British folk rock band Bear’s Den played at historic Webster Hall in the East Village on Thursday, September 15. They have been touring nonstop for the past 18 months gaining a loyal fanbase. The duo consists of Andrew Davie (lead vocals, guitar) and Kevin Jones (vocals, drums, bass, guitar). Christof van der Ven joined the band in 2016 as a session musician and plays in their live shows. Jools Owen is also their current drummer and horn player when they perform live.
Bear’s Den performs at Webster Hall 9.15.22
Bear’s Den opened their set with the title track of their recently released fifth studio album Blue Hours. The album was released in May of 2022 and debuted on the UK Albums Chart at # 6. They then played “Frightened Whispers” which is also featured on the new album. Fans were excited when the band went back in time a few years and performed “Red Earth & Pouring Rain” from their 2016 album of the same name.
Bear’s Den performs at Webster Hall 9.15.22
Continuing the mix of new and old material, the next portion of the set included “Fuel on the Fire,” “All That You Are” and “Isaac.” A big highlight of the night was when the band performed an unplugged version of the 2013 song “Sophie.” After that, they played a few more new tracks from the new album including “New Ways” and “Shadows.”
They then performed their newest single released only a few days ago, “Stitch In Time.” The song was developed during the creation of the new album, but wasn’t completed until they recently started touring again. When asked about the meaning of the song, the duo said, “‘Stitch in Time’ is a song exploring ideas around trauma. Specifically the idea of reaching back through time to be with someone in a difficult moment and just being with them and letting them know that it’s not ok.” You can listen to the new song below.
Perhaps my favorite part of the show was when the band went into the crowd during the encore at the packed Webster Hall and performed “Gabriel.” Without the help of mics, the band sounded amazing and really brought the crowd together for a communal experience. The show ended with “Agape,” the first track from their first album Islands released in 2014.
Setlist: Blue Hours, Red Earth and Pouring Rain, Frightened Whispers, Fuel on the Fire, All That You Are, Isaac, Sophie, New Ways, Shadows, Stitch in Time, Magdalene, Crow, Love We Stole, Spiders, Auld Wives, Pompell, Gabriel, Agape
Winding down their 14-date tour of North America, in support of their fourth album Crawler (Partisan Records) released in November 2021, avant-garde punk rockers IDLES from Bristol, England made a stop at the majestic Kings Theatre in Brooklyn, this past Thursday night, September 15. Unable to tour for their previous studio album (2020’s Ultra Mono) due to the COVID-19 pandemic, IDLES brought with them plenty of new material to offer its steadily growing legion of fans, present company included.
Joe Talbot of IDLES | Photo by Michael Dinger
Arriving more than an hour before the 7:00 pm doors on a chilly September late afternoon, a signal that autumn would soon be upon us, excited concertgoers were spotted congregating on nearby sidewalks, hastily exiting their Ubers beneath the grand marquee or frequenting the nearby bar that doubles as a tattoo parlor. As patrons filed past the security check point, many had a sheer expression of awe on their face as they witnessed the theater’s ornate, French Baroque style for the first time. The nearly 3,700 seat venue had been restored to its vintage condition and reopened to the public in January 2015, including the ornamental 50,000 square foot ceiling, along with the glazed and gilded walls paneled in American walnut.
Kings Theatre marquee | Photo by Michael DingerKings Theatre ceiling | Photo by Michael Dinger
Approximately 15 minutes before the night’s opening act would take the stage, IDLES fans continued to pack the lobby. Many of which checked out the merch table, grabbed a drink from the array of bars strategically placed on all levels or snapped a cell phone picture of the historic venue’s centerpiece, the console of a “Wonder Morton” pipe organ that was installed in the original Loew’s New York City movie theaters.
Kings Theatre pipe organ | Photo by Michael Dinger
An American hip hop group formed in Tempe, Arizona in 2013, Injury Reserve are rapper Ritchie With a T and producer Parker Corey. However, the current duo was once a trio, until the sudden death of friend and founding member Stepa J. Groggs on June 29, 2020, at only 32 years of age. Having already supported Black Midi on a tour of the West Coast earlier this year, Injury Reserve’s musical genre is best described as experimental, or abstract hip hop – think beat machines with endless cords.
Albeit for blinding flashes of strobe lights, Injury Reserve performed in near darkness, with their figures appearing in silhouette, or barely discernible at all. Notwithstanding, as the steadily increasing crowd took their seats or joined the general admission floor, they cheered and applauded loudly at every opportunity. Ritchie With a T and Corey would perform ten songs over the course of nearly 45-minutes, all taken from their second studio release By the Time I Get to Phoenix, self-released nearly one year ago. The only song not played from the album was the third track titled “SS San Francisco.”
