NYS Music 20​17

Category: Metal/Hard Rock/Punk

  • Hearing Aide: The Damn Truth ‘Devilish Folk’

    Someone really pulled my leg to check out this band known as The Damn Truth.  Based out of Montreal, this bluesy hard rock outfit’s sophomore effort Devilish Folk, from Fineline Records, is catchy as hell.  Now the most mind baffling thing is, when you listen, you would think this band came from the South or something.   The production isn’t the greatest, but how this album makes up for it is the high octane energy and catchy hooks.  Metal heads, hard rockers, hipsters, indie and blues fans can definitely get behind an album like this.  Whether you need an escape, or are just trying to get through the day, check this album out.

    the damn truthVocalist/guitarist Lee-La Baum has a rockin’ voice on top of the bluesy guitar work from Tom Shemer, and the heavy bass lines from PY Letellier mixed with the heavy backbone beats of Dave Traina make this a band to look out for in the future.  Hopefully, this band can book some shows in New York State soon.   Some of the tunes I enjoyed on this record are the opening track “White Lies” and “Broken Blues.”  But, overall, the album is consistent and fun.  Keep your eyes open for The Damn Truth.

    Key Tracks: White Lies, Pirates And Politicians, Broke Blues

  • Hearing Aide: Evolfo ‘Last of the Acid Cowboys’

    Raunchy, horny, raw and unfiltered.  No, this isn’t an organic cocktail description from a Williamsburg bar, it’s Evolfo’s debut LP, Last of the Acid Cowboys.  This Brooklyn-based 7-piece has been filling up clubs and basement dance parties since their infestation into the music scene in 2011. A mix of intelligent lyrical grittiness, swampy horns out of the deep South and cleverly executed compositions have granted them access into the underground indie culture.   If you are lucky enough to catch this tornado of sound live, expect to hear a smorgasbord of musical influences crammed into their short sets as tightly packed as the band members on stage.   NYS Music covered an Evolfo gig at Shea Stadium in Brooklyn last summer and the sweaty night reminded me of a Wodka Vodka advertisement: “Escort quality, hooker prices.”

    When asked about the methodology behind their newest album, lead singer and song writer, Matt Gibbs said, “I think generally bands have one of two experiences in regards to studio time. Some bands write an album first and then spend a while figuring out how to bring that stuff to their live show. In the case of Evolfo, we had to buckle down and figure out how to capture the live energy onto an album.” 

    The opening track, “Vision of Sin,” has an all-encompassing psych soul rhythm which seems like it traveled through time to capture sounds from each of the past six decades.  About a minute and half into the chaos, there is a funky breakdown where the horn section reminds listeners that you gotta have that funk.  The seeds of the first track begin germinating into the second as “Moon Eclipsed the Sun” slowly crawls its way from a slow and melodic beginning to a fiery and powerful chorus.  Think Black Keys featuring the Nitty Gritty Brass Band.  Mesmerizing lyrics with punchy guitar riffs and backing vocals keep this satellite of a song hovering around the planet and clocks in as the longest track of the album at a whopping 3 minutes and 50 seconds.

    “Bloody Bloody Knife” has a 60’s punk  feel that makes you feel guilty for listening.  The paranoia felt from this track is one example of how these talented writers create horror-movie terror when they feel like it.  “Why am I hiding if I have done nothing wrong?” I ask myself as Rafferty Swink finger bangs the keyboard during this zombie apocalypse national anthem.  The decision making on track placement is as ambitious as the tracks themselves.  The blood thirsty “Bloody Bloody Knife” gives way to “Don’t Give Up Your Mind” which sounds like it belongs on Side B of a classic 70’s soul album.  The eclectic variety of music changes so much from song to song that the mish mash arrangement of musicians seems to shift form.  Do not be mistaken, this album is in no way a compilation album of different artists, but instead, it is a Megazord where each member is displaying a different source of inspiration and power.  “Rat City” is the mod-punk sound that frat maniacs across the country will embrace as they nose dive head first into the shallow end of a pool.  Serving up a slice of pie that any pizza rat would enjoy, Evolfo cooks up “Rat City” with a simple and aggressive recipe that paralyzes the taste buds and ear drums on any garage rock connoisseur.

