfing everywhere. My dreams come true!

Set list:
1. Death Comes Ripping
2. 20 Eyes
3. I Turned Into a Martian
4. Mommy, Can I Go Out and Kill Tonight?
5. Vampira
6. All Hell Breaks Loose
7. Hybrid Moments
8. Teenagers From Mars
9. London Dungeon
10. Earth A.D.
11. Green Hell
12. Devilock
13. Horror Business
14. We Are 138
15. Hollywood Babylon
16. Who Killed Marilyn
17. Halloween
18. Die, Die My Darling
19. Astro Zombies
20. Skulls
21. Last Caress
Encore:
1. Bullet
2. Night of the Living Dead
3. She
4. Attitude
As the final notes rang out and the crowd starting to clear this first trip to Riot fest and to Chicago will definitely be one I won’t forget!

Please enjoy the photos and interviews below from a killer final day at Riot Fest 2016!
October 9, 2016
The Struts bring their Dirty Sexy Summer to Upstate Concert Hall

If you took Mick Jagger, Freddie Mercury and Steven Tyler and threw them in a blender you would get Luke Spiller, lead singer of The Struts, on their Dirty Sexy Summer tour. Spiller along with guitarist Adam Slack, Bassist Jed Elliot and drummer Gethin Davis made their way to the Capital Region for the first time ever on Thursday night and they brought their unique style and throwback rock ‘n’ roll sound with them to the delight of a crowd that sang along to every song over their 90-minute set.

Spiller is a true Rock ‘n’ Roll front man, writhing and dancing around the stage capturing every member of the audience in the palm of his hand. When he told the crowd to sing they sang and when he told them to jump they jumped. The Struts are the definition of a down and dirty rock band.

The band tore through a set that included all but one song off of their debut album “Everybody Wants”. The biggest response came from their single “Kiss This” and their upcoming single “Put Your Money On Me”. While their album is strong and solid, The Struts are a live band. You cannot get the raw and dirty feel off of the album that you do seeing them live.

The show was opened by the band Dorothy. Lead singer Dorothy Martin, drummer Zac Morris, bassist Gregg Cash and guitarist DJ Black got the crowd pumped up with cuts off of their debut album ROCKISDEAD. Dorothy have a heavy bluesy sound and singer Dorothy Martin could be the reincarnation of Janis Joplin. She has a raw sound to her voice that oozes whiskey and sex. Martin had every eye in the place on her as she danced and sang across the stage. One the closing number “BANG BANG BANG” it was like she made love to the entire place.

Dorothy Setlist: Kiss It, Dark Nights, Gun in My Hand, Wicked Ones, After Midnight, Woman, Raise Hell, Bang Bang Bang

The Struts Setlist: I Just Know/Roll Up, These Times Are Changing, Could Have Been Me, The Ol’ Switcheroo, Kiss This, Mary Go Round, Dirty Sexy Money, Let’s Make This Happen Tonight, Young Stars, Put Your Money On Me, Only Just a Call Away

Encore: Black Swan, Where Did She Go

October 8, 2016
Photo Gallery: Riot Fest 2016 Douglas Park Chicago Day 2

Punk veterans, The Vandals, kicked off day two of Riot Fest 2016 with some good old fashioned fast paced punk rock tunes. They whipped the audience into a beer throwing, pogo jumping frenzy. This was my first time seeing The Vandals and I am hoping I get the opportunity to catch them again at some point.

Other notables included the UK band The Hives, who despite a late start to their set, belted out hit after crowd pleasing hit. Alternative punk pop band Motion City Soundtrack took the stage to perform their second to last show. In March of 2016 the band announced that they were calling it quits for now and didn’t know what the future had in store for them. They invited their fans to come out to a show and sing along with them one last time.

It would be criminal not mention another icon who played an intense and incredible set, former Husker Du guitarist, Bob Mould! I was blown away by the passion and ferocity of his performance! At 55 he can easily shred and tear up the stage with the best of them! I was humbled to finally get the chance to see him perform.

