Sunday evening provided a scare to members of the rock collective Hollywood Vampires and its fans at the Ford Amphitheater at Brooklyn’s Coney Island. Shortly into the band’s set, Joe Perry, long time Aerosmith guitarist, began to feel dizzy and sat down on the drum riser. Moving off to side stage he collapsed and was rushed by ambulance to a local hospital.
Continuing with the show, the band was unaware of his condition and wished their friend and colleague well in unison with fans.
Keeping up with his progress through social media, he is currently “stable and resting” at Columbia Presbyterian Hospital.
Thanks to all of the fans reaching out and asking about Joe. He is stable right now, with family and is under the best care.
July 12 Kettering Fraze Pavilion, OH
July 13 Mount Pleasant Soaring Eagle Casino & Resort, MI
July 14 Cadott Rock Fest, WI
July 16 Clarkston DTE Energy Music Theatre, MI
July 18 Fargo Scheels Arena, ND
July 22 Rohnert Park Green Music Center, CA
July 23 Jacksonville Brtt Festival Pavilion, OR
July 24 Saratoga Mountain Winery, CA
July 25 Paso Robles California Mid-State Fair, CA
Singer, songwriter and activist, Melissa Etheridge, who is currently on tour with Pat Benatar and Neil Giraldo, stopped by the Beacon Theatre in New York City on Wednesday night to strut her stuff, flash her pearly whites and remind us what sexy music sounds like.
Watching Etheridge perform her hits from the 80’s, 90’s and the 00’s is a sensual pleasure for the ears and the heart. Her still stellar raspy signature voice commanded the audience as she tore through all her hits including “I Want to Come Over”, “Pulse”, “Chrome Plated Heart”, “I’m the Only One”, “Bring Me Some Water”.
Her Grammy award winning, “Come to My Window” had everyone on their feet and reminiscing about the longing and ache we’ve all felt for another.
Her pumped up, energetic encore of “Like the Way I Do” practically blew the roof off the Beacon and left us all howling for more.
Ms. Etheridge is on tour across the states and Canada all summer long. Come October, she’ll joining the reigns of many with her own cruise, “Melissa Etheridge and Friends, Rock the Boat” sailing from Tampa to Mexico.
Eric Krasno and his debut solo album Blood From a Stone references an original composition, as well as the effort he put into singing on an album for the first time; indeed for him the experience was like drawing blood from a stone. Taking the album as a whole, the soul infused into the rock throughout the album (featuring Derek Trucks, the London Souls and more) creates a binding production, a step in a slightly different direction that will be welcomed by Krasno’s fans throughout this more than two-decade career.
Fans will find a rock and soul project, rather than the jazz and funk instrumental feel of Krasno’s Chapter 2. “This is more of a lyrical and songwriting album with elements of improv and funk in there. This was more about presenting the songs and letting them take life from there,” said Krasno.
The two-time Grammy winning Krasno shared that the album finds its influences in the era of Stax Records, with elements of Hendrix, psychedelic rock and the Grateful Dead, lyrically speaking. “I have very eclectic tastes from hip hop to Neil Young, and I pulled from many influences but made it a cohesive project — that was the toughest thing after wanting to go in so many different directions,” he said.
In recent years, Krasno has seen a shift to the studio, producing albums for Allen Stone, Tedeschi Trucks and Aaron Neville, and started a record label, Feel Music Group. Reflecting on working with such legends, Krasno said, “Neville was a dream come true to produce for one of my favorite singers.” He has gotten a healthy amount of attention from the New York Times, which has helped to spread the word and brings new fans into the fold. Bowlive, an eight-night event that aims for a Spring 2017 return to Brooklyn Bowl, “helps the whole family grow — from Lettuce to Soulive, to Bowlive and the new record label.”
Blood From a Stone shows a soul stirring and haunting “Jezebel,” an “In Memory of Elizabeth Reed” influenced “Curse Lifter” featuring Derek Trucks, and “Wicked this Way,” a full bodied mellow funk number, featuring Alicia Chakour on vocals. The album’s longest track, “Please Ya,” is deeply bluesy, pain creeping from the words over the longing from a sad tempo. The flow to the album along with variety in the tracks makes it a passive or active listen — sit back or dive in, no matter what you’re easily hooked.
