Category: Reviews

Around the World in One Song: The Cross-Continental Story Behind Holy Forest “Africa Calling”

From the lush green wilderness of Gambia to a Chelsea studio, here’s a story behind a 21^st century cross-continental roots song by Holy Forest.

Members: Jon Fine (Guitar, Bass, Keys). Ed “Preachermann” Holley, Sparlha Sparlha Swa, Morley, Tata Din Din Jobarteh, I’kyori Swaby, No Surrender and S.T. (Vocals). Tata Din Din Jobarteh, Youssoupha Sidibe (Kora). Morgan Harris (Guitar). Ebon Moss-Bachrach, I’kyori Swaby, Jesse Hofrichter (Keys). Jordan McLean (Trumpet). Martin Perna, Freddy Deboe (Baritone Sax). Stuart Bogie (Tenor Sax). Pierre Davis, Taagen Swaby, Sean Clete, Steven Heet, Sebastian Bauer (Drums). Matt Hauser, Marcus Burrowes (Percussion). Kristine Kruta (Cello).

Have you seen a list of personnel this long and eclectic since Paul Simon’s Graceland?

Recorded over three years in studios across Africa, New York City, Woodstock and San Francisco, Holy Forest is an ensemble is a melting pot of sonic and cultural abilities. And it adds up, too: only people of different religions, ages, ethnicities, nationalities and professional backgrounds can come together to make genre-bending music so whole, so variegated yet so astonishingly coherent. Unlike Graceland, not even one golden Hollywood party is brought into question. No, Holy Forest stays close to the matter in focus: love and distance.

The genesis of Holy Forest takes you back to the lush green wilderness of mangrove swamps of that line River Gambia. Almost four years ago, musician and documentary filmmaker Jon Fine (the force behind Herbie Hancock’s Possibilities and Still Bill) took a trip down to Makasutu Forest, a woodland reserve in West Africa. Over the course of his visit, Fine connected with Tata Din Din Jobarteh, Gambia’s legendary 21-stringed kora player. When Fine heard Tata Din Din’s modernist approach to the strings, he immediately recognized the potential. Holy Forest was born. Since, John Fine has been the primary guardian of the ensemble, fully immersing himself in production, performance, songwriting and collaboration for their self-titled debut. Fine used his career-long knowledge and connections to reach out to a number of critically acclaimed musicians, including members of Antibalas, singer-songwriter Morley, the Grammy nominated kora master, Youssoupha Sidibe and rising Gambian star ST. Among nontraditional musicians Fine tapped were the Brooklyn-based afro-punk band No Surrender, Bay area singer Sparlha Swa, and Harlem’s resident soul singer Ed “Preachermann” Holley.

Photographer/director Andrew Zuckerman, who had been working with Jon for years, allowed Holy Forest’s live band to rehearse in his Chelsea studio. Andrew then brought old friend, musician and music creative David Hoffman into the picture. Because of Hoffman’s connections in the indie-rock world (Hoffman is also the manager of chart-topping indie/alt rock band Joywave), he proposed the idea of an “Africa Calling” remix. Jacob Asher of Joywave (aka Benjamin Bailey) jumped at the opportunity.

The result? Asher doubles down Preachermann’s vocals to add a near-visual depth to the track. He refines the sound unobtrusively, waxing on a resinous layer that doesn’t detract from the soul of the “Africa Calling.” Instead, the DJ and Joywave keyboardist lets the generous, woody warmth of the holy Gambian forest fall through onto a waterbed of trap beats, sealing it for radio and clubs alike.

“Africa Calling” has traveled the world, filtering through the woods aligning narrow coastlines, to the speakers of boutique vinyl shops of East London only to find its way on to BBC Radio 6. Who knows where the destiny of “Africa Calling” lies? All we know is that it’ll continue breaking musical barriers, diving headfirst into Afrofuturism. And Asher’s remix is only another chapter to the Holy Forest story.

Listen to the Jacob Asher remix of “Africa Calling” below:

August 24, 2016
Hearing Aide: Coheed and Cambria ‘The Color Before the Sun Deconstructed’

Progressive rock band Coheed and Cambria launched their newest album, The Color Before the Sun, on October 16th, 2015; but recently released a deluxe edition of the album, Deconstructed on August 19.

The Color Before the Sun Deconstructed is a companion deluxe edition to Coheed and Cambria’s newest album, under the same title (minus Deconstructed). The new title is ironic, because Deconstructed puts on bleeding display a thirty track mausoleum that gives sinew and muscle to an already great skeleton. Nothing about this edition is deconstructive.

The first part is The Color Before the Sun as it was originally released. If you haven’t yet heard the album, I recommend starting here as it gives context to everything else. “Island,” the first song kicks off the whole album with the sounds of a New York City subway fading into a simple pop rock song, yet effective allegory for not wanting to be stuck in one place. Following suit, songs like “Atlas,” “Eraser,” and “Colors,” hold ground as a thematic, and strong foundation for the rest of the album.

It is the first album that Coheed has put out to not feature a storyline related to the Amory Wars, the collection of a book and four graphic novels on which Coheed and Cambria’s concept is based.

Instead, the lyrics represent a sense of quiet introversion, personal responsibility, fatherhood, and growth. While Sanchez, in the past, has said that his lyrics are metaphors for things that go on in his own life, mostly having to do with relationships, this album’s lyrics are to be taken literally.

As for musical bravery, I cite that while every other Coheed album features what I can really only describe as “progressive rock weirdness,” this one has has few true complexities attached. Instead, TCBTSD features a very stripped down, bar chord, standard tuning, Dad rock feel, but they manage to make it work. At first listen, I must admit my aversion to this. How dare my favorite band change their sound to something so simple? But I can’t fault someone for wanting to write what they want to write. Through this mindset, I’ve come to admire this album as much as the rest. So maybe it is not as layered or as weird as Good Apollo I, but that is exactly the point. TCBTSD was meant to sound stripped down, straight-forward, and unencumbered by the weight of somewhat of an overload, just like its literal lyrics.

If, at this point, you’re thinking that this is a lot of information at once, you’re right. Coheed has always left on the table enough material to give the party something to talk about all night. This brings me to another thing I loved about TCBTSD: you don’t have to be familiar with anything Coheed related to enjoy it. TCBTS stands alone in its own lane; anyone is safe here.

So what else stood out? A whole lot, such as “Here to Mars,” a sappy, but cute love song released as a single. That last chorus/bridge, in which Sanchez and co. scream “…and we’ll never let you go…” on repeat gave me chills and is most assuredly to be a crowd pleaser, as the live aspect of Deconstructed shows.

Further notable, the use of more acoustic guitars on this album than the last ones. “Ghost,” and “Peace to the Mountain,” are almost creepy in sound and may remind one of Good Apollo I‘s “Wake Up,” one of my personal favorite songs by Coheed. Likewise, both of these songs particularly showcase Sanchez and guitarist Travis Stever’s compatibility as co – musicians and guitarists. Both songs feature a “weaving” guitar pattern and solidify the musical relationship. The ballad of Sanchez and Stever has always inspired me as a musician. In said terms, I think in previous albums they’ve made a great couple whose company you enjoy, so to speak, but by this one, they’ve gone from dating to married. “Ghost” is the best example of this.

