On a night where Buffalo got its first real snowfall of the season, The Waiting Room performance venue was plenty heated by its main stage. An up and coming pop-punk band, The Second String, celebrated the release of their EP, Six Ways to Sunday, with a show that served more as a celebration for themselves and a sign of things to come.
The Second String, made up of lead singer Tom Frisicaro, guitarists Roger Pleasant and Ryan Gelder, bassist Marc Del Priore and drummer Robby Marshall, make very traditional pop-punk – a weird statement to make, taking into account how long the genre has been around and how it’s been relegated from most. Their songs are short, sweet and to the point, each one lasting between 2 to 3 minutes. The lyrics were typical.
The fast nature of their music allowed for plenty of erratic movement on the stage, including some panels that occasionally lit up when one of the members stepped on them. Frisicaro sings very much like the singers of bands like Blink-182, Jimmy Eat World and Bowling for Soup. He has the same “trying to sound clean nasally” whine those bands have and if he was trying to directly emulate them, he was doing a good job.
After performing 5 original songs, including material from the just-released EP, Frisicaro played an initially acoustic All-Time Low cover, with the first two verses and chorus by himself before the rest of the band joined to finish out the song. The following song was a Paramore cover where a girl, Maddie Radwan, sang in place of Frisicaro, to the enjoyment of her friends in attendance.
At various points in the night, Frisicaro made constant mention of the band’s merch table along with sharing that his girlfriend was expecting. He also announced that the band was taking a break from performing live to focus on recording more material for a full-length album. Hopefully, with that bit of time on their side, The Second String can create something to get us excited about.
After a two year hiatus, moe.down is a go for 2017. Last year the band announced that, for the second consecutive year, moe.down would not take place but have never outright dismissed the fact that it would return. Today’s announcement puts the conjecture to rest. moe.down is returning to its original location, Snow Ridge in Turin, NY June 30 – July 2.
The July date marks a departure from previous moe.downs, which traditionally took place over Labor Day weekend, a weekend, as any upstater knows, that can bring weather ranging from excessive heat to cold rain, sometimes over the course of one day. The July date should make for a more pleasant weekend experience for fans.
Past moe.downs have seen the band perform six sets throughout the weekend as well as sets with side projects such as Al and the Transamericans, Ha Ha the Moose and Floodwood. The festival is known for attracting artists typically not seen at jamband festivals. Past performers have included Violent Femmes, They Might Be Giants, Cracker/Camper Van Beethoven and Meat Puppets.
Early bird tickets, VIP and RV passes for moe.down 16 go on sale Friday, Dec. 16 at noon ET. Three-day general admission tickets are $130 in the early bird allotment. For more information, visit moe.’s website.
Singer/songwriter Mike Powell has no shortage of inspiration for writing music. Raised in the foothills of the Adirondack Mountains, he taught himself guitar at the age of 13, boasting a catalog of 20 or so songs by the age of 15. Powell went on to become one of the most decorated college lacrosse players in history for Syracuse University, declining an offer to play in the pros straight out of college, opting instead to follow his passion for music and songwriting to the stage.
With the reverent simplicity of his soulful voice, an ax, and a harmonica, he delivers nine heartfelt, timeless songs on his fourth album, Tied to the Rail. Eliciting influences from Bob Dylan and John Prine, Mike Powell has been described as a “polite rebel; a truly unique and inspiring American voice,” by The Boston Globe. Powell has also released Blue Eyes and Hand Me Downs, Replevin, and the 2014 Syracuse Area Music Award-nominated Kapow.
Powell eventually did play lacrosse professionally – for the Baltimore Bayhawks in 2005 and the Boston Cannons in 2007. Two years later, he was back on stage, touring alongside Sarah Lee, the granddaughter of Woody Guthrie. A woodworker, Powell nearly lost his ring finger on his playing hand while moving a stack of logs in 2014. With a varied past such as his, it comes as no surprise that Powell is such a great storyteller!