Injury Reserve | Photo by Michael DingerInjury Reserve | Photo by Michael Dinger
After a 30-minute turnover of the stage by IDLES’ crew, the quintet comprised of Joe Talbot (vocals), Mark Bowen (guitar), Lee Kiernan (guitar), Adam Devonshire (bass) and Jon Beavis (drums) unassumingly appeared in the dark shadows a few ticks past 9:00 pm. With its cinematically suspenseful introduction and a perfect number for opening the show, the first of IDLES’s 18-song set was “Colossus,” from 2018’s Joy as an Act of Resistance, which would also find Kiernan tip toeing along the narrow barricade in front of the stage apron. With one foot perched up on his monitor, prior to launching into the evening’s second offering “Car Crash” (Crawler), about Talbot’s real-life experience in a near-fatal accident, he instructed the entire floor audience do split apart, forming a no man’s land down the middle. Then, on his command, each side came crashing back into one another (like a car crash) in a fevered, giant mosh pit like I have never seen before.
Lee Kiernan of IDLES | Photo by Michael DingerIDLES | Photo by Michael Dinger
For the remainder of their 90-minute set, sweaty, beer-covered bodies would often sway in unison as IDLES filled the entirety of Kings Theatre with a raw emotion that emanated from songs across their ever-growing discography, including the rallying cry of “Grounds” (Ultra Mono), the cathartic “Mother” (Brutalism, 2017), “The Beachland Ballroom” (Crawler) about the iconic Cleveland venue, the violent vigor of “Never Fight a Man With a Perm” (Joy as an Act of Resistance) and the grittiness of “Crawl!” (Crawler). Oftentimes, when Talbot was not prowling the stage in concentric circles or jogging in place, he could be seen engaging with his fans directly by looking straight into their eyes, as if he were singing to them only. I was also fortunate enough to catch his gaze on more than one occasion.
Lee Kiernan & Adam Devonshire of IDLES | Photo by Michael DingerMark Bowen of IDLES | Photo by Michael Dinger
There were too many highlights in the IDLES set to count, and all five members were in prime form. But the moment that seemed to electrify the fans the most was not when Kiernan stood atop the crowd’s shoulders hugging a pink cowboy hatted fan, but when Bowen climbed his own way into the crowd, microphone in hand, as he led the frenzied crowd through the bridge section of the anthemic “Danny Nedelko” (Joy as an Act of Resistance).
Despite being a self-described “angry band” from the U.K., IDLES have built a really loving community amongst their fans. People constantly look out for out for each other, and tonight’s show was no exception. The final concert of IDLES’ “Back To Normal Tour,” before trekking to New Zealand and Australia in late-October, will be at the Sea.Hear.Now festival in Asbury Park, New Jersey on September 18.
Injury Reserve Setlist: Outside > Superman That > Footwork in a Forest Fire > Ground Zero > Smoke Don’t Clear > Top Picks for You > Wild Wild West > Postpostpartum > Knees > Bye Storm
IDLES Setlist: Colossus > Car Crash > Mr. Motivator > Grounds > Mother > Divide and Conquer > The Beachland Ballroom > Never Fight a Man With a Perm > Crawl! > 1049 Gotho > The Wheel > Television > A Hymn > War > Wizz > I’m Scum > Danny Nedelko > Rottweiler
There will be dancing in the aisles once again as the Grateful Dead return to cinemas worldwide for the 2022 Meet-Up At The Movies, celebrating the 50th anniversary of a notable Europe ’72 show.
All year the Grateful Dead and Deadheads have celebrated the 50th Anniversary of Europe ‘72, and Meet up at the Movies brings the previously unreleased Tivoli Concert Hall performance from April 17, 1972 to the big screen on Tuesday, November 1st with additional screenings across the U.S., Canada, and select territories on Saturday, November 5th.
This ground-breaking concert broadcast event was the Dead’s first major live concert broadcast, and a first in Danish television history. Fully restored and color corrected in High Definition with audio mixed from the 16-track analog master tapes by Jeffrey Norman and mastered by David Glasser, Tivoli 4/17/72 features nearly an hour and a half of the Grateful Dead at a peak of their performing career.
The show’s many highlights include an overview of the Dead’s 1972 touring repertoire, including magnificent versions of “China Cat Sunflower>I Know You Rider,” “Big Railroad Blues,” “Truckin’,” and many more of the Dead’s classics, as well as the first live performance of “He’s Gone,” and other new songs including “Ramble on Rose,“ “Jack Straw, “ and “One More Saturday Night.” Pigpen, on what would prove to be his last tour with the Grateful Dead, is well-represented by three songs, including the broadcast’s opening number, “Hurts Me Too.”
Brooklyn singer-songwriter Sam Rappaport has returned with his third single, “Easy to Love,” a candid, romantic soft rock song.
It’s the lead single off his upcoming debut EP “Get Me Away From Myself,” and follows “Till the Morning Comes” and “Journeyman’s Ballet,” released in February & November of 2021. With this track he also continues to supplement his work with Gooseberry, an indie-rock band for which he sings and plays keyboards.
Promotional art for “Easy to Love.”
It follows a simple pop song structure and includes jazzy instrumentation, with saxophone and watery keys leading the way. The song’s slow tempo and simple rhythm section make for a relaxed tone along with Rappaport’s soft vocals, as he muses about being enveloped in an enamoring feeling of love. “The way you laugh makes me tingle,” he sings on the chorus, nicely supplemented by female background vocals. “The way you touch me makes me cry.”