    “Last of the Acid Cowboys” reminds me of something a resurrected Jim Morrison would bring into the studio with The Doors. The added brass section in the title track makes for a layered, yet comfortable journey; not your average psychedelic rock piece.  The sweet sounding “Peachy” has the loungiest feel of the record.  Subtle percussion accompanied by haunting horns in the far distance create a dreamy landscape for listeners to embrace during this final track.  After a true genre-blending 10-song adventure, my only complaint is that the incredible album clocks out at 28 minutes, much shorter than your average cowboy’s acid trip.

    Buy Last of the Acid Cowboys now and see them on tour ASAP!

    Key Tracks: Rat City, Don’t Give Up Your Mind, Last of the Acid Cowboys

  • Lamb of God Taking Hiatus

    Metal Injection reports on a recent interview with Sixx Sense that Lamb Of God frontman Randy Blythe has stated the band will go on a hiatus following the bands summer tour. Blythe, in an recent interview, talked about needing rest from a busy last couple of years. In that time, he has dealt with being jailed in the Czech Republic for accidentally injuring a fan, leading to the fan’s death and a grueling touring cycle, in search of money after bills stemming from legal issues started to mount up.

    Lamb Of God is on tour all summer, starting in South America on June 6, at Groove in Palermo, Argentina, with Carcass and Heaven Shall Burn. July and August finishes Lamb of God’s summer run in North America, before heading on hiatus following the Aug. 20 at the Comerica Theatre, in Phoenix, AZ with Slayer and Behemoth. The tour will bring Lamb of God to Madison Square Garden on July 27 for New Yorkers wanting one more chance to see the band before the hiatus kicks in.

    Blythe stated:

    I got out of prison and immediately went on tour, because I had five lawyers and they were just hemorrhaging money like crazy. I went from jail to home to, ten days later, being at Knotfest to home for a month or two, then out on tour with Lamb of God, then back to the Czech Republic to go to trial, found not guilty, then come home, then finish up the rest of our tour and finally end in South Africa. And then we took a little time off, but there were some changes in the organization and they started writing another record and we need to make money, so it was back in the studio. And it was back on tour again for this last record, and that cycle is not gonna end until August or September of this year, I guess. So it’s just been, like, grinding, grinding, grinding. And when I’m not on the road, I’m working on writing and photography.

    [These are] things that make me happy. But it’s at a point now where it’s like, at the end of this tour cycle, it’s gonna be like, boom, it’s time to take a break for real and concentrate more on writing and being at home with the family. It’s time for me now, at the end of this… ‘Cause we got off, after I got done with the whole prison thing and then finishing that tour, we got off the road and then we started writing a new record, and then we recorded that record. And we didn’t tell anyone that we were recording — nobody knew. They thought we were just chilling at home, and then we go on tour before the record even comes out.

  • Sold Out: Steel Panther in New York City!

    Steel Panther is the Amy Schumer of rock and roll; raunchy, smutty, not for the faint of heart and hilarious. I bet Ms. Schumer is a fan. I can completely visualize her rockin’ out in her NYC townhouse to “That’s When You Came In.”  Or perhaps she was at their sold out Irving Plaza show last Thursday, April 6?

    Steel Panther is a tongue-in-cheek parody of all the 80’s hair bands that we know and love, but witty banter and explicit lyrics aside, they are a skilled group of musicians as well that possess a deep love for the music of their youth. With the exception of the guitar solo tribute to some of the greats, including “The Sound of Music,” Steel Panther’s set is strictly original music. You might hear shreds of Van Halen, melodies of Ratt, big guitars a la Iron Maiden, bass lines of Guns and Roses, throw in some Amy Schumer raunch and lyrics that would make Dr. Dre’s mother collapse, finally sprinkle the glam glitter of Poison and Motley Crue and you have Steel Panther.

    Michael Starr’s larger than life David Lee Roth presence and incredible vocal range complements itself to Satchel’s white lightning speed on the guitar. Their music runs the gamete from hard and edgy to acoustic ballads that bring you back to the corner of Sunset and N. San Vicente Boulevard.

    Playing to a sold out, mostly male crowd at Irving Plaza, the night was full of lots of great music and BOOBIES; talk about boobies, boobies on stage, girls with boobies, the Mercedes Benz of boobies and well, just plain boobies. The complete perfect night out for the guys! Favorite songs included “Just Like Tiger Woods,” “Asian Hooker,” “Poontang Boomerang” and their finale for the night, “Party All Day (F*ck All Night).”

    Steel PantherAfter 5 studio albums since 2003, they seem to be gaining more and more momentum with each year that passes. Missed them in NYC? In support of their newest release, “Lower The Bar,” they are traversing the country with dates until mid-May. Click here for tickets!