The album kicks off with the folk/southern rock hybrid “Empire,” a track that showcases the power of what one can accomplish with the simplicity of an acoustic guitar and Powell’s smokey yet earnest voice. It’s a taste of what’s to come – a no-frills album showcasing powerful lyrics by a seasoned vocalist.
The second track, “Bibles and Bourbon,” features a signature steel guitar and is a short but sweet busker song, good for helping you get out of your own head.
His lyrics – like these from “Mary Anne” – are pieces of Americana.
When the water cost money and the drugs seem cheap
When all your dreams stay lost in your sleep
And you can feel a break down coming soon
When your head gets dizzy from the rattle and the spin
And the sadness seems to burn on your skin
And every night you’re left yelling at the moon
Conjuring up images of dusty railroad tracks and bible thumping preachers, “Tied to the Rail” combines folk, soul and a bit of country to create a sound that is sure to give you the feels. Inspired by the birth of his daughter in 2016, Powell is back on the road promoting his third album.
You can catch Powell on the road Tuesday, December 13 at the Light Club Lamp Shop in Burlington, Vermont, at Ray Brothers BBQ in Bouckville, New York on Friday, December 23 and at the Brae Loch Inn in Cazenovia on Friday, December 30.
In January, he returns to the studio with his Black River Band to record a new record set to release in March. He resumes his tour in early 2017 with over a dozen upstate New York appearances already scheduled, many of which Powell will be joined by Black River Band featuring John Hanus on guitar, Shane Kelson on keys, Joe Bell on bass and Dom Scicchitano on drums, with intimate solo shows when appropriate.
Visit Mike Powell on Facebook or his website for more dates or to pick up a copy of Tied to the Rail.
Lovers of classic country and American roots music would have loved to see Larry Campbell and Teresa Williams perform at the intimate FTC venue, Stage One in Fairfield CT. But people not involved in that culture may not have found show as much fun. It was a very, very laid back and low energy energy night, but that seemed to be just the right mood for the almost full house that attended, who gave the duo several standing ovations.
They played for about two hours and featured many tracks from their new self titled album and first collaboration together as well as a number of covers and originals from Campbell. Their voices did sync up perfectly and most of the instrumental side of the performance was intriguing, but listeners didn’t go there to be blown away by guitar solos and complex riffing and movements. They came to reminisce and dream about a country lifestyle while being stuck in Fairfield County, Connecticut, the least “country” place for miles.
The only notable downfall was the uncomfortable moments in between songs. The two were cute together but they were a bit awkward on stage with Williams lying low in conversation and a seemingly nervous Campbell stumbling over his words a little bit. The crowd didn’t seem bothered by his lack of fluency and found it to be more charming than anything else.
Many of their songs were of a slow tempo and about love and heartbreak, like “Midnight Highway” and “Running Wild” by The Louvin Brothers, and they soon gained some momentum with a few more from their album, “Surrender to Love” and “Bad Luck Charm.” And although the audience loved every song, there was a noticeable difference in the lack of applause after several ballad songs in a row. It seemed that Larry Campbell and Teresa Williams read the Stage One room and ended the night strong and upbeat with their encore that left the audience on their feet once again.
A standing ovation welcomed Del McCoury and David Grisman to the stage shortly after 8pm on December 10. The duo best known as Del & Dawg began their 50th anniversary show on the same RPI campus with “Feast Here Tonight,” a tune by the Monroe Brothers that nodded to Bill Monroe’s connection to both Grisman and McCoury and the genre of which they are elder statesmen. Using only one microphone, the crisp sound made it seem as though you were standing next to them. Even the applause sounded remarkable.
The Capital Region of New York is fortunate to have some of the best sounding venues in the country, where the audience and artist can mutually appreciate immaculate acoustics. The Experimental Media and Performing Arts Center (EMPAC) on the campus of Rensselaer Polytechnic Institute in Troy joins The Egg, Troy Music Hall and Picotte Recital Hall as premiere venues with impeccable sound which aids in bringing an exceptional variety of music to the Capital Region.