Produced by Lorenzo Wolff, subtle touches such as the gurgle of a baritone sax distantly in the background give the song an added element of depth, and make the rise in energy during the louder, more outgoing chorus even more satisfying.
“Easy to Love” by Sam Rappaport doesn’t take any serious risks musically, but given the song’s romantic themes, maybe that’s okay. Sometimes love is simple, and there’s nothing wrong with that.
Fake Dad, a Brooklyn alt. pop duo just released their new single “Painkiller,” about struggles with mental health and addiction, and how hard it is to support someone as they struggle with both.
Fake Dad is made up of Andrea de Varona and Josh Ford. They make music out of their tiny Brooklyn apartment, and since the beginning of 2018 have been inseparable with a love of music at the center of their relationship long before they started writing together.
Their music has a signature production sound with distinct voice styles and is there to give you a friendly pat on the back after a long day, and they want you to know everything is going to be okay.
We hope listeners feel understood and not alone in their respective battles with anxiety, depression, substance abuse, self-harm or really any kind of mental health struggle. Sometimes our connections with others, and a sense of belonging alone are reasons to stay on this earth and try to get better.
Fake Dad
Their new single “Painkillers” is a nod to the 80s synth-pop era, with uplifting lyrics about trying to break free from inner demons, and an ode to a relationship between two extremely anxious individuals desperately looking inward for ways to love each other better.
The lyrics that get repeated a lot throughout the song are “Someone tell me I’ll survive this/please just tell me I’ll survive.” These set of lyrics are very emotional and fans have actually thanked the band for writing it, as it helps those going through a mental health crisis tell themselves they will get through it.
Overall, the song is very well produced, and Varona’s vocals are very haunting and make you feel like you will make it through anything. “Painkillers” by Fake Dad is out now on all streaming platforms.
Swiss instrumental quintet L’Eclair, Memphis rockers Spaceface, and Rochester’s own Drippers took the Bug Jar audience on a made-for-Saturday journey this past Tuesday.
Mike Turzanski’s Drippers set the night in motion. A mid-set multi-movement piece proved to be a highlight. Dual synths laid down eerie sounds matched with a haunting bass and drums backdrop. The electronics went into hyperdrive as the guitar took over. It spilled into a new wave segment and then ramped back up to something resembling prog-rock. As the groove got thicker, so did the smoke. A smoke machine sat on stage throughout the night and was used liberally but timely by all bands. Later in the set, a dual guitar ripper featured some hang-on-if-you-can bass work while a punk rave up gave the drummer’s star time to shine bright. The smoke had cleared but the journey was just getting started. Takeoff was imminent.
Spaceface, led by Jake Ingalls, formerly of the Flaming Lips, brought their own style of party-ready psychedelic rock. After a quick band huddle, they launched into “Happens All the Time,” it’s crunchy guitar disco rock got limbs moving throughout the room. “Rain Passing Through” amped up the dance grooves and it wasn’t long until bodies were fully in motion.
With a full-body workout underway, it was only appropriate to throw in some 3rd grade gym class references. Ingalls reminisced at the awkwardness of climbing ropes and changing in front of your classmates. It all began to make sense when he busted out a rainbow-colored parachute and tossed it out in the crowd. We all grabbed a hold and started to wave it up and down, following along to Coach Ingalls’ instructions. As the band ripped through a funky jam the crowd ran under the parachute according to their color or other various experiences. When it was asked for those who were at the Bug Jar for the first time, no one moved. A crowd of regulars!
The smoke machine was igniting throughout the set, and so were the tunes. Guitarist Eric Martin occasionally busted out a snow machine, filling the room with fake snow, which as it lingered, mixing with the smoke and lights, resembled the upside-down from Stranger Things, appropriately enough with the Bug Jar’s upside-down apartment. A tripped-out cover of The Verve’s “Bittersweet Melody” was truly unique. Katie Pierce laid down a fat bass line under Daniel Quinlan’s intricate beats on “Cowboy Lightning,” everything pinging back and forth off the walls for an immersive sound. The energy was also pinging around the room, a full-on dance party had exploded. We had ignition.
L’Eclair closed the night, guiding the ship through the cosmos with their Francophonic funk. As the music was instrumental, the French was implied, though those who witnessed soundcheck got a good dose as they called out instructions to their sound engineer. L’Eclair translates to “flash of lightning,” brilliant sparks appropriately emanated off the stage.
The Swiss quintet immediately set the crowd on course for more body moving. Fat intergalactic grooves were accompanied by keyboard laser beams and spacey guitar moans. Wild polyrhythms went in and out of step with jaunty synths.
Shorter flights gave way to extended jams. One built and built, a fiery engine, then dropped out all at once, floating in a zero-gravity groove. The drummer sparked the engine for another burn with oontz-oontz raving rhythms and cosmic beams shooting out from the synthesizers. A magnificent cacophony burst forth before melting down to a spectacular drum solo, complete, of course, with more sci-fi-infused synths.