And let’s not overlook the rest of the group. Zachary Cooper joins the ranks on bass once again (this is his third effort with Coheed, the other two being The Afterman: Ascension and Descension). Similar to the last two, Cooper brings technically refined precision to his position while giving the listener heart. I’ve always admired Coheed’s use of bass guitar. While many rock bands keep their bassist on a leash, it’s almost as if they told Cooper before recording, “Hey, buddy, go fucking crazy.” Good. But that’s not all.

You know how a lot of people think there is always that member that any given band would not be the band without? Take, for example, an image of the Rolling Stones without Keith Richards, would they still be The Stones? Maybe not.

I admire that this is really not the case for Coheed. Save Cooper, the band has a longstanding lineup, and even Cooper meshes so well with the rest of the group that he might as well be a veteran.

But Coheed has a secret weapon. Perhaps the most unique member is Josh Eppard, or Weerd Science as he appears in each hip hop solo album he’s made. What can I say about a hip hop musician playing drums in a rock band? A whole lot. He’s also contributed to keyboards and backing vocals in the past.

At first glance, Eppard’s drumming style is true to hip hop: minimalistic, but groovy and effective, matching perfectly with Cooper’s bass playing.

To the dismay of many fans, Eppard departed from Coheed and Cambria after Good Apollo I to Afterman, meaning that he was absent for two albums: they were Good Apollo, I’m Burning Star IV, Vol. 2: No World for Tomorrow (usually referred to as No World for Tomorrow to avoid confusion with From Fear Through the Eyes of Madness). During No World for Tomorrow, Coheed was joined by Foo Fighters’ drummer Taylor Hawkins, and then Chris Pennie (ex – The Dillinger Escape Plan) for its subsequent tours and next album, Year of the Black Rainbow. Josh Eppard returned for the Afterman.

Although both Eppard-absent albums were great (even considered classic to some fans), the void of Eppard could not be filled by other drummers, no matter how great (come on, The Dillinger Escape Plan is ridiculous), but Eppard’s reunion with the band solidified a lot of diehard fans’ feelings about their favorite band. I think this is because Eppard adds that simple factor that makes The Color Before the Sun/Deconstructed non – facade. It’s kind of like what the Edge adds to U2, or Keith Richards to the Rolling Stones. None of these guys play anything overly complicated, but for some reason, the position cannot be held by anyone else. An X – factor, maybe. Or maybe Eppard is what gives Coheed it’s soul, where Sanchez gives it body.

I emphasize so much the rest of the band (besides Claudio Sanchez) because although Sanchez is the primary writer, Coheed has a specialty in the department of live shows, a concept of live shows are kind of lost these days in a world of streaming, especially amongst Millennials and Gen Y. I have no data to back this up, it’s just what I’ve unfortunately noticed, and I doubt many would argue. However, bands that actually perform – I mean with real, or mostly real, instruments and few samples – know that it can take years before the live show is perfected.

For this reason, the second part of Deconstructed stands out as another form of bravery to me: it’s a set of live soundboard recordings. To my knowledge, it’s all unedited, containing no autotune or deep effects. I admire the bravery it takes for a band to release something to the open world with its mistakes still nailed, naked, to their crosses, especially in the modern day of digital perfection. There is anything wrong with digital perfection, but a true live performance can send chills down the listener’s spine in a way that a studio recording usually cannot. They loaded a number of old classics onto this part, such as fan favorite “In Keeping Secrets of Silent Earth: 3,” the title track of their second album.

The real twists come in the live interpretation of songs off their newest album, such as “The Audience,” or “Atlas.” This is why I emphasize the rest of the line up besides Sanchez. The band works together in the live setting so perfectly. It’s almost unfair, and as someone who loves playing in live bands, I’m jealous.

Other great moments included their performances of “Sentry the Defiant” (from Descension), and “Here to Mars,” (from The Color Before the Sun). These songs both reinforce the band’s live prowess.

In the next part, “Big Beige/4th Street Demos,” we hear a more intimate side of the band. I love the way that this section shows an honest look into Coheed’s writing process. I especially enjoyed the way that they included bonus tracks that did not make it onto the album, such as “Bridge and Tunnel,” a Simon and Garfunkel – type spot that I wish had made the main album.

Thirty songs deep, Coheed and Cambria has really outdone themselves, bar chords and all.

I’m not exactly sure how to rate this one. It has a hopeful air to it, it’s a fun listen, and it’s different from other releases. Other reviewers have even called it “a bold step.” I concur, and I add that it is definitely worth a few listens of all thirty tracks.

Key Tracks: Colors, Ghost (main album), Peace to the Mountain, (4th Street / Big Beige Demos), Everything Evil (Live Soundboard Bootlegs)

August 23, 2016
Disturbed and Breaking Benjamin Tour Raise More Than 10,000 Fists at SPAC

Capital Region area rock fans came out on a beautiful Tuesday summer night, at the Saratoga Performing Arts Center, and had their faces melted off by one of the best rock lineups that have been assembled for a tour run. Fans were not only treated to some of the best bands in rock and metal today, all four bands have very recognizable frontmen. Metalheads had the pleasure of seeing Adam Gontier and super group Saint Asonia, Myles Kennedy with Alter Bridge, Ben Burnley and his band Breaking Benjamin, and Mr. oh wah himself, David Draiman of Disturbed.

The co-headlined Disturbed/Breaking Benjamin tour, not only saw four of todays best frontman, fans were also treated to some of the top musicians in the business. When you break down the lineup as individuals, you realize how good some of these musicians really are. Fans had the privilege to see the likes of guitarist Mike Mushok (Staind), guitarist Mark Tremonti (Alter Bridge), and Dan Donegan (guitar) and Mike Wengren (drums) from Disturbed, to name a few, perform right in front of their eyes.

Every band on the bill was right down to business, and kept the talking to a minimum and the music on maximum. I like when bands introduced their songs and tell the back story of how they came about, and maybe for the singer to take a breather, but this was a welcome change, as it gives fans who paid their money, to hear more live music. The reason everyone buys a ticket for a live show is to hear music, and for some, drink beer and get shit faced. Less talking equals more songs that bands can put in their setlist, given the amount of time some bands have to play.

Fans who were smart enough to show up early, saw Saint Asonia take the stage first. Drummer Rich Beddoe, came out pumped up, as he stood behind his kit and yelled to the crowd to get the fuck up, while he waited for the other members of the band to take the stage. The band started the night off with the song “Fairy Tale.” Frontman Adam Gontier sounded really good on vocals. Gontier also looked rested and healthy and sported a fresh Mohawk and some bad ass sunglasses. Gontier was full of energy. Guitarist Mike Mushok and bassist Corey Lowery showed a lot of fire while they played.

Gontier thanked the fans for showing up early, and thanked them after every song. Gontier stated how beautiful upstate New York is, and before he actually named off a city, he told the crowd that he has recently moved to upstate NY, not far from Saratoga. Gontier also answered the question that many may have wondered. He stated that Saint Asonia will be around for awhile and that they were not gonna be a one album band like some.