Day two of Riot Fest 2016 ended with some of my personal favorites. What can top the Descendents and Social Distortion playing live? I have been fortunate enough to see both bands in the past and just like before, the Descendents were absolutely incredible live. Milo and the gang came out swinging hard and didn’t let up for the entire hour that they played. They tore through classic favorites like “Everything Sux,” “Rotting Out,” and “I Like Food” as well as some new songs. After an unforgettable 29 song set, the massive crowd was screaming for more.

I love Social Distortion and my favorite Social D album is White Light, White Heat, White Trash so you can imagine how thrilled I was when I found out that they would be performing the album in its’ entirety at Riotfest to celebrate its’ 20^th anniversary. Normally, I don’t get star struck when I am shooting bands but being in the photo pit when Mike Ness and the band took the stage and started playing “Dear Lover” left me awestruck with my jaw on the floor. It was definitely surreal. They ended their set with Johnny Cash’s immortal classic “Ring of Fire” which had the audience screaming so loudly it drowned out Morrissey who was playing on the other stage at the time. Thank you Social Distortion for performing my favorite album.

Earlier in the day I sat down with singer, songwriter Donna Missal. Even though I had missed her performance that morning, we had fun chatting about music and riot fest.

Day 2 was amazing. Please enjoy the photos and interviews below.

October 7, 2016
Arc Iris Transforms Abilene

Abilene Bar and Lounge is a modest neighborhood bar built into an old house on an out of the way street in downtown Rochester. Generally it plays host to roots Americana acts, honest tunes sung and strummed on good old fashion acoustic stringed instruments. But Tuesday night, Arc Iris descended onto the stage and transformed the joint into their own little Moon Saloon.

A complete DIY stage set, composed of multiple gelled floor can lights and strings of LED lights, including one hanging off the back wall writing their name, helped to set the scene. Lead singer Jocie Adams came dressed in a skin-tight shiny gold one piece, with a quasi-cape neckpiece and white tasseled ankles. She would add wings to the ensemble midway through the show, with a dramatic entrance and full on display during “Kaleidoscope,” like a butterfly emerging from its cocoon. However, a small stuffed doll Max Rebo sitting on Zach Tenorio-Miller’s keyboard may have been the most appropriate prop of them all.

Arc Iris was like a spaceship: Adams as the captain, Tenorio-Miller at the controls and drummer Ray Belli providing the driving power behind the ship as the engine. With the opening notes of “Saturation Brain,” off of their spectacular 2016 release Moon Saloon, the audience was pulled from the Earth’s gravity, floating along attached to lifelines. Each song was a journey, traveling from point to point. They could lull you into a beautiful dreamscape before jolting with sudden acceleration in a surprising new direction, such as on “Paint With the Sun.” Arc Iris defies convention at every turn.

Adams commanded attention with her incredible vocal range, navigating complex narrative song structures. Singing through two mics, run through different effects pedals and loops, one voice could be many, human voice could be alien. Tenorio-Miller kept busy, constantly pounding out bass lines with his left hand while maintaining much of the melodies that were represented by horns, strings and more on the album. He provided extra boosts to the ships rockets with some downright brilliant keys work, reminiscent of greats like George Duke and Herbie Hancock. Loops, samples, backing vocals and percussion just added to his arsenal.

Last month the band played a special set in Burlington. VT where they recreated Joni Mitchell’s Blue in it’s entirety. Mixed in with the set heavy on Moon Saloon material, they treated Rochester to a trio of their Blue re-workings, playing through their versions of “Last Time I Saw Richard,” “River” and “Blue,” each flown out to outer space and back, jumbled and reconfigured. sounding in the end almost like new Arc Iris originals. One foot in the past, one foot firmly planted in the future.

[embedyt] http://www.youtube.com/watch?v=3TCcJ5DpNdQ[/embedyt]

It’s not often a band can completely consume and redefine the stage on which they play. With some simple stage design, but mostly through their transformative music, Arc Iris successfully took Abilene on a short but memorable journey up and away from what had just been a regular old Tuesday in Rochester, NY.

October 7, 2016