The Eric Krasno live band will feature Danny Mayer (Beau Sasser’s Escape Plan), Mary Corso (Beau Sasser’s Escape Plan), Eric Kalb (the Dap Kings), Alex Chakour (Charles Bradley), and DeShawn Alexander (a Berkelee student whom Krasno met when he taught a Master Class recently) which was brought together after the studio album was complete. While the London Souls are featured on the album and Nigel Hall, too, Krasno set out to create a band that could tour in support of the album. Krasno went with musicians he’d worked with, whom he felt would rep the album well. Check out Eric Krasno Band tour dates and catch this new soul rock group as they draw blood from a stone.
Key Tracks: Waiting on Your Love, Jezebel, Unconditional Love, Curse Lifter
On June 12 at the Grand Victory in Brooklyn, NYS Music caught up with Jigsaw Youth, an all-girl punk-garage band from New York City. Offstage they are three unassuming teenagers, but onstage they let it all out as hardcore punk musicians. Hailing from Staten Island and Washington Heights, NY, Jigsaw Youth is made up of Maria Alvarez on bass, Isabella Occhipinti on drums and Nastacha Beck on guitar.
Beck and Occhipinti have known each other since the sixth grade, and upon reconnecting in high school, they decided to start playing music together. Last year, Beck met Alvarez via Tumblr, as she was intrigued by Maria’s blog quote, “If I play the bass in your face, would you jack off?” Sight unseen, Beck bravely reached out to Alvarez who was serious about starting a band; and immediately, Beck, along with the group’s former drummer, Julia Mannarino, began writing songs. A few months later, Jigsaw Youth performed their first shows in NYC, and drummer Occhipinti joined in December 2015. In less than a year, this “grunge body with a punk soul” group has made a name for itself across the United States and abroad.
So, what led this three-piece to form a Nineties-esque punk band? It’s simple — the recurring challenges still relevant today from feminism to the government to social change and teenage angst. But, this is balanced of course with a healthy zest for life and redefining the riot-grrrl movement for today’s generation, as ambitious female musicians like Kathleen Hanna (Bikini Kill), Kim Gordon (Sonic Youth) and Courtney Love (Hole) inspired them. Beck actually met Hanna — her idol — at a House of Bands show in Brooklyn, and shared with Hanna that her band’s moniker was an homage to the Bikini Kill song, “Jigsaw Youth” (Yeah, Yeah, Yeah, Yeah, 1993). Hanna then got up onstage and dedicated her next song to the blossoming band in front of the nearly 800-member audience. Alvarez has also crossed paths with her hero, Anthony Kiedis (Red Hot Chili Peppers), and Occhipinti is still vying for the opportunity to meet her icon, Alanis Morissette.
Rocking smartphones, and surprisingly, one flip phone, the ladies of Jigsaw Youth independently market their music on social media outlets like Facebook, Instagram, Bandcamp, SoundCloud and Tumblr; currently, they are working on getting their sounds on iTunes. (They’ve even received acknowledgements from Hanna and Love via Facebook.) Beck, Alvarez and Occhipinti shared that growing up in an era where the use of technology is required can be overwhelming at times, but all three agree that it’s about having intention when it comes to online posting. As a result of their smart online networking, they have connected with Joey Armstrong’s band Swimmers (SWMRS), who asked to record them for their song, “They Don’t Know,” and have also achieved an international presence. The Swedish webzine, Grrrl Collection, reached out to Jigsaw Youth, and then flew to New York to interview them for an upcoming web series.
When it comes to playing gigs, Alvarez is very proactive at reaching out to local festival creators and online music news outlets; she is not the least bit afraid to send mass emails to venues, radio shows, magazines and record labels. And sometimes organizers reach out to them like the most recent Northside Music Festival, where they shared the Grand Victory bill with Cutters, Luke Halloween: Teenage Halloween Solo and the One Handed Bandits. The band hopes to venture out into more live-music venues, but the challenge of being underage teenagers trying to book shows in Manhattan is often a struggle. They use their creativity to overcome this obstacle by playing house parties on Staten Island where they, “rage in basements.” In the interim, Jigsaw Youth recorded the song “Aunt Jenny’s Got My Back,” and has had four songs recorded by Princeton College Radio, with plans to professionally produce their first album in the near future — after their funds are replenished from senior prom.