Before playing the song “I Hate Everything About You,” by Gontier’s former band Three Days Grace, Gontier said that the band is asked all the time if they play songs by their former bands. He then said “Fuck Yes we Do.” He then went one to say I’m gonna play a song that I wrote a long time ago for that other band. Saint Asonia ended with “Let Me Live My Life.”

Alter Bridge took the stage in the second spot on the card. Alter Bridge started things off with “Addicted To Pain.” Singer Myles Kennedy was amazing on every track. I just wish his mic was turned up a little louder. Kennedy’s guitar skills are pretty good. The crowd had Kennedy smiling from ear to ear throughout the bands set, as fans sang each song with him. Now talking about skilled guitarist, Mark Tremonti is a down right beast guitar. Watching him play live is almost mesmerizing. His guitar solos are on point and totally flawless. Tremonti was feeling really feeling it, as he would make facial expressions to the sound of his guitar. You can feel Tremonti’s passion as he plays. At one point, Tremonti was jamming so hard he accidently unplugged his guitar. Alter Bridge had the whole crowd going crazy during the song “Metalingus.” Kennedy gave props to a fan playing air guitar in the upper balcony. Kennedy told the fan that he loves seeing that shit. The band ended their set with “Rise Today.”

First headliner of the night was Breaking Benjamin. The band has been touring relentlessly over the last two years ever since frontman Benjamin Burnley pieced together a new lineup and studio album. Their stage set consisted of C.O.2 blasters, that would shoot off at various times during the bands set. The cool air from the blasters helped cool off the fans down front in the pit. The band started things off with “So Cold.” Being the Star Wars fan that frontman Benjamin Burnley is, the band played the “Imperial March Theme,” from the movie. Ben pledged his allegiance to the darkside of the force giving a shoutout to Darth Vader, Kylo Ren, and The First Order, as he wielded a red lightsaber.

Guitarist Keith Wallen, provided the vocal duties for the song “Sooner Or Later,” doing a decent job in the process. Breaking Benjamin played a throwback cover medley that consisted of “Schism” (Tool), “Smells Like Teen Spirit” (Nirvana) and “Walk” (Pantera).

Burnley told the crowd on many occasions, that they were singing along beautiful and to keep it going. Burnley gave a speech and paid tribute to the men and women in our Armed Forces. Breaking Benjamin ended their night with “The Diary Of Jane.”

Fans by now were foaming at the mouths. For most in the venue, this was the first performance from Disturbed in the area in over four years, and for some, their first Disturbed concert ever. David Draiman and the rest of the boys showed that they were worth the wait. The band played a good mix of fan favorite tunes and some new tracks from the bands current studio album Immortalized.

Disturbed kicked things off with “10,000 Fist.” Standing in the pit looking back, it looked like more than 10,000 fist were in the air, as frontman David Draiman conducted the packed crowd inside the Saratoga Performing Arts Center by pumping his fist in the air. Pyro was in full effect, as flames shot out from various parts of the stage that made it feel like your face was gonna melt off.

These four guys have a one of a kind aura about them. When fans and critics talk about who’s the best this, and who’s the best that, all four musicians in Disturbed, should be in those conversations. There is no doubt that this band will be in the Rock & Roll Hall of Fame someday.

Bassist John Moyer has this cool swagger about him as he plays, and his Go Pro camera that is attached to the end of his bass can prove it. Drummer Mike Wengren can bang the cans with the best of them. They way he can consistently twirl his drum stick and hit the cymbals on cue for an extended period of time is insane. Wengren also has one of the sickest looking drum kits in business. Guitarist Dan Donegan doesn’t get enough credit as a guitarist. His riffs and solos are some of the best in rock and metal. Singer David Draiman is one of the most recognizable voices not only in rock music but music alone. His style is like no other. His calm bad ass personality is intoxicating.

After Draiman said to the crowd “My brothers, my sisters, my blood….SPEAK TO ME!,” to a deafening response from the crowd, the band jammed out song after song. At the mid point in the set. The lights started to dim down, as the band took on some different instruments while Draiman sat on a stool in the middle of the stage. It was now time for the song that has now made Disturbed a household name. It was time for the bands cover of the Simon and Garfunkel classic “The Sound Of Silence.” Seeing this performed live is not only amazing, but one hell of a concert moment to be a part of. Every fan in the house lit up their lighters and cell phones like Draiman requested, and set the whole atmosphere for the performance.

Near the end of the bands set, an intoxicated fan kept flipping off Draiman from the crowd. Draiman asked the fan, in David Draiman fashion, why the fan was giving him the finger. After not being able to hear what his response was he continued to the next song. Still flipping the singer off, when the song ended, Draiman acknowledged the fan again, and asked him to come closer so he could hear what he was saying. The fan responded incoherently something about making a bad deal with someone, and screwing him over. Draiman responded by saying that he didn’t think he made a bad deal and everyone is entitled to their opinion. He then said “But sir I would appreciate it if you would show me the respect I deserve by not flipping me off while I’m up on stage.” Disturbed ended one indestructible evening with “Down With The Sickness.” Disturbed showed why they are Immortalized by many.

August 21, 2016
The Werk Out Music and Arts Festival Exceeds Expectations

The 7^th annual Werk Out Music and Arts Festival at Legend Valley Music Venue and Campground was stacked for success with a powerhouse line-up.

Taking place in Thornville, Ohio, August 4-6, it was more than just the music that fueled the success of this year’s festival. Anchored by moving tributes in honor of former Werks’ keyboardist Norman Dimitrouleas, as well a plethora of artist sit-ins and breakout performances, this year’s festival was marked with emotion and surprises.

The Werk Out’s biggest surprise literally fell on STS9 drummer Zach Velmer, when a female fan managed to bypass festival security. Once onstage, the fan made Werk Out history by attempting a trust fall onto Velmer and his kit. STS9 left the stage to regroup and returned for a high energy second set that closed out the Main Stage on Friday Night.

Friday afternoon was highlighted by the Big Damn Jam’s performance of the Beatles’ classic album Abbey Road. The performance was dedicated to Dimitrouleas, who passed earlier this year. As a member of Big Damn Jam, Dimitrouleas always wanted to perform the album. After his passing, BDJ decided to honor him posthumously with the performance at this year’s Werk Out Music Festival.

The Abbey Road set included a rotating cast of musicians most notably Dino Dimitrouleas (The Werks), Todd Stoop, Alex Delk (Octopus’ Garden), Marcus Cornwell (The Vibe) and Justin Robb (Litz) as well almost a dozen other musicians throughout the afternoon set. Most of the musicians participating had played with Dimitrouleas in various projects over the year. During the set, fabric flowers fashioned from Dimitrouleas’ old shirts were passed out in his honor. Fans and musicians wore them on hats, backpacks and various pieces of clothing throughout the rest of the weekend.

The tributes to Dimitrouleas continued throughout the weekend including The Werks’ Saturday night encore with a dedicated performance of “Carry Me Back Home.”

“I’ve never been so emotionally touched by a musical performance as I was during the Werks encore tribute to Norman on Saturday night,” said Zachary Burns of Grand Rapids, MI. “Everything from the crowd chanting ‘DINO! DINO! DINO!’, to Dino’s speech before the song starting, to seemingly every member and a good portion of the crowd crying during ‘Carry Me Back Home.’ That was the definition of being happy and sad at the same time.”