    Setlist: Eyes of a Panther, Goin’ in the Backdoor, Just Like Tiger Woods, Fat Girl (Thar She Blows), Asian Hooker, That’s When You Came In, Poontang Boomerang, Guitar Solo, Anything Goes, Girl From Oklahoma, 17 Girls in a Row, Gloryhole, Death to All but Metal, Community Property, Party All Day (F*ck All Night)

    Steel Panther

  • Nameless Ghoul Speaks Out on Ghost Lawsuit

    Metal Injection reports that former Ghost guitarist, Simon Soderberg, posted an lengthy post on Facebook about his pending lawsuit with former Ghost band members. Soderberg and three other ‘nameless ghoul’ former members of Ghost have launched a lawsuit against Ghost frontman Papa Emeritus, real name Tobias Forge, for cheating them out of royalties from music and live tours.

    nameless ghoul simon soderbergThe lawsuit does not include former member Martin Persner, who many believe started the band. It’s said that the band may have gone through more than 10 members. With each band member’s identity being under a mask and known only as a Nameless Ghoul, there is no way to really tell how many former members Ghost really has. The four members in the lawsuit want Forge to disclose all financial income and expense statements, or be forced by the courts to pay a penalty in the $20,000 range.

    Ghost, with new band members will perform at The Palace Theatre in Albany on June 6.

    Soderberg’s Facebook post stated:

    https://www.facebook.com/simon.soderberg.52/posts/10154419061836127

    As of yesterday we, four signatories from the band Ghost, have filed a lawsuit with the Linköping District Court. We are suing Tobias Forge (”Papa Emeritus”) – the band’s lead singer who has also been responsible for the finances of the band since its founding.
    As of the filing of this lawsuit we are requesting that the court, under penalty, oblige Tobias Forge to declare the incomes as well as expenses of the band concerning the years between 2011 and 2016.

    Throughout all the years we have been on tour with Ghost (between 2011-2016 some of us have performed something like 500 shows with the band) and throughout the band’s album recordings, we have neither been allowed to share in the profits of the band, nor have we seen any of the incomes accounted for. The only thing we have received have been minimal advance payments to allow the band to keep going. This despite the fact that we had an agreement that any profits should be shared fairly between the members of the band.

    When we have attempted to raise the issue of the band’s finances with Tobias Forge, his sole response has been that there are so far no profits to be share, but that everyone will be generously compensated once the band turns a profit.

    The reason that this lawsuit is now being filed is a contract dispute that has escalated during the previous year (2016). Over the last year we have received multiple proposed contracts from Tobias Forge in which he seeks to redefine his role in the band.

    Since the conception of Ghost, our common understanding and agreement has been that we are a band on equal terms, but that Tobias will act as band leader and manage the band’s finances through his own companies.

    Through contracts received from Tobias and his lawyers during 2016, Tobias has attempted to make us sign an agreement that implies we are merely consultants working for his company, an agreement also stating that we would receive less that a minimal wage for our contributions to the band. According to this proposal, furthermore we would renounce any and all rights to music royalties.

    All above despite the fact that some of us have been members of the band since its foundation, investing all of our time in the band during the past five years, with as much right to the recordings and trademark of the band Ghost as that of Tobias Forge.

    Our vocalist and former friend is now attempting to, in a underhanded and shameless way, transform Ghost from a band into a solo project with hired musicians. Naturally this is not something we can accept.

    When, in connection with the 2016 United States tour, approached a lawyer in order to sort out the situation of the contracts, we were informed that Tobias Forge no longer wanted us to participate in upcoming tours. Thus, Tobias Forge is now going ahead with the tour, which started March 24 2017 and is set to end in the UK on August 12, on his own together with rented musicians who have replaced all other band members. Tobias Forge has chosen this path of action without any permission from us to carry out the tour on his own. This under the name Ghost, which we regard as our commonly owned trademark.

    The actions of Tobias Forge amount to nothing less than unabashed dishonesty, greed, and darkness. Not the darkness of which Ghost sings, but a darkness that pushes a person to betray his best friends when fame and fortune appear within reach.

    We are terribly sorry that this afflicts the fans of the band as well, and that they too should suffer because of this betrayal and greed.