The pair took turns introducing the other. Grisman said it was “Great to be back in Troy with this young man,” while McCoury presented his counterpart as “The founder of Dawg music.” The reflection of their instruments bounced off the walls of the spacious room as they swayed and stepped back and forth to the microphone. “East Virginia Blues,” a humorous song of longing sung by both the Carter Family and Stanley Brothers felt like stepping into 1940s Appalachia. “Toy Heart,” a Bill Monroe original, elicited banter from Del and David who gave a free history lesson on the original Blue Grass Boys who first performed in 1946. A former Blue Grass boy himself, Del started out playing banjo, but Monroe got him to switch to acoustic and start singing, much to our delight 50 years later.
Some banjo humor preceded the instrumental “G-Run Blues,” followed Ralph Stanley’s “Man of Constant Sorrow,” as did “Tennessee Waltz,” considered by Grisman to be “a piece of musical substance” and also the state song of Tennessee that preceded the current title holder, “Rocky Top,” somewhat to Grisman’s dismay. To end the first set, the two performed “The Country Boy Rock n Roll,” a song that was seen at the time as a push back to Elvis Presley and Jerry Lee Lewis.
Del and Dawg returned to the stage, discussing the circumstances of their first show in 1966. A 4-piece needed a guitar player, and Del McCoury drove up to play with Grisman, the late Winny Winston on banjo and his brother Jerry McCoury on bass. Jerry then joined the pair on stage, followed by Chris Warner on banjo, collectively referring to themselves as The Bluegrass Survivors. “I Wonder Where You Are Tonight,” a Hank Snow song dating to the 1940s, began the set, followed by Del singing lead on “Dark Hollow,” one of the most familiar tunes of the night. Jerry McCoury sang lead on “Send me Your Address From Heaven,” with a voice akin to Del’s, pun intended.
Prior to “We can’t be Darlins Anymore,” Grisman pointed out the duality of bluegrass music, describing lyrics as focusing on “them tragic things of life – unrequited love, death, incarceration, suicide” and the melodies as “very uplifting, the antidote to the lyrics.” Grisman’s summation of bluegrass: “If you don’t listen to the words, it’s very uplifting.”
Dawg humor was on display with “I’m my own Grandpa,” as was Del’s ‘High and Lonesome sound’ on “The Prisoner’s Song,” followed by a somber and beautiful “White Dove.” Del gave thanks to the crowd, saying “We enjoyed having a reunion,” and wrapping up the night with Jimmy Martin’s “Hit Parade of Love” and an encore of “Lonesome Road.”
The history of the music performed this evening exceeded the 50 years the two have performed together. Music dating back to the 1920’s provided a century of bluegrass from which to cull a celebratory performance for this pair of musicians whose influence and knowledge runs deep through the veins of bluegrass music.
Setlist:
Set 1: Feast Here Tonight, Shackles & Chains, East Virginia Blues, G-Run Blues, Toy Heart, Man of Constant Sorrow, Tennessee Waltz, Snow Dove, Del & Dawg, Country Boy Rock n Roll
Set 2: I Wonder Where You are Tonight, Send Me Your Address From Heaven, Dark Hollow, Shenandoah Breakdown, We Can’t be Darlins Anymore, He’s His Own Grandpa, The Prisoner’s Song, Fanny Hill, Walk the Dog, The White Dove, Hit Parade of Love
Encore: Lonesome Road
Special thanks to Guthrie/Bell Productions for bringing an historic show to EMPAC, and Del and David, and their wives Jean and Tracy for chatting with fans at the merch table after the show.
2016 has been a good year for alternative rock bands Tiny Moving Parts and Microwave. They each released albums that pushed the boundaries of previous work as far as complexity of music and depth of lyrical meaning. However, listening to the recordings from the studio did little to prepare me for the experience of seeing them perform live last weekend at Harmony House in Rochester.
The supporting act was A Will Away, an alternative rock band from Connecticut. They warmed up the crowd with songs from their EP’s, but also treated the audience to a song from their forthcoming full-length album. ‘Gravity’ is a melodic song with a catchy hook. It’s sure to be a sing-along crowd favorite when they’re touring with Moose Blood in a couple months.