With unique personal mottos ranging from “everything is going to be OK” (Beck) to “treat yourself” (Alvarez) and “no risk, no reward” (Occhipinti), their collective advice to other girls wanting to make an impact with their music can only come from shared experience: Have passion, take action, set your mind to it and follow the beat of your own drum, and focus on you and what you’d like to accomplish and success is bound to follow. Jigsaw Youth began their journey in the midst of taking the SAT and applying to colleges, making it possible to juggle school, jobs and music to achieve their goals. Because at the end of the day, it’s all about spreading the message that girls can start bands — and scream, too — without fitting into a cookie-cutter box. Catch Jigsaw Youth live in Staten Island at Killmeyer’s Old Bavaria Inn on July 6 (the annual Rock Out Against Smoking concert) and at the Liberty Tavern on July 21.
A lot of great bands form in college. The Pixies, for example, formed after guitarists Black Francis and Joey Santiago shared a suite together at U-Mass. By fortunate accident, the two spent hours at a time collectively reveling in the glory of late ’70s punk and David Bowie. Similarly, after actualizing their musical ambitions at Harvard, the members of Galaxie 500 swiftly began practicing with a drum set Damon Krukowski borrowed from classmate Conan O’Brien. Queen’s Brian May and Tim Staffell, too, discovered each other on a noticeboard on the grounds of Imperial College.
Starting a band in college, is by no means, uncommon or unnatural. Being a campus band, however, is a staggering decision, one more impertinent than being a band that merely makes music at college together. Being a campus band entails adhering to the collegiate lifestyle, pandering to the Thursday night red solo cup agenda, often by playing Beyoncé and Zedd covers to a house-full fraternity party. Being a campus band is not akin to writing songs with striking relevance to the collegiate lifestyle (see: “U-Mass,” “Tugboat“). It is not akin to playing a basement house show, wherein indie kids gather around the makeshift stage, acknowledging the band as the main event.
Shiffley
But Shiffley is different. They are, by no means, your average campus band, subsumed under the forgetfulness that follows a night of cheap and hard drinking. Not only did this Long Island band make the best of their Craigslist success story, but they also broke the long pattern of campus bands that came before them. Shiffley, instead, drew from their red solo cup collegiate starpower, collaborating with students that have all sorts of different skills from arts to business. They built their core team from friends at Syracuse University, finding a manager in co-founding member of A Cappella group Otto Tunes, Cormac Dennehy.
“I was a fan that wanted to help out in any way I could. It started out with them hitting me up for help promoting shows and just turned into me helping out with all corners of their camp. One day we just decided to put it in writing,” explained Dennehy, who currently works at talent agency ICM, which tends to clients like Bonnaroo, Coachella, Lollapalooza, SXSW, Lilith Fair, Sasquatch and Summerfest. “Every day I interact with new people in the entertainment industry — and if I can turn them into a viable contact, or at the very least a fan, then you bet your fanny I will do so. It’s also helpful to see how other people operate in a similar space. I have the opportunity to watch seasoned industry pros do what they do, and occasionally, I am able to apply that to my work with Shiffley.”
Shiffley indeed got their footing on campus, playing house show after house show until the concert board took notice and billed them as openers for 21 Pilots. In January 2014, Shiffley was handpicked by Fall Out Boy, Emeli Sande and Austin Mahone as a finalist in CBS’ nationwide Grammy Gig of a Lifetime competition, placing fourth out of 40 finalists. They were also semi-finalists in VH1’s Make A Band Famous competition. After releasing their EP Atomic Robot Man (mixed by Tony Gallis, the man behind several Steely Dan records), Shiffley is back this year with a new single, “Systems,” and an album slated for a July release.
“‘Systems’ is the second part of a two-song story off of the album about a robot that learns how to feel and then instantly regrets the decision,” the band shared over a warm email exchange, after revealing that they got their name from singer Alex Ganes’ illustration of a sleazy salesman. “As a band, we can relate to the idea of being sleazy salesmen of music.” It’s not long before they casually mention that they got their song mixed at Freshly Baked Studios, in exchange for a shout out. Their flagrant audacity is marveling, and it’s brazen barters like this that truly define Shiffley. Shiffley, as a band, lies on the other side of DIY, on the side that is transparently earnest in its outreach for commercial success. And this, in itself, makes the band that much more endearing, and that much more likely to succeed.
The idea behind “Systems” stemmed from spending their Syracuse weekends chasing down parties until the winter dipped into the negatives, thereby surpassing their threshold for the cold: “[Systems] is about the regret. The robot casts off his/her emotions in an effort return to max efficiency. The main hook, ‘Systems are down, it’s getting cold, I’m going home’ is about crossing that threshold and returning to logic at the expense of the fun times.”