The grounded dance-party of Spaceface took flight with L’Eclair, the band and crowd bouncing in lockstep, the ground pulling downward less and less as the night grew shorter, until the music felt like it had suspended the crowd in mid-air. The jams grew more electrified, more extended, stretching into the outer reaches. With no vocal mic on stage, banter was kept to an absolute minimum. Non-stop instrumental goodness filled the void between and within. Bursts of smoke provided a physical presence to the ethereal aura emerging along the waves of sound.
An encore is never a sure thing at the Bug Jar, and when one is granted is generally pretty quick. L’Eclair was coaxed out for two encores, each one a lengthy electronic funk out. One last burn to get us back home. Re-entry was a bit rough, Wednesday already underway as we departed the ship.
Earlier this summer, Albany-based band Coupons released their 3rd full-length record, Wasted Intimacy, via Counter Intuitive Records.
The indie-rock band consists of Dan LaFave, Collin J Reynolds, Shannon Straney, Dylan Depice, and Dan Maddalone. The 11-track album is upbeat, unique, and a great listen with different styles intertwined throughout the project. Wasted Intimacy also showcases the band’s creativity and talent, with various members contributing to vocals, lyrics, and instrumentation.
The album includes songs for everyone to enjoy, with the first single released, “Waiting,” giving listeners an intense rock track with powerful vocals whereas other singles, such as “Milk,” slow things down. Produced by Scoops Dardaris, Wasted Intimacy highlights Coupons’ range of melodies, rhythms, and beats on this release.
Throughout the duration of Wasted Intimacy, listeners are met with catchy lyrics, and songs seemingly perfect for the stage. In the song “Break a Leg,” written by band member Collin Reynolds, the lyrics “do you wanna celebrate, do you even know my name, are you getting home okay, it’s not too late” are relatable and work perfectly to hook listeners in.
With the snappy guitar on “Mardi Gras,” beautiful vocals from Straney on “Milk,” and the building piano track “Anyone Else,” this album from Coupons shines. Every track holds your attention and leaves you captivated.
In support of the album release, the band recently played a show at Empire Live Underground in Albany. Joining the group included music from the likes of Oso Oso, Another Michael, and Laveda. Be sure to take a listen to Coupons’ full discography, and stay tuned for their next live show.
Fans of Coupons music can keep up with them on Instagram and Twitter. The new record is also available to purchase on vinyl as well as to stream across platforms.
After a 2 year hiatus due to COVID, Afropunk made its return home to Brooklyn at Commodore Barry Park. The long-awaited festival took place the weekend of Sept. 10-11 and featured headliners The Roots and Burna Boy. Keeping up with the times, the entire festival was live-streamed on Twitch for the entire weekend.
Ebonee Davis at Afropunk 2022
The festival originated in Brooklyn at the Brooklyn Academy of Music in 2005. It was a free festival aimed at making a safe space for young black punks to be properly represented. As the festival grew bigger, the focus shifted from youth interested in punk to a wider array of music genres to grow a bigger audience. Today Afropunk is more than just a music festival. It is considered a celebration of black culture and art.
There is a common stigma that black culture is monolithic. It is often that black artists who do not make traditional rap or R&B are still categorized in these genres or they may not even get a chance to have work played on mainstream radio. Afropunk offers the opportunity for artists who do not fit the norm to have a platform to display their work for what it is to members of their own community.
But Afropunk is more than just music. When you entered the gates, you walked right into markets set up on either side of the park. Both markets featured local art, fashion, and beauty services, mostly from black-owned businesses. There were also food vendors that offered many vegan and vegetarian options to accommodate all types of diets. There were 2 stages; the red stage was set up in the corner of the park, and the green stage was towards the back of the park. Behind the green stage, in a separate part of the park, featured what was called a “Wellness Village.” Services such as massages, yoga, meditation sessions, and djembe drum lessons were offered to festival goers.
A Hot Start for a Highly Anticipated Return
Saturday started off hot, but the outfits were even hotter. Going with the theme of Afro-centrism, fans came in stunting with their best Afro-centric inspired outfits. Many were homemade or altered articles of clothing that made every look unique. Fans traveled from all over the country to experience the festival.
The Red Stage featured a fashion show from Lavntg and an energetic performance from Rodney Chrome. Rodney Chrome had his mother in attendance and gave her a shout-out while performing. Chrome discussed with fans his struggles growing up as LGBTQ in Little Rock, AR.
Freedie Gibbs at Afropunk 2022
The Red Stage was headlined by Freedie Gibbs who started his set about an hour late. With the ongoing tension between police and the black community, he had fans release that frustration by screaming “f-ck the police.” Gibbs’ DJ also played memes from Dr. Umar during the set that helped to break the tension from the crowd.
Doechii Lives up to the Hype
Bodies were moving all day on the Green Stage. Doechii delivered a highly anticipated and widely energetic performance. As part of this year’s XXL Freshman class, Doechii has a lot to live up to as one of this year’s up-and-coming rappers.