    We who are suing Tobias Forge are:
    Simon Söderberg (Alpha) – member of Ghost since 2010.
    Mauro Rubino (Air) – member of Ghost since 2011.
    Henrik Palm (Eather) – member of Ghost since 2015
    Martin Hjertstedt (Earth) – member of Ghost since 2014
    The Nameless Ghouls

  • UFO and Saxon Invade Penn’s Peak

    On Saturday April 1, 2017, the only fools were the ones who did not get a ticket to the UFO-Saxon concert at Penn’s Peak in Jim Thorpe, PA. Close to 2000 fans, mainly middle-aged men clad in leather and denim jackets donned with classic rock and roll patches, attended the sold out rock show at the scenic concert venue in the heart of central Pennsylvania near the Pocono Mountains.

    The Penn’s Peak show was the second to last on this classic US tour before heading to Europe to begin the summer festival season. Both Saxon and UFO have storied careers spanning decades with a diehard and loyal fanbase.

    Newcomer, Jared James Nichols, opening for Saxon and UFO,  took command of the sold-out crowd on April Fools’ Day.  Solo artist, Nichols, opening for this tour has taken the music industry by storm. Recently coming out of a t0ur with Zakk Wylde, the trio of bassist Erik Sandin and drummer Dennis Holm have landed another killer gig opening for the British heavy metal legends Saxon and UFO supporting them on this tour. Having one release under their belt, Old Glory and the Wild Revival, their bluesy hard rock was energetic and infectious with an edgy rock sound and stage presence that was perfect for warming up the fans. Keep an eye on these guys. I am glad I caught them when I did as they are definitely making waves and going places. I especially love the fact he plays guitar with his fingers and without the use of a pick. Another very cool rock and roll move.

    Following the shredding guitar work of opening act Jared James Nichols, Saxon stormed the stage in true classic metal style. Frontman Biff Byford, guitarists Doug Scarratt and Paul Quinn, bassist Nibbs Carter and drummer Nigel Glockler gave the fans a thrilling ride down metal lane, with their set consisting of classic 80’s Saxon songs along with a handful of their current material off Battering Ram. The thundering bass and bottom end had the peak shaking its foundations while the dueling guitar work of Scarratt and Quinn were as tight and fluid as you would expect from this classic guitar, heavy riff driven band. Saxon opened their set a little after 9 p.m. with the title track “Battering Ram” off their latest release, following with “This Town Rocks,” off  Power and the Glory, and finally, the 3rd song, “Sacrifice.”

    Byford sounds better than ever, looking energetic and youthful despite his age. Wearing a long black medieval style buttoned down jacket, he had no problems head-banging with his long blonde locks flailing. He worked the stage like a master frontman, all while maintaining constant interaction with the crowd acknowledging the fans and talking about living for a brief period of time in the Pocono Mountains of Pennsylvania. Midway through the set, Byford gave the fans the opportunity to choose what song they wanted to hear, giving them several options to choose from  including “Never Surrender,”  “747 (Strangers in the Night)” or “And the Band Played On” while paying tribute to legendary British rocker Lemmy Kilmister.  Closing out their seventy-five-minute set were the classics “Crusader,” “Denim and Leather” and “Princess of the Night.”

    Saxon Setlist: Battering Ram, This Town Rocks, Sacrifice, Power and the Glory, KQueen of Hearts, The Eagle has Landed, Dallas 1PM, Heavy Metal, Thunder, Crusader, Wheels of Steel

    Encore: Denim and Leather, Princess of the Night

    Headliners UFO took the stage around 10:30 for over a ninety-minute set wrapping up at close to 12:15 am. Touring in support of their 2015 studio album A Conspiracy of Stars, UFO had the crowd from song one. The last time I saw UFO was in 1983 when they opened for Ozzy at the Broome County Arena in Binghamton, NY. Having never really listened to UFO that much, I did recognize many of their songs on the set. Opening their set with “Mother Mary,” “Long Gone” and thirdly “Run Boy Run” I was immediately impressed with the tightness and cohesiveness of the band that formed back in 1969. The energy was infectious and mesmerizing as the only two original UFO members Phil Mogg and drummer Andy Parker along with keyboardist/rhythm guitarist Paul Raymond, guitarist extraordinaire Vinnie Moore and bassist Rob De Luca, never missed a beat and were in the pocket from the first note throughout the almost two-hour long set.

    Mogg, a 50 year veteran of the stage knows how to work the crowd. He is very adept at keeping the fans attention, using humor, history lessons and rock and roll charm. At times he would crack jokes about his beautiful baldness and comparing his age to that of some of the guys in the crowd that were lucky enough to still have hair, albeit, grey. Mogg, pushing 70 years old, remains ever youthful and spry onstage while captivating the crowd delivering the classic UFO sound that fans have loved for close to five decades.