Stream “Systems,” the first single off their TBD album slated for a release later this year, below, and follow Shiffley on Facebook and Twitter, videos on YouTube and music on SoundCloud and Spotify.
Shiffley July 2016 Tour Dates: 7/21 – Studio at Webster – NY, NY 7/23 – SUSIEPALOOZA – Deer Park, NY 7/25 – Chapala Blue Beetle Rock Bar – Burtonsville, MD 7/26 – Jammin Java – Vienna, VA
Although the jazz-funk fusion trio has been silent for bit, Medeski Martin and Wood recently announced the release of a new record this fall, followed by the news that the band would celebrate its 25th anniversary with two shows in New York City in October.
After performances at Colorado’s Red Rocks Amphitheatre (July 22) and in Esslingen, Germany, (Sept. 2), John Medeski (keyboards), Billy Martin (drums) and Chris Wood (bass) will regroup for two nights at Le Poisson Rouge in New York City. The Bleecker Street venue currently rests on the site of the old Village Gate where MMW played their first show together. The anniversary concerts are set for Oct. 19 and 20; special guests are soon to be added to the bill.
As reported by Jambase, the news that MMW was back in the studio at work on a new album came from a Tweet by drummer Billy Martin:
Very excited that @MMWBand will finally release a new record this fall!
MMW dropped their debut album Notes From the Underground in 1992, and the group’s last release Free Magic came out in 2012 via the band’s label Indirecto Records. In 2011, MMW recorded brand new tracks to celebrate the 20th anniversary of their musical journey together, and aptly named the compilation 20. This fall, the three-piece is releasing a collaborative recording with the 20-member ensemble Alarm Will Sound.
Tickets for the quarter-century celebration — both single-day and two-night offerings — went on sale at noon today through the venue’s website.
Fans of guitar virtuoso Joe Satriani will recognize the name, as will any learned bassist. Stu Hamm rose to fame performing with Satriani’s band for a decade, and on June 3, Hamm brings his solo act to the Van Dyck in Schenectady.
Hamm’s tour is a true solo run in support of his latest album, The Book of Lies. In addition to the Schenectady stop, Hamm’s brief stint also includes shows in New York City and Buffalo.
Hamm met Steve Vai while both were students at Berklee in Boston; he met Satriani as a result of his relationship with Vai and rose to fame as a member of his band. Hamm played on Vai’s first solo album, Flex-Able, in 1984 and went on to record with Satriani on his seminal ’80s albums Dreaming #11 and Flying in a Blue Dream.
Throughout his career, Hamm has recorded with such guitar luminaries as Eric Johnson, Michael Schenker, Frank Gambale, Alan Holdsworth and Robert Fripp. Another claim to fame is being named both best rock bassist and jazz bassist in the same year by Guitar Player magazine.
Expect a mix of bass virtuosity and humorous storytelling when Hamm hits the stage. In a statement, Hamm said, “I promise an entertaining evening of music and stories from my 43 years of playing bass with some of our generation’s greatest musicians!”
Check him out a venue near you this month.
Songs and Stories Tour 2016:
6/2 – New Hope, PA – Havana
6/3 – Schenectady, NY – The Van Dyck
6/4 – New York, NY – Spectrum (Masterclass at 2 p.m.)
6/5 – New York, NY – Spectrum (6 p.m. and 8 p.m.)
6/6 – Asbury Park, NJ – The Saint
6/7 – Dunellen, NJ – Roxy and Dukes (Presented by NJ ProgHouse)
6/8 – Buffalo, NY – Sportsmens Tavern
6/9 – Ottawa, ON – Brass Monkey
6/10 – London, ON – London Music Club
6/12 – Detroit, MI – The Token Lounge
6/13 – Newport, KY – The Southgate House Revival
6/14 – Cleveland, OH – Nighttown
6/16 – Charleston, WV – The Empty Glass
6/17 – Pittsburgh, PA – PGH Winery
Iowa based Christopher the Conquered’s first full-length album I’m Giving Up On Rock and Roll, released May 13, is made up of personal lyrics, powerful vocals and theatrics that are hard to match to any of his contemporaries. While listening to the album, one can often draw parallels to Elton John and Billy Joel, while the lyrics, drawing upon universal themes and experiences, are occasionally reminiscent of Ben Folds. Despite these attempts at drawing parallels, in the end, the sound is uniquely that of Christopher the Conquered, leaving the listener sold from the first track.
