Local native Mariel Loveland, better known by her stage moniker Best Ex, performed an intimate show this past Sunday evening (December 10) at Heaven Can Wait in the East Village, a neighborhood with rich musical history. Joined by Matthew Florio, who got his start with Loveland as her touring guitarist in 2017, the duo delivered a ten song, 35-minute set chock-full of indie pop melodies.
Bathed in red strobe lights and accompanied by drum and keyboard backing tracks, Best Ex’s set featured numbers gifted from Loveland’s debut LP (With a Smile, Iodine Recordings) released this past October, to high acclaim. Outliers included the title track from Loveland’s second EP titled Good At Feeling Bad (No Sleep Records, 2020), an anthemic breakup song with a chorus begging to be sung along to, and “Lemons,” a song that finds Loveland drunk in a Penn Station bathroom contemplating life and loneliness at 3:00 am.
Photo Credit: Michael Dinger
Previously fronting Candy Hearts, which she co-founded in 2009 and served as primary songwriter, Loveland shed the pop punk genre and launched Best Ex, an offshoot project influenced by a calling to pop and pulsating club beats. During the last six years of her solo endeavor, Loveland has often taken a sarcastic, introspective look at the world around her, outwardly speaking about the challenges of being a woman in today’s music industry.
Admittedly talking more than she usually does during a live show, it was wonderful to hear what Loveland’s songs mean to her firsthand, and the story behind each one. An already emotional set reached its pinnacle with the evening’s penultimate number “Stay With Me,” which saw Florio exit the stage for a few minutes as Loveland presented an acoustic rendering of said tune about struggling with anxiety and the fear of it being a burden on the one you love.
Photo Credit: Michael Dinger
The next holiday show for Best Ex is a gig at Alchemy in Providence, Rhode Island on December 16. If you are a fan of cynical breakup jams cloaked with fuzzy synths and dreamy guitar riffs – aren’t we all? – be sure to keep Best Ex on your radar for upcoming show announcements in 2024.
Best Ex – Heaven Can Wait, East Village, NYC – December 10, 2023
Setlist: With a Smile > Good At Feeling Bad > Tell Your Friends > Lemons > Give Me a Break > Salt On Skin > Die For You > I Promise to Ruin Your Life > Stay With Me > The End
Originally scheduled to kick-off in Mexico City on September 10, the rescheduled “40 Years of Morrissey” tour rebooted in Orlando, Florida earlier this month after the British crooner and former frontman of the Smiths had fully recovered from some recent health concerns.
United Palace | Photo Credit: Michael Dinger
After sweeping through Georgia, Tennessee and Washington, D.C., the United Palace – a lavish theater nestled in the Washington Heights neighborhood of Manhattan – welcomed Morrissey (affectionately dubbed “Moz” by Smiths bandmate Johnny Marr) this past Saturday night, October 21, for the first of four shows in a brief residency.
Constructed in 1930, United Palace occupies a full city block and functions not only as a nonprofit performing arts center that has hosted artists the likes of Neil Young, Bob Dylan, Adele, Arcade Fire and Kraftwerk, but also as a spiritual center. You may have also seen the epochal venue as a backdrop for the film John Wick: Chapter 3 – Parabellum and in the Hulu television series Only Murders in the Building.
With showtime looming, latecomers entered the majestic theater from Broadway on a chilly autumn evening and into the grand foyer, many ‘blown away’ (as I was) by the sheer grandeur of the scene. At half past eight o’clock, a pair of square-shaped, side-by-side video screens suddenly came to life and for the next 30-minutes, displayed a barrage of images and video clips featuring actors and musicians who have inspired Morrissey over the years, including Roxy Music, David Bowie, Eddie Cochran and Sidney Poitier. The biggest reaction from the audience occurred when the breakthrough video of “Nothing Compares 2 U,” featuring the iconic, closeup visage of the late Sinéad O’Connor, appeared wondrously.