Next up on the bill was Microwave. This foursome from Georgia released their sophomore album “Much Love” earlier this year, a follow up to 2014’s “Stovall.” The audience sang along to songs about losing faith, unrequited love, and disillusionment. The stories in the songs are intensely personal, but strike a chord within those who are also searching for meaning and purpose in the modern age. Heavy on guitar and bass, the music contains a hint of southern rock. The setlist included “Something Right” and “Stovall” off their debut album, as well as songs from the new album, like “Drown” and “Lighterless.” The performance led up to a gut-wrenching climax. On the final song, “Vomit,” the drummer went ballistic and the other band members jumped and spun around on stage as lead singer Nathan Hardy screamed, “There’s no such thing as love. We just feel vulnerable without a God, without a crutch or anything else to lean on. There’s nowhere else, nobody else, nothing.”
The audience barely had time to catch their breath before Tiny Moving Parts came up on stage. The bassist, Matthew Chevalier, entered wearing a winter hat bearing the word “Minnesota” (as a reminder to the audience of the band’s origin? A piece of home for the road? Or a little of both?). His brother, Billy, took a spot behind the drums, and their cousin Dylan Mattheisen grabbed his guitar and dove right into singing “Sundress.” They played with precise coordination that is rare to find in young musicians, but it makes sense because they have been making music together since they were in junior high.
They went seamlessly from one song to the next, never letting up on the intensity. The set contained more than a dozen songs from their catalog of three albums and early recordings, including the songs “Happy Birthday,” “Breathe Deep,” “Vacation Bible School,” “Minnow,” and “Always Focused.” The positive energy was contagious, and a mosh pit opened up in the center of the room. When they got to “Common Cold,” Nathan Hardy came back on stage to accompany on vocals. The set ended as abruptly as it began, leaving the audience in an awe-stricken daze.
The performers from all three bands hung around to sign autographs and talk with fans. An impressive array of merchandise was available, including apparel, CD’s and vinyl albums, and novelty items like patches, stickers, and pins. Tiny Moving Parts was also selling some of their early work on collectible 7″ vinyl and cassette.
Tiny Moving Parts will be heading to Europe and Mexico in the new year. A Will Away will be touring the US with Moose Blood, Trophy Eyes, and Boston Manor in February and March. Microwave is also booking shows into 2017.
If you like a little soul sprinkled into your funk, and you have a little jiggle in your step, then you’ll love D.C.’s emerging talent, Aztec Sun.
This eight-piece ensemble brings funk-groove-improvisation to their performances that is sure to kick dancing shoes into gear; the band is Stephane Detchou, on lead vocals & rhythm guitar, Ryan ‘Catch’ Sarafolean, on keys/organ & backing vocals, Michael Dravone on trombone, Shane Weckesser on bass, Ray Lamb on lead guitar & backing vocals, John Heinze on drums, Adam Kent on trumpet and Dave Klein on the sax.
Originally conceived back in 2013, Aztec Sun has been steadily evolving and making a name for themselves; and 2016 was a big year for the group. For one, they were voted “Best Original Local Band” by the Washington City Paper, and performed in front of a significant crown at the D.C. Armory for the paper’s annual “Best of D.C. Celebration.”
In the past, they’ve shared the bill with other talented acts such as Pimps of Joytime, Burning Spear, The Suffers, Alanna Royale, Naughty Professor, Major and the Monbacks. AZTEC SUN talks about wanting to “push out their ‘Soul with Funk’ to diverse audiences,” and this year, they have done so at prominent D.C. establishments, like The Black Cat, Howard Theater, Rock & Roll Hotel and Strathmore.
In the future, however, they look to spread their love of funk further, into surrounding areas like upstate New York and Boston, for example; and their dreams extend to playing at bigger venues like Red Rocks, The Gorge, or maybe the Brooklyn Bowl or Fillmore West. Their name is one you’re sure to hear of again.