The nine-track record opens with the song “I’m Giving Up on Rock and Roll,” complete with powerful vocals reminiscent of Allen Stone and gospel-like background singers, before slowing down to only Christopher’s voice. Christopher has explained that the song ultimately is about giving up on the idea of living behind a facade and misrepresenting oneself, adding that the person he wants to be onstage is the same person he wants to be offstage. Ultimately, one begins to see the truth behind this sentiment in the lyrics throughout the album.
In the second track, “Mystery,” Christopher sings: “I’ve been thinking a lot these days about how life’s not really real/We all wanna believe it’s there/but it’s just this thing meant to conceal/The fear we have about our end and what it’s gonna do with us.” With lyrics such as these, he perhaps emphasizes a universal feeling many have experienced but do not often articulate.
In the following song, “On My Final Day,” Christopher highlights the realization — or fear — of what people will say once he’s gone. He sings, “I just tried to share what I found to be the truth/But no one wants to listen when they know they know it, too.” These seem to be the key lyrics to the album, continuing the lyrical themes grounded in shared experience and struggle.
The middle of the album slows the tempo down, sidestepping previous themes to discuss love and relationships. The song “Everybody Rains,” stands out because of the upbeat piano and positive feeling it creates in the listener, blending thematically with the following “Be A Good Person.”
The album ends on a humorous, tongue-in-cheek note with “I’m Not That Famous Yet.” Lyrically, this album is memorable due to its honesty, while its sound feels simultaneously retro and contemporary.
Christopher the Conquered is currently on tour in support of his latest release. He has two New York dates: Aug. 4 at Mercury Lounge in New York City, and Aug. 6 at Amityville Music Hall.
Key Tracks: I Guess My Heart’s Out of Tune Again, Everybody Rains, On My Final Day
This summer, English rockers the Temperance Movement will debut the sophomore album, White Bear, followed by a headlining tour.
The five-member outfit kick off the July run at the Ride Festival in Telluride, Colorado, and are scheduled to make stops at Lost Horizon in Syracuse, Mercury Lounge in New York City and Underground Arts in Philadelphia before the tour closes in Detroit. And on May 15, the group exclusively premiered the video for the record’s title track via Loudwire.
The three-minute video was the creation of noted photographer and director Steven Sebring, who used his signature “revolution system” camera techniques to produce a stunning visual manipulation of time and light. Sebring also created the album’s cover image “of a girl and a bear, interlaid and overlapping in magical realism” inspired by Fyodor Dostoevsky’s essay, Winter Notes on Summer Impressions.
The rising rock band that includes vocalist Phil Campbell, bassist Nick Fyffe, drummer Damon Wilson and guitarists Paul Sayer and Matt White. Although bearing the same name as the prohibitionist social movement of the 1900s, the Temperance Movement is not straightedge when it comes to gritty rock and roll. They have opened for heavyweight acts like the Rolling Stones, and this summer, the group shares the Ride Festival bill with Pearl Jam and Cage the Elephant, among others.
White Bear officially drops July 15 via Fantasy Records, but is available for pre-order now via iTunes and Amazon. If you want to see them live, scan the dates here or below to see if the Temperance Movement is coming to a venue near you.
The Temperance Movement summer 2016 tour:
7/9-10 – Ride Festival – Telluride, CO
7/12 – Marquis Theatre – Denver, CO
7/14 – Bottom Lounge – Chicago, IL
7/15 – Limelight – Peoria, IL
7/16 – The Stache at Intersection – Grand Rapids, MI
7/18 – Lost Horizon – Syracuse, NY
7/19 – Mercury Lounge – New York, NY
7/20 – Underground Arts – Philadelphia, PA
7/22 – A&R Music Bar – Columbus, OH
7/23 – The Shelter at Saint Andrews Hall – Detroit, MI
On Monday night in Brooklyn, recently-formed supergroup The New Stew, recreated the underappreciated live album Bill Withers: Live from Carnegie Hall. Walking onto the unusually danceable floor of the Bowl during the opening classic “Use Me”, you had the sense that those in attendance were not only there to hear Withers’ tunes, but also to see these well practiced musicians cook up something special.