The Werk Out’s most talked about performance came in the form of the Twerkapod “Tribute to the 90s.” Featuring members of Twiddle, The Werks, and Dopapod, the Friday night late night set was packed with a mix of obvious choices (Green Day, Blink 182, Sublime, Nirvana, Rage Against the Machine) and stunning surprises (Britney Spears, Hanson and TLC). Highlighted performances from the set included “Gangsta’s Paradise” which featured a perfect reproduction of the song’s ending choral arrangement and Twerkapod’s word perfect performance of TLC’s “Waterfalls.”

Fans of The Werks weren’t in agreement on which of the weekends multiple sets were the band’s best. Most found that each of the weekend’s set contributed a different experience for the weekend.

“I really enjoyed the first Werks set on Thursday,” noted Tyler Raymond of Michigan. “I’ve seen the Werks more than any other band and the sound and production was top notch from them. The way the light show was coordinated with the band was seriously next level. You could really tell that they were putting the shows on for us and that the guys really love us.”

Dino Dimitrouleas, currently on a hiatus from bass duties with The Werks, joined his band mates on several occasions for sit-ins throughout the weekend starting Friday night. “When Dino came on stage in the tent everyone was so happy” Raymond told NYS Music, “Definitely a moment to always remember.”

Vermont based quartet Twiddle continued to create a buzz about their unique brand of jam. Raymond also noted that the band’s Saturday night sunset performance on the Side Stage was among his favorite non-Werks set of the weekend. “They are moving up the list of my favorite bands quickly because what they bring to the take is so fresh and different than anyone else out there right now.”

The weekend also featured several breakout performances. New York’s Mister F and Teddy Midnight created a buzz in the Big Tent Stage. North Carolina’s Big Something capitalized on their first Werk Out appearance on the Side Stage with a high energy afternoon performance on Saturday afternoon, while Maryland based band Litz turned heads during their Big Tent Stage set, which featured a sit-in from Twiddle keyboardist Ryan Dempsey.

In fact, the weekend was full of sit-ins including Twiddle’s Mihali Savoulidis and The Werks’ Chris Houser performing with Greensky Bluegrass and Dopapod’s Rob Compa shredding during Twiddle’s “Apples.” And according to Derrick Webber of Ypsilanti, MI, these sit-ins add a new element of musicianship for some of his favorite musicians. “It blows me away to hear such clean performances from guys that don’t typically play together, and the passion they still have is inspiring.

The weekend’s ultimate sit-in featured members of the Werks, Twiddle, Greensky Bluegrass and Big Something in Matt Butler’s Everyone Orchestra. Butler finds a way to coordinate a variety of musical sounds, while leading his EO members to create unique and one time only jams. Twiddle bassist Zdenek Gubb stepped on stage to lead the EO to the highest energy, grooved out dance party of the set. However, Houser received the set’s MVP award for showcasing a variety of styles, genres and face-melting solos throughout the performance.

Beyond the music, the Werk Out featured a large number of vendors, giving attendee’s a variety of food, beverages, merchandise and crafts to choose from over the weekend. Vendors for the weekend all were competitively priced, creating a fairly priced and active marketplace throughout the weekend.

Nick Augustine, a first time Werk Out attendee from Maryland, noted that his favorite non-musical part of the weekend was the fire spinners and propane dance floor set up near the late night stage. “What a cool addition to the atmosphere!”

The Werk Out looks to return to the Legend Valley Music Venue and Campground for its eighth installment next August. The venue has plenty of space for the festival to grow without the inconvenience of having to move locations to accommodate its growing popularity. What the Werk Out does right is that it cultivates an environment of friendship and community while packing its line-up with musicians and artists that clearly have solid working relationships and mutual respect for their fellow musicians.

Augustine, who told NYS Music that he will be making the Werk Out an annual addition to his summer festival plans, said it was the overwhelming sense of community that made the festival a stand-out event. “The staff, the crew and the people were all adding to making this festival fun, beautiful, exciting and safe. From the decorations to the sound and lights to the amount of good vibes and vending, this festival was one of the best I’ve attended!”

August 19, 2016
Hearing Aide: Big Eyes “Stake My Claim”

Big Eyes, the female fronted punk rock band from New York City formed in 2009 by vocalist Kait Eldridge featuring Paul Ridenour, Malcolm Donaldson and Griffin Harrison. The band Big Eyes have a very Joan Jett vibe to them and with a comparable sound like that there is nowhere but up for this group to go. With their new album Stake My Claim being released on August 19 via Don Giovanni Records.

This album flows with each track, starting off with a bang with the title track, the perfect way to get things rolling and gives you a good sense of what else is to come. Powerful guitars and drumming really put this track together well along with Kait’s vocals. “When You Were 25” continues the high energy and keeps you pulled into the record, allowing you to reminisce about your early twenties and the struggle of being a reckless youth needing to face the hardships of adulthood. “Alls I Know,” the final track on the album, really ties the album up perfectly; this track starts off a bit slower than the rest and picks back up into that punk rock feel about a minute into the song.

With so much potential this band has a very high ceiling and it can be heard through this album, maybe one day this band will share the stage with Joan Jett. The potential of this group is tremendous.

Key Tracks: Stake My Claim, When You Were 25, Alls I Know

August 18, 2016
Rockin’ in Paradise: Styx at American Music Theatre

It wasn’t at the famed Chicago Paradise Theatre that the legendary classic-rock band Styx performed. This time it was the stunning and fairly modern American Music Theatre in Lancaster, Pennsylvania on a warm summer night, August 15, 2016. The 1600 seat American Music Theatre first opened its doors in 1997 and has been the host of a multitude of Grammy winners, Grand Ole Opry legends, National Broadway Tours as well as numerous top musical acts and performers over its two decade span.

It may not have the history as the famed Chicago’s Paradise Theatre, however, but the classy modern AMT is surely a beautiful and relaxing place to catch a show with its wonderful mezzanine accessible by two grand staircases on each side of its spacious open lobby, a nice and unique gift shop, clean modern restrooms and two plentiful and delicious refreshment areas that are easily accessible from the main lobby directly outside the theatre doors. Seating is very comfortable and spacious with a good open view of the stage. There really isn’t a “bad seat” in the house. The AMT provides state of the art sound and lighting as well as top notch production, sound, lighting, crew, very friendly ushers and accommodating staff.

Styx, one of the world’s best selling bands of all time, formed in Chicago in 1972 by twin brothers Chuck and John Panozzo and Dennis DeYoung along with Guitarist James Young. Tommy Shaw would join the band in 1975. Styx signed with A&M Records and released Equinox in 1975 as well which gained the band considerable recognition and airplay on FM radio in the relatively new Album Oriented Rock (AOR) format. The band’s 1976 album, Crystal Ball, would be the first to feature Shaw. The bands real breakthrough triple platinum smash album The Grand Illusion was released on July 7, 1977 and featured the mega-hits “Come Sail Away,” “The Grand Illusion” and “Fooling Yourself (The Angry Young Man)”.Â Styx would go on making huge albums and selling out arenas and stadiums throughout the late 1970’s and 1980’s with albums Pieces of Eight, Cornerstone, Paradise Theatre and 1983’s Killroy Was Here.