    With a catalog of almost 50 years of material to choose from, including hits from the classic albums Lights Out, Obsession, Strangers in the Night, and more, it was no surprise they played for almost two hours solid as the fans remained for the encore numbers.

    UFO Setlist: Mother Mary, Long Gone, Run Boy Run, Lights Out, Baby Blue, Only You Can Rock Me, Let it Roll, Burn Your House Down, Too, Hot to Handle, Messiah of Love, Love to Love, Rock Bottom

    Encore: Cherry, Doctor Doctor, Shoot Shoot

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  • Hearing Aide: Mastodon ‘Emperor of Sand’

    With 2017 underway we already have seen so many great releases in the metal world. We had Kreator’s Gods of Violence, Obituary’s self-titled album, and even Overkill with their thrashing hit The Grinding Wheel. Now it is time for perhaps the most anticipated sludge and progressive metal album this year. If you are a fan of those genres then you know exactly which album I am speaking of! Mastodon’s seventh studio album Emperor of Sand released March 31 has given many people a metalgasm! Might need to clean yourself up after checking out this album review.

    mastadon Emperor_of_sand_coverEmperor of Sand (released via Reprise records) is a follow up from the band’s 2014 hit Once Around The Sun (released via Reprise). This album has started an uproar since it was teased with such singles like “Sultan’s Curse” and “Show Yourself.” As the clock hit midnight and my phone notified me it was ready to be viewed on Google Play Music, damn skippy I played it as soon it was ready for my puny mortal ears to binge on. The album continues the progression the band has been going with for sometime with more audible vocals approach and a more lean guitar sound. It has created a great energy of soothing jams like “Show Yourself” and “Steambreather” taking center stage for this formula in perfect harmony. The combination of Brent Hinds and Bill Kelliher’s vocals really shows the band’s strong suit making catchy song structures while keeping the skilled technical foundation strong. This album is perfect for those who enjoy bands like Red Fang and Baronness. American sludge progressive metal bands like these are slowly taking over the metal scene once again.

    Sure the album may have some mellow songs, but these guys still know how to get some sweet aggressive playing going on. “Clandestiny” is the dose of heavy sludge that the doctor ordered! With the great drumming work of Brann Dailer and the bass playing from Troy Sanders it is one solid heavy sludge tune. It is for the fans that need some progressive in their life mixed with some heavy licks to get them stoned or drunk. Hey perfect tune to try to drink the Mastodon beer to! Cheers! This album is pure awesome with a side of bad ass and it will quickly climb to the top of the metal charts and hard rock. It would not shock me if it becomes the number one release in it’s genre. I will put money on that! You can say all you want about the boys, but they will always remain a steamroller force of pure genius!

    This album gets a solid 5 out of 5 from Black Metal Steve. Go buy the album from your local record store or from the band’s website.

    Key Tracks: Show Yourself, Sultan’s Curse, Steambreather

  • Hearing Aide: Body Count ‘Bloodlust’

    Body Count have returned with a vengeance.  For the first time since 1994’s Born Dead, the band has finally put out two consecutive albums with the same line-up.  And this is clearly Body Count’s best line up since the original lineup.  So what does Bloodlust bring to the table?

    The album starts off with “Civil War” which features Megadeth’s Dave Mustaine on additional guitars, clearly stating that this album is going more political this time through. Obviously with the political climate as well as the on going violence in inner city areas around the country, Ice-T and the gang are here to make a statement.  Then going into the first single release “The Ski Mask Way, ” which has the old school Body Count feel to it, shows the band is on point, clutch, and heavy as ever.  Not to mention the production on the album is top notch.

    Similar to the previous album Manslaughter,  Body Count has dialed up some additional help from other big names in metal.  And on the song “All Love Is Lost” Max Cavalera of Soulfly lends his deadly vocals which was a nice touch to the track. Following that Body Count busts out a kick ass Slayer medley cover which is a cool way to segue at the halfway point in the album.  I would call it heavy metal half time.  Lamb Of Gods’ Randy Blythe also makes a guest appearance with “Walk With Me” where his vocals make a brutal mix with Ernie C’s nasty guitar riffs and Ill Will’s relentless drumming.

    The tail end of the album grabs you by the collar and gets politically heavy with “No Lives Matter” whether you agree or disagree with what Ice-T and gang have to spit out, you can’t deny the beats and breakdowns kick major ass, but that’s the beauty of it.  The music is damn catchy, it helps convey the message that much easier.  The last track “Black Hoodie” which pays tribute to KRS-One while conveying one last message, is the album’s best track and leaves you wanting more.