Their new studio E.P., titled Set You Free, a five-track, self-produced album, will be released tomorrow. The album is a recognition of their accomplishments thus far, and true to the band’s manifesto to “do whatever you can to make them dance,”AZTEC SUN invites anyone in the DMV area to come celebrate their newest project at their E.P. Release Dance Party at the Songbyrd Music House & Record Cafe, tomorrow, Sat., December 10.
For more information and tickets, please visit here.
Karina Verlan: What is the origin of the name Aztec Sun?
Stephane Detchou: Once the founding band members decided to “become a band,” they wanted to come up with a name that would best represent the music they were writing. After a number of different noun pairings, we decided on “Aztec Sun”: a name which, for us, combined the indelible, fiery presence of Funk with the warmth and energy of Soul.
Ray Lamb: This has nothing to do with how the name came about but in researching about the ancient Aztecs, I learned that they were not one tribe, but multiple tribes unified together. I think our band dynamic and music have similar qualities.
KV: What genre of music do you consider your work to be, and who are your major influences?
SD: We call it “funk with soul.” It generally errs on the side of groove music with a focus on rhythms that will make you move. Our influences are as diverse as our bandmates — James Brown, Sly & The Family Stone, Prince, D’Angelo, Ben l’Oncle Soul, Phish, Snarky Puppy, The Meters, Budos Band, Fela Kuti (to name a few)
RL: I agree with Steph. We incorporate a lot of different influences in the music we play. I guess sort of like a funk/soul stew with a sprinkle of jazz, rock, blues, pop, jam etc.
KV: I love that! funk/soul stew… How did you all meet?
SD: Aztec Sun was initially four guys (two guitars, bass, drums) who started playing together four years ago off of Craigslist. From there, we met and invited new bandmates through personal connections, referrals or random meetings at music events.
RL: I met Steph at a show that we both were performing in. We had a great conversation about music. About a month later my previous band was having a show and I asked if Aztec Sun wanted in. Steph accepted and asked if I wanted to sit in. I did and they haven’t been able to get rid of me since.
KV: Who writes your songs in your band? Do you typically write the music or the words first?
SD: Given the size of our group (eight+ musicians), most of our songs are written collaboratively in some shape or form. Someone will bring a demo to the group with draft arrangements, structure, direction and we’ll hash out details by playing through the songs in rehearsals. In most cases, we’ll have some words to accompany the music when we start working on a song (especially when one of our singers brings a demo); but there are times when a song is born out of an organic “jam session” and we’ll write lyrics afterwards.
RL: Yeah it’s really a cool process with this band. You can bring in an idea and you have seven other minds to help develop it. It’s quite a luxury. Also listening back to jams is great because there are eight different instruments that you can listen to get new ideas from.
KV: Very cool. How has your music evolved since you first began playing music together? What’s your ultimate direction for your band– are you seeking fame and fortune?
SD: Our first batch of music was more like funk-rock (think some of Red Hot Chili Peppers). As we added horns and keys (piano + organ), our sound naturally expanded to include a dimension of classic ‘70s soul we could add to the danceable funk we were already playing. At this point, our band’s goal is to continue sharing our music and our live performance with new audiences within and throughout the DMV and add to the funk & soul movement in D.C.
RL: In the two years I’ve been in the band, I think we’ve all become better friends, which in turn helps with the music becoming tighter. We listen better and trust each other more. Fame and fortune might be a stretch. However, if it comes, that would be awesome. But that’s not our goal. We want to keep having fun and get as many people dancing to our music as possible. I think we want to ride the train as long as it stays on the tracks.
Ryan ‘Catch’ Sarafolean: We want to continue to push this as far as it can go, at this point, it feels like this project has a lot of growth left still in it and we’d all like to see where we can take this music. Outside of the D.C. area is our first step from here.
KV: Is there anyone you’d like to acknowledge for offering financial or emotional support?
SD: So many people have helped us accomplish what we’ve done so far. In terms of emotional support, probably all the friends and family who have been coming to our shows to support us, no matter how many times they’ve seen our live set.