At just a little after 7:30 p.m. in the sold out 1600+ seat AMT, the house lights went down and Styx drummer Todd Sucherman could be seen settling in behind his kit while waving to the crowd. As the intro music intensified, the other members of Styx walked out a stage door just to the right of the drum riser waving and moving into position. As the intro reached its crescendo the band, guitarist/singer Tommy Shaw, founding guitarist James Young, keyboardist/singer Lawrence Gowan, drummer Todd Sucherman and bassist Ricky Philips established their musical diversity and ageless sound right away opening with “The Grand Illusion” followed by the timeless 1981 hit “Too Much Time on My Hands” and another from the 1977 Grand Illusion album, “Fooling Yourself (The Angry Young Man)” which featured original founding bassist Chuck Ponazzo joining the band on stage.

The band was musically superb. Without a doubt the performance was outstanding as the band was as tight as could be, delivering a loud but clean sound with the amazing vocal harmonies the band is known for, dazzling guitar tones blended well with the mix of electric and acoustic six and twelve stringers along with the synth and piano from Gowan, who replaced founding keyboardist/singer Dennis DeYoung in 1999. Shaw however soaks up the majority of the spotlight while sharing frontman duties with Gowan as he took lead on at least half of the 18 song set as well as explained a little history of the band including Styx being one of the founders of “Album Rock” and “Story Telling” through LP’s. He commented that the goal in the late seventies for bands was the idea of Album Oriented Rock and that “If you made it through side A of the album and flipped over to side B, the more experimental and personal songwriting and sounds tended to find its way to the B sides”. Shaw introduced the next song as the second song from side two of the Grand Illusion album, “Man in the Wilderness,” as he strummed his beautifully crafted Gibson acoustic guitar.

Styx continued throughout the night with Young engaging with the crowd as well as he took lead on several numbers and introduced the next song, “Light Up,” from the 1975 Equinox album. He talked about the days when President Ford was still in office, before the cell phone era, when the band would engage in “not so healthy choices,” and when the crowd forty years ago would hold up actual lighters and a “so called aroma would permeate the air.” He urged the modern concert goers to instead hold up and light their cell phones as the band broke into the song sung by Gowan. Young then took lead on the 1977 song, again from the Grand Illusion album, “Miss America” and later on the 1981 song “Snowblind” from the Paradise Theatre album making reference to how hot it has been recently and for the audience to relax and cool down a bit for this song.

Shaw and Gowan performed a mesmerizing tribute to David Bowie with their rendition of “Space Oddity” featuring bewitching harmonies with only Shaw’s acoustic guitar and Gowin’s piano accompanying their vocals. A few other surprises were covers by The Beatles with “I am the Walrus,” Elton John’s “Rocket Man,” and Prince’s “1999,” as well as a rendition of Otis Redding’s “(Sittin’ On) The Dock of the Bay” all performed solo by Gowan while the rest of the band stepped offstage for a bit. It seemed the hits kept coming one after another. With close to 45 years as a band and over 15 studio albums with four consecutive albums being certified as Multi-Platinum from 1977-1981, the set-list could continue for hours. Styx’s AMT set included thirteen of their well known hits as well as five covers. The band tends to avoid adding some Dennis DeYoung songs to their set-list including “Babe,” “Mr. Roboto,” and “The Best of Times.” Needless to say, the set, the songs, the musicianship, the showmanship, the enthusiasm and energy all made for an amazing show in the very classy and comfortable American Music Theatre.

Styx had the audience highly entertained and engaged throughout the night in between their powerful guitar heavy rock songs such as “The Grand Illusion,” “Too Much time on my Hands,” and “Miss America,” and their more laid back hits such as “Man in the Wilderness,” “Crystal Ball,” and “Lights.” As the show progressed, Shaw urged the crowd to move up to the front of the stage and move around. And again, as expected, the crowd was enthralled in the moment, with much of the audience choosing to sit and watch the show from their relaxing theatre seats many of the other fans moved right up to the front of the stage waving and extending their arms in the air hoping to slap hands or catch a guitar pick from one of the band members.

The hits kept coming all night including “Blue Collar Man” and the mega power rock ballad “Come Sail Away.” Styx came out and performed two encores including “Rockin’ the Paradise” complete with confetti blasters on both sides of the stage and finally, from the 1978 album Pieces of Eight, “Renegade.”

Styx continues their summer 2016 tour throughout the months of August, September, October and November. Whether you’re an old fan or a newcomer to Styx, the band is timeless and the band features amazing musicians that perform all the Styx hits with flawless sound, energy and passion. Check out their upcoming tour dates, news and more at their website below.

Styx, August 15, 2016 – American Music Theatre, Lancaster, PA

Setlist: The Grand Illusion, Too Much Time on My Hands, Fooling Yourself (The Angry Young Man), Man in the Wilderness, Light Up, Miss America, Space Oddity, Crystal Ball, I Am the Walrus, Snowblind, Lights, Blue Collar Man, 1999, Rocket Man, Dock of the Bay, Come Sail Away

Encore: Rockin’ the Paradise, Renegade

August 18, 2016
String Cheese Has An Incident At The Kings Theatre In Brooklyn

Colorado’s String Cheese Incident made their two-night debut at the newly renovated Kings Theatre in Brooklyn this past weekend to showcase their electronic fused jams rooted in Americana sounds and instruments. After months of not playing the big apple, the return was rewarding to fans in bust out covers and phenomenal playing across the board.

The first night’s first set started strong with “Johnny Cash,” and the energy would carry through as lead guitarist and violinist Michael Kang took the vocal duties from rhythm guitarist Bill Nershi. A favorite amongst the full room of fans came with “Don’t It Make You Wanna Dance,” a song that lives up to its name. The first half of the first night came to a close with the SCI classic “Born On The Wrong Planet,” which flowed into an energetic rendition of the Talking Heads’ “Life During Wartime,” and ending the set strong with “Colliding.”

The second set ignited with keyboardist Kyle Hollingsworth’s gritty and groovy original “You’ve Got The World.” The electronic influence on this once stripped down group shined through on “Hi Ho No Show” where drummers Jason Hann and Michael Travis showcased their talents alongside Hollingsworth’s synth playing. Bassist Keith Moseley would take his turn at vocals during the uplifting song he wrote known as “Joyful Sound,” Perhaps the most favorable cover came with the encore of the classic folk song “I Know You Rider” that many in the crowd were familiarized with by the Grateful Dead.

Night two continued the theme of uplifting pockets of exploration and danceable music. The synthesizer and techno beat laced Irish trance opener “Valley of the Jig” picked right back up from the previous night and showed that the band was eager to put on a great performance. Moseley took the lead on “Sweet Spot” midway through the set, holding down the microphone and bass at the same time. To close out the set, the Cheese men reached into their bag of tricks and pulled out an age old classic known as “Round The Wheel.”