Morrissey | Photo Credit: Michael Dinger
At 9:10 pm, as the house lights went down, the crowd literally jumped out of their seats and erupted with rapturous applause. It was officially “Game On!” The perpetually suave Morrissey elegantly took the stage, dressed in black from head to toe, as he and his talented quintet of back-up musicians instantly transported us to 1992 with “We Hate It When Our Friends Become Successful” (Your Arsenal). Over the course of nearly 90-minutes, Morrissey gifted his legion of die-hard fans an eclectic set that incorporated a glorious blend of five tracks from his days with The Smiths, highlighted by “How Soon Is Now?,” the beginning of which signaled the simultaneously raising of cell phones high into the air to forever record the moment into eternity.
Morrissey | Photo Credit: Michael Dinger
The remainder of the nineteen-song set comprised tunes lifted from an extensive discography spanning Morrissey’s debut solo studio album released in 1988 (Viva Hate) to his upcoming studio album entitled Without Music the World Dies, with a tentative release date of later this year. As the night turned for home, Morrissey presented “Sure Enough, the Telephone Rings,” recorded in early-2021 and originally intended to appear on the studio album entitled Bonfire Of Teenagers – but will not be released by Capitol Records, the label Morrissey departed acrimoniously and who are now holding onto the album’s rights (at least for the time being). Morrissey and his signature baritone voice, in top form all night, exquisitely delivered the critically acclaimed “Everyday Is Like Sunday,” written shortly after the Smiths break-up, and yet another goosebump inducing moment.
Morrissey | Photo Credit: Michael Dinger
Returning to the stage after a several minute interlude, each band member – Jesse Tobias (lead guitar), Carmen Vandenberg (rhythm guitar), Juan Galeano Toro (bass), Camila Grey (keyboards) and Brendan Buckley (drums) – took a moment center stage at the mic to say a few words (entirely in Español), thanking all of us for being there. Waiting in the wings, Morrissey was now rocking his own T-shirt merch which featured the likeness of Billy Halop, an American actor from Queens who rose to fame in the 1930s. As the encore performance of “Speedway” (Vauxhall and I, 1994) neared its climax, Morrissey shed his shirt and tossed it to a lucky fan, exiting the stage bare-chested to a sustained ovation from the 3,500 capacity crowd that never sat down all night long. As I filed out of United Palace within a throng of highly satisfied patrons and into the chilly October night, I was already thinking about what special surprises lie in store for the next three residency gigs.
Morrissey | Photo Credit: Michael Dinger
Following the final night of the U.S. tour leg at United Palace on October 25, Morrissey’s global trek will resume on November 9 in Singapore, followed by shows in Hong Kong, Thailand, Indonesia, Japan, Australia and Auckland, New Zealand on December 14. Morrissey will then take some well-deserved time off until early-February, at which time he will play the rescheduled Mexico City show on February 3, 2024, followed by South American dates culminating in Brazil on February 24.
Watch Moz’s Saturday night performance of “Please, Please, Please Let Me Get What I Want,” recorded by the Smiths and released in 1984 as the B-side of the single “William, It Was Really Nothing,” below:
Setlist: We Hate It When Our Friends Become Successful > Our Frank > Suedehead > Stop Me If You Think You’ve Heard This One Before* > Alma Matters > Half a Person* > I Wish You Lonely > Let Me Kiss You > How Soon Is Now?* > Girlfriend in a Coma* > Darling, I Hug a Pillow > The Loop > The Night Pop Dropped > Sure Enough, the Telephone Rings > Irish Blood, English Heart > Please, Please, Please Let Me Get What I Want* > Everyday Is Like Sunday > Jack the Ripper Encore: Speedway *the Smiths cover
UPCOMING MORRISSEY WORLD TOUR DATES