Doechii at Afropunk 2022
There was no moment when Doechii was not moving during her performance. Her set started out by cleansing the stage of bad energy by burning sage. Only good vibes were shared from there on out between Doechii and her beloved fans. She evokes confidence from her fans and her audience. It was undeniable that Doechii and her dancers had full control of the crowd for those 45 minutes she was up there.
Her alternative rap style fused with a well-choreographed dance sequence made her one of the more memorable artists that took the stage on Saturday. Doechii also did take a moment to pay tribute to her mother by bringing her on stage. Doechii would come back later to perform a song with Isaiah Rashaad during his performance.
The Roots Solidify a Strong End to Day 1
The Roots closed out Saturday on the Green stage with an exhilarating performance. They played for at least an hour and a half and took no breaks. The band moved very fluently together and had smooth transitions between songs that made it feel as though you were listening to one song the whole time. The band’s unique rap style infused with jazz had the crowd grooving for the rest of the night.
The Roots lead vocalists, Black Thought, performing at Afropunk Brooklyn 2022The roots drummer, Quest Love, performing at Afropunk Brooklyn 2022
Sunday was wet and muddy as it rained all day. The drastic weather change from the previous day did not stop people from showing up in droves. The theme shifted from mostly rap and R&B artists to alternative rock, rage rap, and afrobeat. On display were alternative forms of Afro-centric music that typically wouldn’t be heard on mainstream radio.
Kaleta and Super Yamba Band bring Afro-funk to Afropunk
The band centered around Afrobeat brought a little more than that to the Afropunk stage. Drawing inspiration from small bands in Nigeria and Ghana to large American music pioneers such as Jimi Hendrix, James Brown, and The Who, the band offered listeners a unique version of Afrobeat all sung in the native language of Benin. Listening to their music, references to Afrofunk, American funk, and jazz could be heard.
Kaleta and Super Yamba Band at Afropunk Brooklyn 2022
Kaleta has studied behind the pioneer behind Afrobeat, Fela Kuti, and toured with him throughout the 80s and 90s before coming over to America. In Brooklyn was where Kaleta united with the Super Yamba band. They released their debut album, Mèdaho, in 2019. They were playing their album across America and soon were going to start a European tour before the pandemic canceled everyone’s plans. They were not able to play together for 15 months.
Sean Smith of the Yamba Band performing at Afropunk Brooklyn 2022
Though Afropunk was not their first time playing together since quarantine, it was special playing on such a big stage in the place where they got their start. With such a unique blend of styles of music, Yamba Band Drummer, Daniel Yount, described their set as “bringing the Afrofunk to Afropunk.” From the James Brown-like grunts to the psychedelic guitar, to the Afrobeat of the drums, it is hard to really just put this band in just one category.
They have a tour coming up starting in October that kicks off in Pittsboro, NC.
Ambré Brings Light to a Dark Day
The Grammy awarding winning artist Ambré took the Red stage on Sunday and showed the crowd that there was still fun to be had despite the rainy day. The New Orleans Native described her performance at Afropunk “as one of the best shows I’ve ever done.”
“The energy in the crowd was amazing. Everyone still had fun despite the rain.”
Ambré
While on stage Ambré brought out her entourage who sprayed bubbles all over the stage. Her light and airy voice coupled with the bubbles floating around the stage lifted the spirits of her fans who probably were not expecting to be drenched all day. Ambré energy and charisma faired well in getting her fans to sing “I’m Baby” with her.
Ambré at Afropunk Brooklyn 2022
Ambré has a pretty impressive track record thus far in her career. Not only does she have a Grammy, but has had the chance to work with other artists including Khelani, 6LACK, and H.E.R. She continues to grow and learns from every show she does, offering something different at every show she performs. Ambré plans to release more music soon and put together her own tour.
Fans Hold their Breath Before the End of Afropunk
Afropunk closed out with headliner Burna Boy. He showed up half an hour late to his set, but fans waited patiently and anxiously in the rain for his performance. There was no announcement about him running late, but instead, his absence was filled by a word from Afropunk’s founder.
Burna Boy did not disappoint as the crowd sang “Last Last” with him in the pouring rain. He played for about 10 mins past the scheduled set time. With the way the crowd was singing, it felt as if you were walking into a summertime block party.
Afropunk’s long-awaited homecoming was worth the wait. It was built on the idea of highlighting artists who may not fit the norm for black music. This year continued the tradition of not only giving musical artists a platform but all kinds of black artists a chance to display to their community that black culture is not monolithic. Afropunk’s next installment moves to Bahia, Brasil for the weekend of Nov. 26 and 27.