Set number two was filled with brilliant covers and SCI originals to close out the run. Hot off their performance at Peach Fest where they performed an Allman Brothers Band set, Nershi and the boys were joined by Greg Allman’s guitarist Scott Sharrad while they ran through the instrumental “Hot Lanta” followed by Cheese’s “On The Road,” and finally the Allman’s “Southbound.” The set ended with “Way Back Home,” the bluegrass standard “Whiskey Before Breakfast,” and the Led Zeppelin staple “Kashmir,” pushing the envelope on all three. A three-piece encore emerged featuring Nershi leading his bandmates through “Honky Tonk Heroes” and “Hobo Song,” and sharing the mic during “Rosie,” which was highlighted by Kyle Hollingsworth’s finger work.

After both nights were in the bag, the fun had been had, the music had been played, and there were positive memories to be cherished because of the music and the festive atmosphere that Cheese shows are notorious for. The only downside to having the String Cheese circus in town is the reminder that it doesn’t come to the New York market often enough.

August 18, 2016
Strangefolk Returns to Eden, 20 Years Later
Photographs by Andrew Francke

“It’s like seeing an old friend again.”

This phrase was repeated a few times during Strangefolk‘s Garden of Eden weekend run in Jay, VT. Held only a few miles from Eden, VT, the original site of Garden of Eden festival in 1996, the weekend featured Strangefolk, Percy Hill and Assembly of Dust that brought back memories of Edens of the past, but also looked to the future of Strangefolk in an idyllic setting in Northern Vermont.

Photo by Andrew Francke

This was one of the shows where, even if you could stream it and take part in couch tour, the feeling of seeing faces from throughout the history of Strangefolk, their peers in the 90’s New England jam community, and weather that enveloped the mountains and Stateside Amphitheater in a cloud for much of the weekend, you had to be there. While FOMO is something alleviated by streaming services, there’s the innate ability to be there hearing new Strangefolk songs performed live for the first time that made a 5-hour drive from Albany beyond worth it.

Photo by Andrew Francke

Percy Hill opened each night with soul and funk found deep in the annals of bands that grew from the influence of the 90’s jam scene, bringing a familiar tone that is back for select shows this year, including a performance on Jamcruise 15 next January. “Color in Bloom” had a early SCI/Paul Simon vibe with the crowd getting down as each familiar song made an appearance.

Photo by Andrew Francke

Jason Crosby was on hand all weekend with Strangefolk playing fiddle and keys, as they kicked off the night with “So Well,” which later closed the second set on Saturday, appropriate for the line “20 years gone by,” sung aloud by the crowd and band in unison. Solid versions of “All the Same” and “Furnace” preceded a lengthy “Paperback Book” and a surprise “While My Guitar Gently Weeps” to end the first set.

Strangefolk buttons at Garden of Eden #strangeart #vt

A photo posted by pete mason (@phanart) on Aug 12, 2016 at 7:45pm PDT

“Rather Go Fishin’” and “Faces” kicked off a looser, more jam heavy second set. The debut of “California Love,” a new Trafton tune, led to “Walnut” which gave way to two unique sandwiches – “Take it Easy on Me” > “Songbeard” > “Take it Easy on Me” and “Roads” > “Like You Anyway” > “Roads”, the latter featuring an ambient “Mind Left Body” jam. An encore of “Stout Hearted Man” and “Get Down Tonight” brought Percy Hill to the stage. And that was only night 1.

Saturday was a rainy one for much of the Northeast, and Jay Peak didn’t escape a drenching from Mother Nature. A VIP set in the Stateside Lodge featured fan favorites “Sidestep Blues,” “Things That Fly,” “New Glock 2,” and “Whatever.” As the evening arrived, so did a warm wind that blew in from every direction, sometimes bringing rain and other times blowing EZ-ups like tumbleweed.

Photo by Andrew Francke

Strangefolk arrived on stage one by one, first with Luke Smith working into “Strange Ranger” as bandmates joined him, then an intense and well received “Westerly.” “Come on Down” dropped smoothly into “Sometimes,” which led into “Udderly Addled.” “As…” and “So Far Gone” closed the set, which featured incredibly tight segues that were fluid and un-orchestrated.

Photo by Andrew Francke

The second set started out with the fan-favorite jingle “Juicy Fruit,” where a guy in a turtle costume joined the band and proceeded to smash a guitar on stage – hopefully not Reid’s, as he was performing on a Telecaster throughout the Amphitheater sets. A rare “Folka Polka,” a Crosby-led jam in “Pawn,” and the debut of “Sunday Soon” highlighted the middle of the set; the new songs that Strangefolk debuted over the weekend have that pure and familiar Strangefolk sound. A combo of “Diary” and “Lines & Circles” were a high peak of the set, yet the hits and heat kept coming: “Dance” followed by the ending of “So Well” capped of a throwdown set. An encore of the new “Introducing Everything” followed by “Speculator” with Yahuba Garcia from Percy Hill and Ryan Montbleau on vocals closed out a family affair, 20 years gone by.

Photo by Andrew Francke

To end the weekend, Assembly of Dust’s late night set in the lodge had friends gathering round to celebrate a successful return to Eden, with highlights “Love Junkie,” “Whistle Clock” which featured Crosby teasing “China Cat Sunflower” in a smooth jam, and “Songs We Sing” to close the night.

Stream or Download Friday and Saturday from Archive.org and watch video of the weekend below.

Friday

Set 1: So Well, Valhalla, All the Same, Near and Far, Furnace, Shift My Step, Paperback Book, Oxbow, While My Guitar Gently Weeps

Set 2: Rather Go Fishin, Faces, California Luck*, Walnut, Take it Easy on Me > Songbeard > Take it Easy on Me**, Roads > Like You Anyway > Roads > What Say You > Reuben’s Place

E: Stout Hearted Man&, Get Down Tonight&

Saturday

VIP Set: Sidestep Blues, I Tell Myself, Angry at the Sun, Things That Fly, New Glock 2, Rachel, Sad, Hildegard, Whatever, Poland

Set 1: Strange Ranger, Westerly, Come on Down, Sometimes, Udderly Addled, As…, So Far Gone

Set 2: Juicy Fruit, Folka Polka, Alaska, Pawn, Sunday Soon*, Diary, Lines & Circles, Elixer, Dance > So Well

Encore: Introducing Everything* > Speculator^

* debut

& with Percy Hill

^ with Ryan Montbleau and Yahuba Garcia
- Photo by Andrew Francke
- Photo by Andrew Francke
- Photo by Andrew Francke
- Photo by Andrew Francke
- Photo by Andrew Francke
- Photo by Andrew Francke
- Photo by Andrew Francke
- Photo by Andrew Francke
- Photo by Andrew Francke
August 17, 2016
Heavy Montréal Stands Strong With 30,000+ Metalheads

Once again, Montréal brought in thousands upon thousands of the world’s biggest heavy metal fans last weekend. The event known now as Heavy Montréal, was held on August 6 and 7 at the Plaine des Jeux at Parc Jean-Drapeau. The weekend was host to more than 37 bands that played across 3 different stages. Out of the 30,000+ fans that attended, approximately 23 countries were represented. Those countries include fans from, the United States, Germany, Australia, Brazil, Switzerland, France, Great Britain and more.