“Friend of Mine” concluded with Yonrico Scott (longtime member of The Derek Trucks Band) abandoning his percussion kit, grabbing a bongo, and joining lead singer Corey Glover (Living Colour/ Galactic) at the front of the stage while he beat the drum so hard that the audience could see wood chips flying off the seemingly handmade mallet. As a side note, this band was not a cover band, but a tribute band, and these sizzling improvisations continued to come to life all night while staying true to the set list created by Mr. Withers over 40 years prior. Wither’s first hit, “Ain’t No Sunshine” found Glover pouring his heart out over the microphone while Roosevelt Collier closed his eyes and sent Withers a “thank you” in the form of “sacred steel” lap guitar notes. After the song faded away, Glover asked the room, “Why these songs so old and still so relevant,” which felt like the theme of the evening.
On the day after Mother’s Day, “Grandma’s Hands” felt appropriately placed and gave the audience one more slow groove before jumping into “World Keeps Going Around.” Dave Yoke (Susan Tedeschi Band) on the 6-string, provided some friendly soloing competition with Collier on lap steel. The crowd ate it up during the uplifting rendition, which led to the first true love song of the night, “Let Me in Your Life.” In any great set list, the artist develops peaks and valleys from slow songs to barn-burners (or Bowl burners in this case). “Better Off Dead” out of the aforementioned song was definitely the transition piece missing from this beautiful puzzle. In the 15 years of the songwriter’s performing career, Withers became know as the “Troubadour of Soul,” covering many different genres. This one can definitely be filed as “F” for FUNK! Kevin Scott’s (Col. Bruce Hampton’s Pharaoh Gummit) bass spiced up the stew while Jared Stone (Stone’s Stew) added flavor from behind the drum kit.
One thing missing from the original live recording was the witty banter provided by Withers in regards to his band and what influenced the writing of many of the tracks. In true tribute fashion, Glover connected with the audience in the same way when he stated “I wish I was down there watching that” in reference to Collier’s boiling hot solo during “For My Friend.”“I Can’t Write Left Handed” is like an R&B version of a wartime Johnny Cash song, which makes sense considering Withers shared some similarities in terms of the songwriters’ backgrounds. The two were humble, had a unique sense of humor and were proud to fight for independence and entertain the country they served (coincidentally Withers was born of the fourth of July). Another similarity between the two icons is their respect for their fellow man and few tunes cover that topic better than “Lean On Me.” After so many magical moments in the evening, it is hard to pick one highlight, but “Lean On Me” appeared to be the most anticipated song of the night as Withers fans new and old hugged it out during this spirit-lifter. The extended “call me” refrain was repeated almost a dozen times as the audience and band came together to complete a touching duo of slower tunes.
Matt Slocum (Oteil and the Peacemakers) displayed his talent on the keys while teaming up with Collier and Scott during “Lonely Town, Lonely Street” to get the Bowl shaking again. Glover grinned from ear to ear after crushing “Hope She’ll Be Happier” and the room let him know it. The New Stew took us to church for the “Let Us Love” set closer which left the guests hungry for more as they returned for the medley encore of “Harlem/Cold Boloney.” The night ended with a Glover led call/response of “Do you feel good? Yes, yes, yes. Do you want to go home? No, no, no!”
In a world where cover bands, Youtube and Spotify are the most prevalent means of listening to the sounds of yesteryear, rare supergroup tribute bands like The New Stew come along to not only bring us back in time, but to bring us back in spirit. While Bill Withers and his band provided the musicians with a soulful framework and influence, each member added their own special sauce to the dish making it a special that we hope to see on the Brooklyn Bowl menu again.
Continuing with the show, the band was unaware of his condition and wished their friend and colleague well in unison with fans.
Watching Etheridge perform her hits from the 80’s, 90’s and the 00’s is a sensual pleasure for the ears and the heart. Her still stellar raspy signature voice commanded the audience as she tore through all her hits including “I Want to Come Over”, “Pulse”, “Chrome Plated Heart”, “I’m the Only One”, “Bring Me Some Water”.
Her 
Ms. Etheridge is on tour across the states and Canada all summer long. Come October, she’ll joining the reigns of many with her own cruise, “Melissa Etheridge and Friends, Rock the Boat” sailing from Tampa to Mexico.
Iowa based Christopher the Conquered’s first full-length album I’m Giving Up On Rock and Roll, released May 13, is made up of personal lyrics, powerful vocals and theatrics that are hard to match to any of his contemporaries. While listening to the album, one can often draw parallels to Elton John and 