11/09/23 – Singapore, Singapore @ Star Theater 11/16/23 – Chek Lap Kok, New Territories, Hong Kong @ AsiaWorld-Expo 11/18/23 – Bangkok, Thailand @ Samyan Hall 11/22/23 – Jakarta, Indonesia @ Istora Senayan Jakarta 11/28/23 – Tokyo, Japan @ Toyosu Pit 12/01/23 – Perth, Australia @ Perth Concert Hall 12/04/23 – Melbourne, Australia @ Palais Theater 12/05/23 – Melbourne, Australia @ Palais Theater 12/08/23 – Brisbane, Australia @ Fortitude Music Hall 12/10/23 – Sydney, Australia @ State Theater 12/11/23 – Sydney, Australia @ State Theater 12/14/23 – Auckland, New Zealand @ The Civic 02/03/24 – Mexico City, Mexico @ Palacio de los Deportes 02/08/24 – Lima, Peru @Anfiteatro del Parque de la Exposición 02/10/24 – Bogata, Columbia @ Movistar Arena 02/15/24 – Santiago, Chile @ Movistar Arena 02/17/24 – Buenos Aires, Argentina @ Movistar Arena 02/22/24 – São Paulo, Brazil @ Espaço Unimed 02/24/24 – Brasilia, Brazil @ Opera Hall
Celebrating the 20th anniversary of their platinum-selling debut album Permission to Land, The Darkness flew into Terminal 5 this past Wednesday night, October 18 at a 3,000 capacity concert hall located in Manhattan’s Hell’s Kitchen – for the twelfth layover on their massive, 52-date global trek.
For those unfamiliar, the British quartet of Justin Hawkins (vocals, guitar, keyboards), brother Dan Hawkins (guitar), Frankie Poullain (bass) and Rufus Tiger Taylor (drums), son of Queen’s Roger Taylor, erupted onto the music scene in 2003 with said album’s infectious hit single “I Believe In A Thing Called Love.”
Justin Hawkins of The Darkness | Photo Credit: Michael Dinger
Providing opening support for The Darkness were Josh Dion (vocals, drums, keyboards) and Geoff Kraly (bass, modular synthesizer), better known as Paris Monster. Formed in 2012, the indie experimental duo and local natives hailing from Brooklyn took the stage promptly at 7:50 pm. Known for their musical virtuosity, Dion and Kraly play multiple instruments simultaneously and sound more like a quartet rather than just the two of them. As Hawkins would exude to the packed venue later in The Darkness’ set, “Frankie described it to me earlier. He says, ‘it sounds like aliens came down to Earth, listened to some of our music, and then decided to do their own version of it.’ Their fucking amazing. Paris Monster, it’s my favorite band.” The highlight of Paris Monster’s 40-minute, 10-song set was the closing number “A Vision Complete,” lifted from their debut EP It Once Had Been Kind released in 2013. For fans of the beat-driven, groove-based sound, inter-mixed with elements of funk and soul, I strongly urge you to check out their first full-length album entitled Lamplight (2019).
Paris Monster | Photo Credit: Michael Dinger
With The Darkness’ stage crew having put the finishing touch to the set, all of whom donned matching navy blue boiler suits complete with their nickname on the back, Abba’s instrumental “Arrival” played on tape over the house PA. And right on schedule, at a few ticks past 9;00 pm, the house lights went dark and the rock and roll outfit from ‘the other side of the pond’ appeared from the shadows.
Dan Hawkins of The Darkness | Photo Credit: Michael Dinger
Playing 2003 Permission to Land’s album in its entirety (and according to Justin, “in no particular order”), the 90-minute set kicked off with “Black Shuck,” a song about the Old English legend of a ghostly black dog roaming the English coastline – which actually is the lead track from their debut album. Before exploding into “Get Your Hands Off My Woman,” Justin spotted a fan along the rail sporting a brilliant, Queen-branded Hawaiian shirt that he confessed has “coveted for many moons.” After asking that the shirt be taken off and handed over, Justin quipped, “Thanks friend, you’re never going to see it again. Cheers!”
Frankie Poullain of The Darkness | Photo Credit: Michael Dinger
As the festive night ensued, Justin and his mates gifted the power ballad and fan favorite “Love Is Only a Feeling,” and then ripped through their pop anthem and smash hit “Friday Night,” backed by an exceptional Gotham audience who belted out the infectious chorus in unison. With the epic gig’s denouement upon us, Justin sang a beautiful rendition of “Happy Birthday” to Josh of Paris Monster, followed by “I Believe In A Thing Called Love” – sans audience members taking pictures or video with their phones – as per Justin’s request.