Adekunle Gold at Afropunk Brooklyn 2022Ambré at Afropunk Brooklyn 2022Ambré at Afropunk Brooklyn 2022Bartees Strange at Afropunk Brooklyn 2022BbyMutha at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Doechii at Afropunk Brooklyn 2022Earl Sweatshirt at Afropunk Brooklyn 2022Freedie Gibbs at Afropunk Brooklyn 2022Isaiah Rashad at Afropunk Brooklyn 2022Jany Green at Afropunk Brooklyn 2022Lavntg Fashion Show at Afropunk Brooklyn 2022Ebonee Davis at Afropunk Brooklyn 2022Kah Lo at Afropunk Brooklyn 2022Lucky Daye at Afropunk Brooklyn 2022Mick Jenkins at Afropunk Brooklyn 2022Pawpaw Rod at Afropunk Brooklyn 2022Rodney Chrome at Afropunk Brooklyn 2022The Roots Drummer, Quest Love, at Afropunk Brooklyn 2022The Roots lead vocals, Black Thought, at Afropunk Brooklyn 2022The Roots at Afropunk Brooklyn 2022Tierra Whack at Afropunk Brooklyn 2022Sean Smith of the Super Yamba Band performing at Afropunk Brooklyn 2022Kaleta and the Super Yamba Band at Afropunk Brooklyn 2022
In a dream double-bill for heavy metal fans, Lamb Of God and Killswitch Engage joined forces for their tour opener on Friday, September 9 at the Ford Amphitheater in Brooklyn. With a chill in the air signaling that the fall season is nearly upon us, the initial throng of what would be nearly 5,000 guests excitedly began to file into the covered, open air venue fronting the Atlantic Ocean at the 5:00 pm doors call. The Spanish Colonial style venue, complete with nautical-themed motifs, is a New York City designated-landmark originally constructed in 1923 that was restored to its former glory in 2016.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
Hailing from Richmond, Virginia and originally formed in 1994 as Burn the Priest, Lamb of God are at the forefront of the new thrash metal movement. Vocalist Randy Blythe and company will be releasing their ninth studio album Omens (Epic Records) on October 7. Described by Blythe as an “extremely pissed-off” record, it is a self-reflective piece of work regarding the fragile state of the world in which we currently reside. Omens was recorded at Henson Recording Studios (formerly A&M Studios) in Los Angeles, California with their longtime collaborator since 2006, Josh Wilbur.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
Although they are not touring in support of a recent release, the last being their eighth studio album Atonement in 2019, metalcore giants Killswitch Engage are the featured special guest on all 28 dates of the current tour. Formed in Westfield, Massachusetts in 1999, Killswitch Engage’s lineup consists of vocalist Jesse Leach, guitarists Joel Stroetzel and Adam Dutkiewicz, bassist Mike D’Antonio and drummer Justin Foley.
Jesse Leach of Killswitch Engage | Photo by Michael Dinger
However, prior to Killswitch Engage taking the stage in a couple more hours, the first band to warm up the crowd would be Suicide Silence, formed in 2002. With a lineup of vocalist Hernan “Eddie” Hermida, dual guitarists Chris Garza and Mark Heylmun, bassist Dan Kenny and touring drummer Ernie Iniguez, the deathcore quintet established in Riverside, California performed a 7-song set showcasing varied speed changes, complex time signatures and plenty of death growls from Hermida. In early-2023, Suicide Silence will be releasing their seventh studio album, Remember… You Must Die.
Hernan Hermida of Suicide Silence | Photo by Michael Dinger
Hitting the stage promptly at 7:00 pm, Baroness followed with their own blistering, 6-song set. For the next 35-minites, these sludge metal heavy hitters from Savanna, Georgia would melt our collective minds with heavy distortion and frontman John Baizley’s harsh and abrasive vocals. Baizley is also an accomplished painter whose artwork has been incorporated into album art for Baroness, amongst many other bands. The rest of the quartet, formed in 2003, is rounded out by Nick Jost on bass, Sebastian Thomson on drums and Gina Gleason on lead guitar. Fans of Baroness will also be happy to learn that they are currently in the writing stages for their sixth studio offering.
John Baizley of Baroness | Photo by Michael Dinger
As the last remaining light of the day peaked through the openings in the venue’s massive canopy, and plenty of fans still lined up at the long merch table positioned at the top level of the amphitheater, Killswitch Engage appeared onstage shortly after 8:00 pm. Leach and his bandmates knocked it out the park on the first pitch, as they launched into “Strength of the Mind” with a ferocious intensity, an offering from their seventh studio album Incarnate (2016).
Band merchandise | Photo by Michael Dinger
Up until this point in the night, fans in attendance had been relatively subdued, but not for much longer. During 2006’s “This Is Absolution,” from their fourth studio album As Daylight Dies, Leach descended into the pit and engaged with several lucky fans in the front rows, sharing his microphone as he made his way along the rail, before climbing his way back up to the stage.
Jesse Leach of Killswitch Engage and fan | Photo by Michael Dinger
The band continued to dig into the early part of their discography, giving us “Rose of Sharyn” from 2004’s The End of Heartache and “To the Sons of Man” from 2002’s Alive or Just Breathing. During the remainder of the eleven songs that followed, an endless stream of crowd surfers seemed to emerge from out of nowhere – each metal head riding the wave of outstretched arms of their brethren to the front rail – where they were safely collected into the waiting arms of a security team member.