For those who attended the festival last year, there were two main differences. Those differences were the festival was dropped down to only Saturday and Sunday instead of Friday, Saturday and Sunday. The other difference being in the actual festival grounds. This year, the festival moved to the smaller side of the island known as the Plaine des Jeux. Over the same weekend, metal fans may have run across many hipsters wearing their colorful tank tops and board shorts while taking the metro to Heavy Montréal. The reason for the mix of music scenes was because right next door at the old Heavy Montréal festival grounds was the ÎLESONIQ festival which was headlined by artists such as Zedd and Skrillex.

Anyways, back to the metal. Saturday was a busy day for everyone it seemed. Only the most loyal fans to the headlining bands camped along the rail all day to catch that one band they came for. Pop Evil was one of the bands who started off the weekend and they seemed to love Montréal and the crowd loved them. The band opened up with the crunching riff of “Deal With The Devil”. Festival sets are never long, so everyone has to bring their ‘A’ game. The crowd support and reaction at just 1:30 in the afternoon was incredible.

In the middle of the afternoon on Saturday, it seemed to go back and forth from one great artist to the next. Bands like The Dillinger Escape Plan, Skeletonwitch, Fear Factory and Kataklysm were only some of the options early in the day. Each of those bands all seemed to draw respective crowds which was surprising when some of the sets overlapped. Somehow it seemed like no matter who was playing next, each stage was packed.

Saturdays biggest surprise was Escape The Fate. Playing on the Blabbermouth.net stage, these guys absolutely stole the show. Skeptical on how the crowd would react at a festival dominated by “heavier” bands, Escape The Fate provided that breath of fresh air in the afternoon. The band’s setlist consisted of mainly songs off of their last 2 studio albums, which were both solid from start to finish.

Other bands that played Saturday that put on unforgettable performances were Sabaton, Sebastian Bach and Black Label Society. Sabaton had the best stage set of the entire weekend hands down. The Swedish power metal guys in Sabaton brought both pyro to their stage set and a tank. Yes, you read that correctly, a tank. To go along with the awesome stage show, Sabaton ripped through a 10 song set list that consisted of songs like “Ghost Division,” “To Hell and Back” and “Night Witches.”

Sebastian Bach, who everyone knows as the voice of Skid Row, seemed to surprise the audience with a high energy impressive set. Sebastian came on stage to “Slave to the Grind” and was headbanging while swinging his microphone around him. Sebastian connected with the Montréal crowd by speaking lots of French to them, which brought roars from the packed audience. Fans of the TV show “Trailer Park Boys” were present in the crowd, which is a show Sebastian is commonly featured on. Fans brought in a sign for Sebastian, which he took, not to rip up and throw away like Axl Rose would have done, but instead Sebastian held it up high with laughs and propped it up on stage. It could easily be seen that Sebastian was in high spirits and truly loved performing at Heavy Montréal.

Black Label Society was one band that not a single person in Montréal should have missed. Friday night the band played a headline show in the city and on Saturday once again at Heavy Montréal. Watching Zakk Wylde shred on the guitar is mind-blowing. The man can virtually play anything with his eyes closed. The band was tight and ripped through a quick 8 song setlist, highlighted by “Funeral Bell,” “Bleed for Me,” “Godspeed Hell Bound” and “Stillborn.” The end of the set wasn’t the end of Zakk for the weekend. Everyone knew that Zakk and his band would be back on Sunday for more, but not to perform as Black Label Society, but under Zakk’s name instead for a softer set.

The end of the day 1 for Heavy Montréal was capped off by Mastodon, Nightwish, and last but not least Five Finger Death Punch. Mastodon, who was scheduled to play last year’s Heavy Montréal but was forced to cancel, came back this year and gave fans what they’ve been waiting for. The group from Atlanta, Georgia mixed with tremendous talent all around has been on the round behind their 2014 release of Once More ‘Round the Sun. As many fans hoped, Mastodon focused on that album playing track from it such as “The Motherload” and personal favorite “High Road.” Other fan favorites from the set included “Oblivion”, “Divinations” and “Blood and Thunder.”

Nightwish made its only stop in North America of 2016 at Heavy Montréal. For being a symphonic metal band from Finland, the crowd support for Nightwish was unbelievable. The band opened with “Shudder Before the Beautiful” which was off their 2015 release Endless Forms Most Beautiful. Their latest album seemed to be the focus of the night with 5 songs played off it in total. The band brought in an impressive pyro display wish some fans certainly didn’t expect. Between the frequent pyro blasts right in front of singer Floor Jansen and guitarist Emppu Vuorinen, the C02 cannons going off gave Nightwish the complete production package.

Night 1 of Heavy Montréal was closed out by one of the most bad-ass bands of today, Five Finger Death Punch. These guys have been non-stop with a vicious cycle of releasing albums and touring without taking a break. Work has already begun for their next album after just recently putting out Got Your Six. The road warriors opened their set with “Lift Me Up” which was off Volume 1 of The Wrong Side of Heaven And The Righteous Side of Hell. With a short set and so many tracks to choose from, it’s hard for the band to really dig into their catalog. The guys seemed to try and keep everything balanced by playing at least 1 song off of 6 different albums. The night ended strong with “Got Your Six,” “Under and Over It” and “The Bleeding.” Five Finger Death Punch gave the crowd everything they had and the crowd showed no signs of letting up. Fans at Heavy Montréal were ready for day 2 before they even left the island.

Sunday started off with bands I Prevail and We Came As Romans. Both drew in the younger crowds early in the afternoon. I Prevail played their hit cover song “Blank Space” which was made famous by Taylor Swift. Surprisingly, this rendition was awesome and I Prevail really made it their own.

Guitar genius Tosin Abasi was on site Sunday with his band Animals as Leaders. This instrumental djent band drew in all the guitar nerds in the crowd over to the Scène HEAVY stage to get a glimpse at Tosin doing his thing. Animals as Leaders was definitely one of the standouts of the weekend for their uniqueness.

One of the summer’s biggest metal tours made their stop in Montréal on Sunday. The tour features Saint Asonia, Alter Bridge, Breaking Benjamin and Disturbed. Saint Asonia was the creation of Adam Gontier, formally of Three Days Grace and Mike Mushok of Staind. Joining them in Saint Asonia are Corey Lowery on bass and Rich Beddoe on drums. Basically a “supergroup” these guys have been going strong after their formation in 2014 and touring behind their 2015 self-titled release.

Hatebreed also played on Sunday. Many fans may have missed the fact that Hatebreed was at Heavy Montréal because they were a very late addition for Trivium who had to cancel last minute. For a last minute add-on, Hatebreed came to destroy Parc Jean-Drapeau. Ironically, the band opened up with “Destroy Everything” and then immediately went into “Looking Down The Barrel of Today.” The band a total of 4 songs off of The Concrete Confessional which was a heavy hitting album Hatebreed released last May.

Both Blind Guardian and Zakk Wylde drew big crowds on day 2 of Heavy Montréal. Blind Guardian who just played Wacken Open Air in Germany 2 days before coming to Montréal, had the best sound of the weekend. The German power metal band played a 8 song set that featured tracks from 6 different albums. The most popular album of the setlist for Blind Guardian was Nightfall in Middle-Earth. The tracks featured on that album that were played during the set were “Into the Storm,” “Mirror Mirror,” and “Time Stands Still(At The Iron Hill).”