Rufus Tiger Taylor of The Darkness | Photo Credit: Michael Dinger
After taking a few moments off stage for everyone to catch a collective breath, The Darkness triumphantly returned to the stage rocking silk bathrobes. As Justin introduced the band before commencing the penultimate track “I Love You 5 Times,” there had been some personnel reshuffling – brother Dan was now behind the kit, Frankie had taken up an acoustic guitar, Rufus had a bass in his hands and their guitar tech, Softy, was seated at the Mellotron. The night concluded at 10:30 pm, but not before Justin majestically rode atop the shoulders of a roadie through the floor crowd during the solo to “Love on the Rocks With No Ice,” which was preceded by an impromptu jam of Don McLean’s “American Pie” (and not the full version that Justin had jokingly promised!).
Justin Hawkins of The Darkness | Photo Credit: Michael Dinger
Hawkins is the quintessential embodiment of the rock star persona, and per usual, he was at the top of his game on ‘hump day.’ His flamboyant, explosive on-stage energy was truly a spectacle to behold. Equipped with a signature falsetto and exquisitely delivered guitar solos featuring an intricate fingerpicking style, Hawkins gives The Darkness a magnificent pageantry that stands up in comparison to the likes of his biggest influences, notably Bon Scott, Steven Tyler, Robert Plant and Mick Jagger. Whether it be his dramatic gesticulations, a high-flying leap off the drum riser that would make David Lee Roth proud, or a show of strength by holding a self-supported handstand for what seemed like an eternity, he exhibited true showmanship and an enduring passion for his craft.
Watch The Darkness perform a cover of Radioheads’ “Street Spirit (Fade Out),” immediately followed by “Holding My Own” here:
This past October 6th, an expanded edition of Permission To Land was dropped by the band as a five-LP package, a four-CD+DVD package, a double-CD package, as well as across various digital streaming platforms. Fans of The Darkness can also look forward to a feature-length documentary dubbed “Welcome To The Darkness” coming to cinemas for one night only, on November 9th, in the UK and Ireland. Distributed by Lightbulb Film Distribution and directed by renowned photographer Simon Emmett, the film is a comeback tale of a “cult band” in search of its past glory that will also be available on digital download and Blu-ray beginning December 4th.
Paris Monster Setlist: The Unclean > Laugh it Off > Andalusia > Hot Canyon Air > Ape > I’m Not Gonna Miss This Dive > Grandma > Darkest Days > Had Damon Caught His Sloane > A Vision Complete
The Darkness Setlist: Black Shuck > Get Your Hands Off My Woman > Growing on Me > The Best of Me > Makin’ Out > Givin’ Up > Love Is Only a Feeling > Curse of the Tollund Man > Stuck in a Rut > How Dare You Call This Love? > Street Spirit (Fade Out) > Holding My Own > Friday Night > Happy Birthday > I Believe in a Thing Called Love > Encore: I Love You 5 Times > Love on the Rocks With No Ice
UPCOMING WORLD TOUR DATES
10/21/23 – Sayreville, NJ @ Starland Ballroom 10/22/23 – Washington, DC @ 9:30 Club 11/07/23 – Berlin, Germany @ Admiralspalast 11/08/23 – Hamburg, Germany @ Markthalle 11/09/23 – Köln, Germany @ Essigfabrik 11/11/23 – München, Germany @ Technikum 11/13/23 – Ciampino, Italy @ Orion Live Club 11/14/23 – Milan, Italy @ Alcatraz 11/15/23 – Nonantola, Italy @ VOX CLUB 11/17/23 – Prattleln, Switzerland @ Konzertfabrik Z7 11/18/23 – Luxembourg City, Luxembourg @ den Atelier 11/20/23 – Rubigen, Switzerland @ Muhle Hunziken 11/22/23 – Bruxelles, Belgium @ AB 11/23/23 – Paris, France @ La Cigale 11/24/23 – Amsterdam, Netherlands @ Melkweg 12/02/23 – Belfast, Northern Ireland @ The Telegraph Building 12/03/23 – Dublin, Ireland @ 3Olympia Theatre 12/05/23 – Edinburgh, Scotland @ 02 Academy 12/07/23 – Newcastle Upon Tyne, England @ O2 City Hall 12/08/23 – Norwich, England @ UEA LCR Norwich 12/09/23 – London, England @ Roundhouse 12/11/23 – Glasgow, Scotland @ Barrowland Ballroom 12/12/23 – Manchester, England @ New Century Hall 12/14/23 – Bristol, England @ Bristol Beacon 12/15/23 – Nottingham, England @ Rock City 12/16/23 – Wolverhampton, England @ Wulfrun Hall 12/18/23 – Leeds, England @ O2 Academy 12/19/23 – Nottingham, England @ Rock City 12/20/23 – Brighton, England @ Brighton Dome 12/22/23 – London, England @ Roundhouse 01/26/24 – Wellington, New Zealand @ The Opera House 01/27/24 – Auckland, New Zealand @ Powerstation 01/30/24 – Adelaide, Australia @ Hindley Street Music Hall 02/01/24 – Fremantle, Australia @ Metropolis 02/03/24 – West Melbourne, Australia @ Festival Hall 02/07/24 – Brisbane, Australia @ The Fortitude Music Hall 02/09/24 – Bruce, Australia @ UC Refectory 02/10/24 – Moore Park, Australia @ Horden Pavilion 03/02/24 – Miami, FL @ Monsters of Rock Cruise
Nearing the half-way point of a 21-date North American tour that kicked off in mid-September, Nick Cave made a rare solo appearance this past Saturday night, October 7, on the first of two back-to-back shows at the legendary Beacon Theatre on Manhattan’s Upper West Side.
Having released Ghosteen with the Bad Seeds in 2019, and the acclaimed album Carnage in 2021 – as well as last year’s Seven Psalms EP comprised of short spoken-word pieces – with fellow Bad Seeds collaborator Warren Ellis, the 66-year old crooner from “the Land Down Under” has confirmed that new material with the Bad Seeds is on its way . . . soon!
The Beacon Theatre | Photo Credit: Michael Dinger
With Radiohead’s Colin Greenwood providing accompaniment on bass, the 130-minute, 25-song gargantuan set (including a seven song encore) commenced at 8:25 pm. Per usual, with a magnificent slick of hair, Cave was dressed ‘to the nines’ in a stunning blue suit and loose tie as he appeared onstage shortly behind Greenwood. Slowly making his way around the perimeter of the stage apron, Cave greeted his adoring followers with several waves and a blown kiss.
Nick Cave & Colin Greenwood | Photo Credit: Michael Dinger
Taking his perch at the ivories, the nearly five decade career-spanning set kicked off with “Girl in Amber” (Skeleton Tree, 2016) and concluded with “People Ain’t No Good” (The Boatman’s Call, 1997). Sandwiched in between, . . .
there was introspection:
“We are going to try and get inside these songs in some kind of way, or go on an adventure. When I perform a song, sitting at the piano, I start to work out what the song is really about in some kind of way. It’s been quite special to do [this tour] for me.”
there was humor:
“This next one (referring to the song “Galleon Ship” from Ghosteen) has got some [good] words in it. There is a bit that says ‘For we are not alone it seems. So many riders in the sky. The winds of longing in their sails. Searching for the other side.’ I thought that was pretty good. The rest [of the song] is okay. You don’t always get a full song. Sometimes four lines is enough.”
and there was reminiscence:
“When I lived in Brazil for a few years, I wrote a lot of very beautiful, lovely songs, and this is not one of them (referring to “Papa Won’t Leave You, Henry” from 1992’s Henry’s Dream). I used to sing this song to [my son] Luke when I was trying to put him to sleep. I noticed that he fell asleep [to] a faster rocking rhythm, so [this song] has that sort of thing going on. It may be the first Nick Cave song of this kind, which was that I’d go out walking and a cascade of terrible things happen to me, that start generally with the personal and end with apocalyptic. And in the center of this is [my] attempt to rock my child to sleep and the general anxiety of a parent trying to protect their child from this cascade of events.”