    In conclusion, a lot has changed since their first album from 1992, the previous album Manslaughter was aimed at society, this album attacks politics and discrimination.  While all the breakdowns, amazing Ernie C riffs, spectacular drumming, and powerful lyrics from Ice-T are all there, which we are used to hearing from a Body Count album,  the album did feel much shorter than their previous album and there are not as many guitar solos and there are no ballads or clean singing vocals from Ice-T or Ernie C.  But it is still a fantastic metal album and a solid entry to the Body Count catalogue.  This is one of their best albums to date and a lead candidate for best metal album of 2017.

    Key Tracks: All Love Is Lost, Walk With Me, No Lives Matter, Black Hoodie

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  • Metal Couch Cast Returns With Season 2, Talk The Rods Returning, Feuds, and Review Obituary’s New Album

    Metal Couch Cast, the metal talk show on YouTube based in Syracuse returns after a brief hiatus, now featuring two of NYS Music’s writers Jay Saint G and Black Metal Steve

    Along with voice actor Matthew “Moshpit” Fardo, with Steve Losurdo Productions handling all of the show production go into a frenzy of metal topics including Tool’s recent tour announcement, along with The Rods new album and label with much, much more.

    Check out the video below and be sure to subscribe.

  • Fishbone Reunited at the Fairfield Theater Company

    It was an interesting night for all of those that attended the Fairfield Theater Company on March 23. Most guests were obvious die hard fans of the eclectic group. People of all different ages were dressed for the occasion, bobbed their heads to every song, mouthed out lyrics and moshed their way through the center of the floor. But those who were unaware of the strange nature of Fishbone, seemed to be unpleasantly surprised by the brash and outrageous group.  Eight band members mobbed the stage, which was just a few too many for the venue to hold – there always seemed to be a competition between instruments and voices. It didn’t seem to bother those who were familiar with the music because they were recognizable inflections, but there were times when it was hard to make out the melody being sung from horn section, which made up a third of the band.

    The group is known for their diverse musical styles and tones. They range from funky and technical ska, to bold and brash thrash. But different venues work well for different bands and genres. For example, seeing Metallica at the Blue Note wouldn’t be very fitting, nor would putting John Coltrane at Red Rocks. This is all an outsider’s point of view as well.  Again, those die hard fans were having the time of their lives. But there were many out of place patrons (ones lacking leather clothing and chains) that left early or lost interest halfway through. Fishbone was undoubtedly very talented and professional and the venue has hosted some incredible shows that were perfect for it’s size,  but they  just didn’t have the space to let Fishbone loose. There were too many sounds and tones to be shoved through their PA system, which ranged from a theremin, to a fret-less acoustic bass guitar. It felt unintelligible at times, which was only true during the heavy parts.

    It wasn’t all indeterminable noise. As stated before, Fishbone is well known for there buck-wild performance and expansive genre selection. They played a well-balanced setlist, oscillating from ska, to punk, hard rock and back over again, so it wasn’t a constant barrage of sound the entire night. Ska and reggae styled songs like “Unyielded Conditioning”  were very well done. Each instrument could be heard clearly and it was enjoyable for everyone. But songs similar to “In The Cube” a ten minute hard rock/metal track about sitting on the toilet, were musically all over the place and contained too many tone variations for the sound system to handle, especially during the heavier parts.

    Again, no one was at fault here. The Fairfield Theater Company is a fantastic venue with a huge stage, open area, and Fishbone and Rebuilder, the opening act, did their jobs and did them well. Rebuilder is a punk/ rock band out of Boston Massachusetts and gave 100 percent. Their sound was a little familiar, pulling out all the stops listeners would expect from a punk band. But it was reassuring to see that genre of music still thriving.  Fishbone gave it their absolute all as well because this is the first time all of the original members have shared a stage for sometime. But somethings aren’t meant to go together. Like pineapple on pizza – great for some people, but just not a good mix for others. And when a band is trying to make a come back like they were, they need to appeal to as many people as possible, and a more intimate venue in central Fairfield was not the place to gain a larger audience.

    This may seem like the interpretation of an older, less tolerant soul. But rest assured, loud and brash music is still fantastic to see live, but only in the proper setting. Fishbone is a group known specifically for their wild performances, but just be sure to see them in the right venue to give listener’s ears some space to enjoy the music instead of leaving them ringing.