Crowd surfer | Photo by Michael Dinger
The surprise of the night was a cover of Dio’s metal classic, “Holy Driver,” released by the metal legends in 1983 as the lead single from their debut album of the same name. Killswitch Engage had originally covered the song as part of compilation for Kerrang!, the British weekly magazine. The Killswitch Engage set would end after a little more than an hour, but not without a few offerings from their most recent studio work, 2019’s Atonement, including “Unleashed,” “The Crownless King” and “Know Your Enemy.” Killswitch Engage closed their hard-hitting set with “The Signal Fire,” the recorded version of which featured guest vocals from Howard Jones, the band’s lead vocalist from 2002 to 2012 when Leach had left the band.
Killswitch Engage set | Photo by Michael Dinger
During the much-needed 30-minute break when the stage was turned over by Lamb Of God’s roadie, most of the fans dripping in sweat hastily exited the General Admission floor as they slipped by one another on their way to the restroom, grabbed a quick bite to eat (hot dogs and Bavarian-style soft pretzels were the only two options that I saw) or bought one last cold beer from the concession areas strategically placed throughout.
As the time approached 9:30 pm, the atmosphere inside Ford Amphitheater was now intense with excitement as fan chatter calmed in anticipation for headliner Lamb of God to appear. Moments later, as the instrumental anthem and introduction to their 2020 self-titled new anthem “Memento Mori” was played over the house PA, bassist John Campbell, guitarists Mark Morton and Willie Adler and drummer Art Cruz entered stage left. As they took up their instruments, Blythe appeared in his customary stage attire – black running sneakers, long, vintage-style cargo shorts and a Cinemetal t-shirt featuring a mashup logo with a nod to the iconic German film director Werner Herzog and heavy metal titan Danzig. Blythe is also the first performer I have ever noticed wearing knee pads and ankle support braces, and in short time, I would see why. The 51-year old Blythe hardly ever stands still. If he is not pacing furiously from one end of the stage to the other, he is either getting a running start for a giant leap off the top of the drum riser (set to a backdrop of pyrotechnics explosions) or can be spotted perched atop his own center stage riser, windmilling his long dreadlocks at a dizzying speed.
Randy Blythe of Lamb Of God | Photo by Michael Dinger
After breakneck executions of “Walk With Me in Hell” (Sacrament, 2006), “Now You’ve Got Something to Die For” (Ashes of the Wake, 2004) and “Resurrection Man” (Lamb of God, 2020), fans were finally treated to the first of two tracks they would hear tonight from Omens, the thunder-inducing “Nevermore.” Before the thrash metal veterans would tear into “Ruin” (As the Palaces Burn, 2003), “something a little bit older” that Blythe dedicated to “anyone who’s ever been to the club CB f***ing GB,” Blythe addressed the audience at length for the first time. “What the f**k is up motherfuckers? Holy s**t. Look at all you beautiful people gathered here in one of the coolest places, Coney f***ing Island. For those of you who do not know, or for those of you who smoked too much weed on the train on your way over here and cannot remember where you are anymore, we are Lamb Of God. We came to New York together today to do one thing and one thing only, completely f**k this place up. Are you ready? Welcome to the first night of “The Omens Tour.” We got a new record coming out October 7, pick it up if you want.”
It was near the middle portion of Lamb of God’s 80-minute set when not one, but two circle pits formed the number ‘8’ a mere few rows back from the stage. It was an incredible sight to behold firsthand, from the safe confines of the periphery of course, as frenzied tornadoes of souls twirled around and collided heavily into one another, and more than occasionally, falling hard to the ground. However, in keeping with the mosh pit code of etiquette, any fallen mosher was quickly pulled up to safety by the nearest person, before rejoining one of the flowing circles of bodies yet again.
Art Cruz of Lamb Of God | Photo by Michael Dinger
At the conclusion of the title track from Omens, the fans were more vigorous than ever, repeatedly chanting “Lamb Of God,” “Lamb Of God,” “Lamb Of God,”” Lamb Of God,” . . . Blythe, visibly thriving on the adoration, then said “It is always a f***ing pleasure to be back here, give yourself a big round of applause. Make some noise for the other bands that have played here for you this evening, goddamnit. First up, all the way from California, make some noise for Suicide Silence. And from down our way in Georgia, give it up for Baroness. And of course, make some noise for our brothers Killswitch Engage.”
John Campbell of Lamb Of God | Photo by Michael Dinger
The final five songs of Lamb Of God’s set would be their best, including “512” from VII: Sturm und Drang (2015), a song about Blythe’s self-proclaimed “extended European vacation that [he] took a while ago,” referring to his manslaughter court case that stemmed from a 2010 concert in Prague. “Ghost Walking” (Resolution, 2012) highlighted Cruz’s nuclear bomb drum slams and Campbell’s swift and velocious bass picking, while “Vigil” (As the Palaces Burn, 2003) featured intense groove metal shredding by guitarist Morton. The penultimate offering from Lamb Of God, “Laid to Rest” from 2004’s Ashes of the Wake, was the night’s highlight as the crowd went berserk during the chorus, “Smother another failure, lay this to rest. Console yourself, you’re better alone. Destroy yourself, see who gives a fuck. Absorb yourself, you’re better alone. Destroy yourself.”