Nick Cave & Colin Greenwood | Photo Credit: Michael Dinger
Special treats abounded too! Topping the list (for me at least) was the intimately rendered “To Be Found,” the Bad Seed’s newest single and only the fourth time it has been performed live. Not far behind was a cover of the post-punk ballad “Shivers” (Door, Door, 1979) by The Birthday Party, of which Cave was a band member from 1977-1983 and which also led to the birth of the Bad Seeds. If that weren’t enough for the die-hard fan, Cave gifted the 2,600-capacity audience “Palaces of Montezuma” (Grinderman 2, 2010) from his garage rock side project known as Grinderman.
Watch Cave and Greenwood perform fan favorite “Into My Arms,” from the aforementioned The Boatman’s Call, below:
In support of last year’s memoir Faith, Hope and Carnage, Cave has scheduled a book tour that is taking place concurrently with his shows. Joined by Irish journalist Seán O’Hagan, the series of in-store signings focuses on his life following the tragic death of his son, Arthur, in 2015.
Setlist: Girl in Amber > Higgs Boson Blues > Jesus of the Moon > Galleon Ship > To Be Found > O Children > I Need You > Waiting for You > Papa Won’t Leave You, Henry > Balcony Man > Carnage > The Mercy Seat > Black Hair > (Are You) The One That I’ve Been Waiting For? > The Weeping Song > Into My Arms > Jubilee Street > Push the Sky Away > Encore: Idiot Prayer > Love Letter > Shivers > Palaces of Montezuma > Brompton Oratory > The Ship Song > People Ain’t No Good
UPCOMING TOUR & BOOK SIGNING DATES
10/10 – Boston, MA @ Bosh Center – Wang Theatre 10/11 – Cambridge, MA @ Harvard Book Store* 10/12 – Montreal, QC @ Salle Wilfrid-Pelletier 10/14 – Toronto, ON @ Massey Hall 10/15 – Detroit, MI @ Masonic Cathedral Theatre 10/17 – Nashville, TN @ Ryman Auditorium 10/18 – Nashville, TN @ Parnassus Books* 10/20 – Atlanta, GA @ Atlanta Symphony Hall 10/22 – Dallas, TX @ Majestic Theatre 10/23 – Austin, TX @ ACL Live at The Moody Theater 10/24 – Austin, TX @ BookPeople* 10/27 – Los Angeles, CA @ Orpheum Theatre 10/28 – Los Angeles, CA @ Orpheum Theatre 10/29 – Los Angeles, CA @ Orpheum Theatre 10/30 – West Hollywood, CA @ Book Soup*
Affectionately dubbed “The BABYKLOK Tour,” the infectious metal tandem of BABYMETAL and Dethklok descended upon the Hammerstein Ballroom this past Friday night (September 15) – a turn-of-the-century opera house located in Midtown Manhattan – for the twelfth stop on their 29-date trek across North America.
Providing opening support on this night, and for the entire tour, was 32-year-old guitar virtuoso Jason Richardson of Manassas, Virginia. Hours before the show, an eclectic recipe of fans lined West 34th Street in eager anticipation of the show, including anime girls in full costume, tattooed death metal fans, and conservative mothers and fathers with their teenage daughters.
BABYMETAL | Photo Credit: Michael Dinger
The evening’s first co-headliner to appear on stage was Dethklok, both a virtual band featured in Adult Swim’s animated, dark comedy program Metalocalpse and a natural melodic death metal band created to perform in front of a live audience. The fictional members of the band, who were featured throughout the 16-song set in numerous dark and macabre animations on a huge monitor that functioned as the stage backdrop, include Nathan Explosion, Toki Wartooth, Pickles, Skwisgaar Skwigelf, and William Murderface.