RL: I’d like to thank family, friends, and old band mates.
RCS: I’d like to also thank all of our neighbors and roommates for dealing with our music into the wee hours – you all are the best!
KV: Haha. So, what advice do you have for people who want to form their own bands?
SD: Be honest and collaborative. Being part of a band is an opportunity to express oneself creatively, but that also means remembering to keep an open ear for others’ expressions and ideas.
RL: Have fun! I think that’s why most people play music to begin with. When you’re having fun, people can tell and it’s infectious. If you read about why most bands break up, they state that they stopped having fun.
RCS: Push yourself outside of your comfort zone, I’ve found that is where the most amazing growth comes from.
KV: What are your dream cities to tour? And who would you like to tour with, in an ideal situation?
SD: Aztec Sun is from D.C., but we aren’t all “from” D.C., so we’re going to be working on touring in cities closer to home: Montreal, upstate New York, Minneapolis, Boston, Chicago… And in terms of tours, it would be great to share a stage with any of the artists that influence our music.
RL: Touring is great. It’s always nice to play in front of new people. I’d love to play Red Rocks, The Gorge, The Fillmore West, Brooklyn Bowl, Electric Factory, Fox Theatre, Madison Square Garden (hey, gotta dream right!). As far as bands, Alabama Shakes, Vulfpeck, Trey Anastasio Band, D’Angelo, Turkuaz to name a few.
RCS: I’ll say it – it would be great to play at the 9:30 club, here in our backyard. That venue is continually rated as the best venue to go see live music in, and damn would it be a fun place for some funk. I’d love to open for Galactic, or Trombone Shorty, or Rebirth Brass Band – anyone out of New Orleans would be dope.
KV: Do you find it hard to balance music with your other obligations at this point in your career?
SD: At times, definitely. We try to balance a very accurate shared calendar that keeps track of everyone’s schedules which helps us determine whether or when we can book gigs. On top of that, we’re all working full-time — which can mean very late nights/tough mornings when we’ve got a couple of shows in the same week. We also need to ensure we’re taking our time to check with our families, partners and friends etc (and not just inviting them to our gigs)… so it can get to be a very busy time. But we really enjoy playing and creating as Aztec Sun, so it’s worth it.
RL: It’s definitely hard but music always manages to make itself a priority in my life.
Funk comes in all shapes and sizes these days. Those eager to see two very different versions headed to the Putnam Den in Saratoga on December 6 to see The New Mastersounds, originally from the U.K., co-headline with Brooklyn’s Turkuaz.
The two boast their own unique style, but both brought anyone with a pulse to their feet that night. The show was part of an extensive tour to promote a split 7” vinyl featuring both bands performing a cover song from the other’s catalog, while also joining in on the collaboration.
The New Mastersounds came as a pleasant surprise to those witnessing the foursome’s raw talent for the first time. The band makes its rounds on this side of the pond, but the majority of those in attendance had likely never seen them before.
With slicked back hair and a blue suit jacket complete with a pocket square, guitarist Eddie Roberts paralleled his fashion swagger with his musical prowess. He laid down soulful yet jazzy riffs throughout the evening with ease. Pete Shand thudded the bass to bring the familiar foundation of funk this upstate New York crowd came to see. The level of technicality in which Joe Tatton wailed on the organ was impressive and moving, even adding synthesized tones later in the set. The funk was here and the crowd was loving it, whistling loudly indicating their approval and awe.
Their set was upbeat and drove harder and faster as it progressed. They slowed it down slightly to do a one-of-a-kind version of Sneaker Pimp’s “Six Underground,” a song that became popular in the 90s, included on the soundtrack of the movie Can’t Hardly Wait.
Without a horn section, their sound is old-timey soul but with a modern funk that hits just right. They welcomed Turkuaz saxophone player Greg Sanderson on stage who fits the band like a glove. Den dwellers had fogged up the windows at this point and many headed outside to catch some air only to be sprinkled with wet snowflakes. The already thick crowd swelled as more joined the party for Turkuaz.