Mark Morton of Lamb Of God | Photo by Michael Dinger
Blythe acknowledged the packed amphitheater one last time before the band burst into the fan favorite from 2006’s Sacrament. “Do you want one more f***ing song? Let me hear you! I think we can oblige. Before we do this, I need all you to do me a favor. As I said [earlier], tonight is the first night of the f***ing tour. You guys showed up and you showed out as New York City always f***ing does. I need every single mother***er in here to give themselves a big round of applause. Alright, I wanna see a f***ing big circle pit down there, set this mother***er off old school style. No one stands still! No one stands safe! This thing is called Redneck!”
“The Omens Tour” runs through October 20 and will conclude in Irving, Texas at The Pavilion at Toyota Music Factory.
Killswitch Engage Setlist: Strength of the Mind > This Is Absolution > Rose of Sharyn > To the Sons of Man > Unleashed > The Crownless King > Hate by Design > Know Your Enemy > My Curse > A Bid Farewell > This Fire > The End of Heartache > In Due Time > Holy Diver (Dio cover) > The Signal Fire
Lamb Of God Setlist: Memento Mori > Walk With Me in Hell > Now You’ve Got Something to Die For > Resurrection Man > Nevermore > Ruin > 11th Hour > Contractor > Omerta > Omens > 512 > Ghost Walking > Vigil > Laid to Rest > Redneck
With Beak and Skiff Orchards back to their bread and butter of serving up apples and apple-related products and activities, and Brewery Ommegang back to concentrating on brewing great beers, Dan Smalls Presents moves their shows back inside. The 2022-23 season at the State Theater of Ithaca opened on Friday September 9th with a show from rock veterans Dinosaur Jr.
Nearing 40 years of existence, one wonders when they graduate to Dinosaur Sr. Though minutes into their tour-opening show, it was clear the youthful energy, vigor and drive to push their musical boundaries was still alive and well.
Some observations of their show from a late-arriving newcomer.
J. Mascis’ guitar, with the help of six gigantic Marshall stacks, shook the walls of the historical theater. Lou Barlow strummed his bass wildly, filling the space with a vortex that swirled around you, spit you out and sucked you right back in. Murph’s limbs flew every which way, pounding out rock-ready rhythms you felt as much as heard. Yep, Dinosaur Jr. delivers an ear-splitting full-body aural massage. That was no surprise. But behind the bombast, casualness and nuance ruled the day.
Dinosaur Jr. just sauntered onto the stage, beating the house lights, which only went down after they started playing.
The roadies spent the show just hanging out behind the amps, readying the load out about halfway through the show. During “The Wagon” one joined in on guitar while another took over a second drum set. The band’s on-stage demeanor was also more attuned to a hang with pals than a blistering rock show. In between songs, Mascis would often saunter off to the side of the stage to take a shot. Murph at one point walked off stage, returning just in time for the next song.
Amidst the hang, some real inter-song magic came via short tuning jams that frequently popped up. What started as casual noodling could evolve into a three-way improv. After “The Wagon”, Mascis started riffing out some power chords and Murph tossed in some nice rumbling drums. A particularly tasty nugget, with some jazz undertones, nestled between an anthemic and bombastic “Been There All The Time” and monster rocking “Raisans.” Before the encore, Mascis dropped a blink-and-you-miss-it “London Bridges” teaser, a subtle tip of the hat to the Queen perhaps?
The show started and ended similarly. After strolling on stage they came out swinging on a big rocking “Thumb.” 80 minutes later, after a blistering “Gargoyle,” they again just casually walked away, without fanfare, the final notes still crackling though the walls. Sandwiched in there they mixed a variety from the full breadth of their catalog. Melodies pushed through on “Garden” and “Feel the Pain,” funk-tinged wah work highlighted “Little Fury Things” and “Start Chopping” and spine-melting shredding sparked in “Mountain Man.” Is it possible to finally fall for a band already four decades into their career?
By shows end, Barlow’s shirt was fully sweat through, a different shade of grey. Murph’s sweatiness, however, was masked by the black tour tee Ryley Walker provided, just as Walker had advised him it would. Walker’s support wasn’t reserved to wardrobe advice though, he was also the show’s opener.
With his drummer unable to make the show, and his bass player’s instrument lost in transit, Walker called an audible and presented a set of “guitar fuckery” and “type 2 jams” with bassist Andrew Scott Young joining in on second guitar. For 45 minutes without stopping, their guitars danced around each other in beautiful cosmic weirdness. It was spacious and free, but mostly remained accessible. Walker worked his pedals and loops while Young played it straight and unfiltered, at times settling into a bass-like groove. Experimental rhythmic squeaks, eerie textures, droid-like bleeps and bloops… a thrilling opening set.