Zakk Wylde was playing for his 3rd time in 3 days. This time just under the name Zakk Wylde, but still with his BLS bandmates on stage with him. The set started out with “Sold My Soul,” which seemed like a 20 minute guitar solo that features Zakk going nuts by playing behind his head and with his teeth. The band played “In This River” which is a Black Label Society song, but this version definitely had a different spin to it. Watching the band transform and play something completely different than the day before was very cool. There probably aren’t many bands out there that can do what Zakk and his Black Label crew could.

Sometime during the late afternoon the rain finally came down. While it started out as a light shower and then stopped, things changed shortly after with a downpour. The rain didn’t last long but from what fans were saying, it was the first time it had ever rained at Heavy Montréal.

As stated earlier, Alter Bridge was in Montréal and ready to show the city what they’re made of. Myles Kennedy and Mark Tremonti together make one of the best guitar combos in rock. Together, with the rest of Alter Bridge, the band puts on an incredible live performance. Myles is one of the best vocalist there are today and the band creates some heavy hitting riffs that are hard to get out of your head once you hear them. Songs like “Come To Life,” “Ties That Bind,” “Isolation” and “Addicted to Pain” are just some of what Alter Bridge played during their short set. The only thing that can be said is that Alter Bridge needs to do a headlining tour and come back to Montréal very soon. With a new album The Last Hero due out on October 7, Alter Bridge fans may very well get that headlining tour they’ve been wanting.

One of the best bands of the day if not the best overall was the mighty Killswitch Engage. The guys in Killswitch Engage squeezed in 11 songs into their short set time and showed every other band over the weekend how it’s done. Guitarist Adam Dutkiewicz lead the charge and opened up the set with “My Curse.” Between songs Dutkiewicz made sure the crowd did not calm down. This was definitely the set to see at Heavy Montréal. The crowd was a constant circle pit with crowd surfers and topless chicks. To sum it all up, the word would be chaos. Vocalist Jesse Leach was quite impressive in his ability to not only cover his original songs, but also some of the songs Howard Jones originally sang on. Songs like “Rose of Sharyn,” “The End of Heartache,” and “Holy Diver” sounded incredible with Jesse back in the band. On top of that, their newest material from Incarnate and Disarm the Descent was absolutely killer live. The mix of fast brutal riffs and energy Killswitch Engage brings to the table makes them a hard act to top for the rest of Heavy Montréal.

The 8th Heavy Montréal was closed out with Breaking Benjamin, Volbeat and Disturbed. Breaking Benjamin has been on the road ever since their release of Dark Before Dawn in 2015. With Benjamin Burnley is the only original member left in the band and he’s done a spectacular job filling the spaces next to him on stage. The reformed Breaking Benjamin sounds awesome together, especially Ben. It’s a pleasure to be able to see Ben back out on the road playing songs such as “So Cold,” “Breath,” “I Will Not Bow” and last but not least “The Diary of Jane.” To add to that, the new material off of Dark Before Dawn is also great live and the crowd in Montréal certainly helped Ben out by singing basically every word alongside with him.

Volbeat, who just released Seal the Deal & Let’s Boogie came out with “The Devil’s Bleeding Crown.” The highlight of their set was performing “Evelyn” with the Barney from Napalm Death. Volbeat who now features a new bass player, Kaspar Boye Larsen and Rob Caggiano on guitar, still puts on a great live show, but the energy on stage was missing that came from their former bass player Anders, who left the band last year. The band was sure to play hits like “Sad Man’s Tongue,” which was introduced with a little “Ring of Fire” intro by Johnny Cash. The crowd was definitely familiar with Volbeat and their love and respect for Johnny Cash. The night for Volbeat ended with “Still Counting” and just about everyone at the festival could be heard singing, “Counting all the assholes in the room,” even the people waiting across the way waiting for Disturbed.

Back from their hiatus and hitting the road after releasing Immortalized, Disturbed has been destroying every arena, amphitheater and festival it can play at. Heavy Montréal was no exception to that statement. Bringing an onslaught of pyro, just like Nightwish did the evening before, David Draiman and the rest of Disturbed were there to show Montréal they were back and meant business. The set opened with “Ten Thousand Fists,” “The Game” and “The Vengeful One.” For a band that took a long break, one would expect them to be rusty and still not be in the swing of things. Not Disturbed, this band is a well oiled machine that shows no signs of slowing down. The biggest surprise was hearing the band play “Land of Confusion,” a song that hasn’t been featured in their setlist often on tour. The band obviously played it’s insanely popular cover of Simon & Garfunkel, “The Sound of Silence.” Just about every cell phone and lighter was in the air for this song and it was a powerful performance to say the least. The night was full of other hits like “Stupify,” “Inside the Fire,” “Stricken,” “Indestructible” and “Voices.” The night and entire weekend came to a close with the song that just about everyone in the world could have predicted, “Down With the Sickness.” This was the perfect ending for a perfect weekend of metal music at Heavy Montréal.

If anyone has thought about going to Montréal for this festival, it’s highly recommended. The city is beautiful, the people are friendly and getting to and from the festival is easy. On top of that, Heavy Montréal is one of the most organized and put together festivals in North America. Look for a lineup announcement coming to NYS Music for Heavy Montréal 2017 early next year.

August 16, 2016
Arise Festival Stands Tall Among Giants
There is an ancient Eastern ritual cycle known as Jo-Ha-Kyu which has been applied to tea ceremonies, martial arts rituals, and even theater performances. The cycle was created to create intention and awareness to the different stages of life. From August 5-7 outside Loveland, Colorado, a family-run, independent music festival, called Arise, enacted the spirit of that intentional cycle through its three-day event. The festivities opened with a beautiful opening ceremony that included a series of “Jo”-like songs, chants, and prayers aimed at infusing festival-goers with an air of respect and care not often found at music festivals.

The ritual “Ha” concept emphasizing the activity of becoming, often referred to “the swirl of days,” spun its way through the Arise weekend with a constant parade of live and electronic music acts including Jurassic 5, Colorado’s own, Elephant Revival, the Hard Working Americans, and Papadasio. The Area 51 stage hosted a bevy of bass-thumping EDM acts throughout the weekend. Still, mixed into the swirl were a number of self-reflective activities including yoga, philosophical discussion groups, and environmentalist workshops, including one led by the world-renowned activist, Julia Butterfly.

Certainly there are other festivals attempting to infuse self-reflective elements of artistic expression with art structures, live painting, play spaces, and spiritual growth workshops into the music scene. However, it is a testament to Arise organizers that they continue to grow as a family-run event in a saturated festival market that is increasingly being dominated by large-corporately-funded events. Arise grew this year even as a new festival, backed by a music industry giant, sprung up in a nearby location the same weekend.

The Arise weekend closed with rousing performances by the likes of Ziggy Marley, the New Mastersounds, and the Old World beats of Dirtwire, an EDM project founded by members of Beats Antique. A final ceremony closed the festival early Monday morning. “Kyu” rituals are designed to acknowledge the collections of communal experiences with the hope that participants have created a singular experience that is more than just another multi-day party. As the sun peaked over the rust-colored hills, and festival-goers slowly gathered in a circle to join hands, the sight was enough make one’s heart grow three sizes too large.
August 15, 2016