Anticipation built as the 9-piece ensemble entered the stage and prepared to take off. “You’re in for a treat” was heard muttered in the crowd from the more experienced Turkuaz fans to some of the “newbs.” They weren’t wrong.
They set sail into fan favorite “Bubba,” and then to a speedy rendition of “Percy Thrills, The Moondog.” After big songs, the explosions of color and sounds end abruptly as the lights shut completely off on stage, like a period indicating the end of a sentence.
The Turkuaz ladies, Sammi Garett and Shira Elias, choreographed their moves and vocals to add a splash of Motown to the pop funk. Chris Brouwers keyboard skills were reminiscent of the digital sounds of the 1980s. Josh Schwartz took a break from the sax and sang, and “Dude’s got some pipes on him,” was overheard in the crowd.
Shira Elias and Sammi Garett took the lead vocals on a funked up rendition of The Band’s “Don’t Do It,” providing a welcomed twist on the beloved classic. The energetic and colorful evening came to a close with a one-two punch of “Chatte Lunatique” and “Ballad of Castor Troy” in which drummer Michelangelo Carubba delivered a solid solo.
The tour hits the road and heads south to Pittsburgh, PA on December 8, Washington D.C. on December 9 and on to Philadelphia on December 10.
On Saturday, December 3, the Mohawk Place in downtown Buffalo hosted an EP release show for an up-and-coming local, modern post-hardcore band called Debt to Nature. And much like the city they come from, you can instantly tell the amount of work put into their songs to make them work.
Debt to Nature, on the outset, seems like any other modern post-hardcore rock band. Their releases, such as their first EP From the Start, back this theory up, with angsty lyrics and guitar riffs not out of place from a Pac Sun store or a Warped Tour stage.
But to me, at least, what set this apart was the presentation. You can hear loud, fast music in any number of establishments and get the point. But hearing it live is something different. Singer Michael O’Connor may look like a lumberjack, but delivers the lyrics with alternating power and levity that it’s amazing he can still speak at the end of the set. Bassist Josh O’Connor was confident enough in his abilities that he would engage in reverse fretting, attempt to balance his bass in one hand, and walk out into the crowd to his friends. Not to mention the hard work guitarist Brian Macijewski and drummer Nate White had to put in to keep the whole act moving at a furious pace.
The real ace up the sleeve for this band is how easily they establish control over the crowd. I assume the crowd present goes to these kind of post-hardcore shows all the time, given the amount of head banging, people moshing by themselves, and hand gestures, but even one as uninitiated as myself could get sucked into the methods after a few songs. During the few solo guitar breaks, the audience started clapping over their heads on their own, with the singer encouraging more once it got going.
Some of the most fun moments of the night involved just how much control the band had over the crowd. Members of one of the opening acts, The Otherme, were invited onstage to sing The Darkness’ song “I Believe in a Thing Called Love.” The audience tried to sing the famous falsetto chorus line, to various results. While the band’s music may not be for everyone, this was one particular moment the entire crowd was getting into.
Another moment didn’t involve anything the band played, but during a song break, either the lead singer or someone in the crowd shouted out “somebody” like the first word from Smash Mouth’s “All-Star,” and the entire crowd managed to sing the first verse all the way up to chorus. At that point, the singer demanded they stop as they played more.
Either I don’t get out to see enough shows like this or this was a special occasion, because the crowd actually demanded an encore successfully. Debt to Nature were happy to oblige, feeling like they conquered the evening. Probably on their way to conquer more as well.
All That Remains frontman Phil Labonte has come up from the “Righteous Side Of Hell,” to help save the boys in Five Finger Death Punch from being on the “Wrong Side Of Heaven,” due to the band’s erratic troubled frontman Ivan Moody, to save the rest of the band’s co-headlining tour with Shinedown, a tour that also features Sixx: A.M., and As Lions.
Labonte, who is good friends with Moody, stepped up and filled in on Dec. 1 at the Wells Fargo Center in Philadelphia, PA, doing a tremendous job in the process. Joining Labonte in helping save the tour for FFDP and their fans were Sixx: A.M. frontman James Michael and As Lions singer Austin Dickinson (son of Iron Maiden’s Bruce Dickinson), lending their vocals during FFDP’s set. Phil will continue the vocal duties for Five Finger Death Punch for the remainder of the tour. There has been speculation that this could be an audition for Labonte to replace Moody for an extended period of time or even permanently.
Moody stated on Nov. 29 to Syracuse, NY fans inside the Oncenter, that they would see the real Ivan Moody tonight. He went on and said that with all the social media outlets out there, that his life is exposed, and can’t seem to get away from people fabricating stories about him.
One of those “fabricated” stories came days earlier in Worcester, MA, when Moody stated to the crowd that his mother was passing away as he was onstage, and cut the concert short. Bassist Chris Kael was left with the mop up duties, apologizing to the crowd for the early departure. In an odd twist, Moody’s sister stated that their mother was not ailing nor anyone else in their family, for that matter. This prompted Moody’s statement at the band’s Newark, NJ show that the mother he was referring to was his “House Mother” from rehab.
During the same show, Moody, who has revealed his thoughts about Kanye West in the past, compared himself to the hip hop star, stating that he now “Get’s it” when it comes to the “mental breakdown” that West is has currently been hospitalized for, after West went on various verbal tirades during his live shows and cutting concerts short. Two days later, Ivan Moody is on the shelf due to illness and off the rest of the tour.
Moody had his famous Memphis meltdown back in May of 2015, where he apparently angered drummer Jeremy Spencer with a comment he made over the mic about Spencer’s book, prompting Spencer and the rest of the band to leave Moody by himself on stage. Days later, the band stated that there was nothing wrong with Moody, or the band, and blamed poor sound equipment as the reason why they had cut their set short.
It has been no secret, as reported previously by NYS Music, that the band is being sued by their record label, Prospect Park. Some of the reasons stated in the lawsuit include that the band doesn’t care for Moody’s well-being and that they are trying to cash in before Moody has a complete meltdown, or even worse, dies. With his past and recent actions, Prospect Park could be onto something when it comes to Moody’s well-being.
Fans, music insiders and music executives believe that, without Moody, there is no FFDP, and with all his recent seemingly “I’m untouchable” behavior over the past couple of years, Moody must feel the same. Moody’s recent behaviors suggest a desperate need for an extended break from touring, the music industry, and the limelight.
Eventually, the band will have to draw the line with Moody’s recent actions and do what’s best for FFDP moving forward. Whether they move on with Labonte or someone else, or force Moody to take a break.
With all that being said, Labonte has the goods to deliver the songs in FFDP fashion on stage, but does he has the raw charismatic edgy appeal that Moody possess, and that fans crave and love about Moody?
When it come’s to what’s next in the Ivan Moody/FFDP saga”All That Remains” is, wait and see.
https://youtu.be/OdOqi03fbds
Remaining Five Finger Death Punch/Shinedown Tour Dates:
12-08 – Amway Arena – Orlando, FL
12-09 – Amalie Arena – Tampa, FL
12-10 – Infinite Energy Center – Duluth, GA
The Capital Region of New York is fortunate to have some of the best sounding venues in the country, where the audience and artist can mutually appreciate immaculate acoustics. The Experimental Media and Performing Arts Center 
Labonte, who is good friends with Moody, stepped up and filled in on Dec. 1 at the Wells Fargo Center in Philadelphia, PA, doing a tremendous job in the process. Joining Labonte in helping save the tour for FFDP and their fans were Sixx: A.M. frontman James Michael and As Lions singer Austin Dickinson (son of Iron Maiden’s Bruce Dickinson), lending their vocals during FFDP’s set. Phil will continue the vocal duties for Five Finger Death Punch for the remainder of the tour. There has been speculation that this could be an audition for Labonte to replace Moody for an extended period of time or even permanently.