Dethklok | Photo Credit: Michael Dinger
The actual members of the band are comprised of Brendon Small (a co-creator of both bands along with Tommy Blacha), Gene Hoglan, Bryan Beller, and Mike Keneally. Also joining Dethklok in their live performances for this tour is Nili Brosh, an Israeli-American guitarist who has played with Steve Vai, DragonForce, and The Iron Maidens. Watch Dethklok perform “Bloodlines,” lifted from their 2009 studio album Dethalbum II, below:
Last to take the stage, but certainly not least, was the Japanese kawaii metal band (a musical fusion of heavy metal and J-Pop) known as BABYMETAL who are touring in support of their fourth album The Other One, a concept album released in March 2023. A trio of young women ranging in age from 20 to 25 years old, BABYMETAL formed in 2010 and is comprised of main vocalist Suzuka Nakamoto as “Su-metal,” Moa Kikuchi as “Moametal” and Momoko Okazaki as “Momometal” (the band’s latest addition).
With vocals backed by heavy metal instrumentation performed by a group of session musicians known as the “Kami Band,” BABYMETAL thrilled the sold-out 2,200-capacity crowd with a breathtaking routine filled with their own brand of non-stop, synchronized dancing, while at the same time willing their fans to harness raw, head-bang inducing energy. Watch BABYMETAL perform “PA PA YA!!,” taken from their 2019 studio album titled Metal Resistance Episode VII – Apocrypha – The Chosen Seven, below:
Dethklok Setlist: Deththeme > Briefcase Full of Guts > Birthday Dethday > Awaken > Bloodlines > The Gears > Hatredcopter > Dethsupport > Duncan Hills Coffee Jingle > Aortic Desecration > I Ejaculate Fire > The Duel > Murmaider > Thunderhorse > SOS > Go Into the Water
BABYMETAL Setlist: BABYMETAL DEATH > Gimme Chocolate!! > PA PA YA!! > Distortion > BxMxC > Believing > Monochrome > METALI!! > Megitsune > Headbangeeeeerrrrr!!!!! > Road of Resistance
UPCOMING TOUR DATES
09/20 – Grand Rapids, MI @ GLC Live at 20 Monroe 09/21 – Chicago, IL @ Byline Bank Aragon Ballroom 09/23 – Louisville, KY @ Louder Than Life Festival 09/24 – Milwaukee, MN @ The Rave/Eagles Club 09/25 – Minneapolis, MN @ The Fillmore 09/27 – St. Louis, MO @ Saint Louis Music Park 09/28 – Omaha, NE @ Steelhouse Omaha 09/30 – Denver, CO @ Fillmore Auditorium 10/01 – Salt Lake City, UT @ The Complex 10/03 – Vancouver, BC @ PNE Forum 10/04 – Seattle, WA @ WaMu Theater 10/07 – Sacramento, CA @ Aftershock Festival 10/08 – Las Vegas, NV @ Pearl Theater at Palms Casino Resort 10/10 – Phoenix, AZ @ Arizona Financial Theater 10/11 – Los Angeles, CA @ YouTube Theater
Dubbed the Gruesome Twosome when Alice Cooper and Rob Zombie toured together 13 years ago, the pair have reunited for their Freaks on Parade 2023 co-headlining tour that brought them to the Jones Beach Theater in Wantagh, NY this past Saturday, September 9, for another haunted hell ride. Joined by industrial pioneers Ministry and the eclectic alternative rockers Filter, these special guests have opened every show on the massive, 38-date trek of North America.
Alice Cooper | Photo Credit: Michael Dinger
Cooper, the 75-year old “Godfather of Shock Rock,” is promoting his 22nd solo album Road (earMusic), released last month. Bringing a signature style of macabre rock, Cooper’s stage show included a boa constrictor brandished across his shoulders and escaping from a straight jacket only to meet his maker guillotine-style at the hands of his wife Sheryl, in the gowned guise of Marie Antoinette. Cooper and his bandmates – “Hurricane” Nita Strauss (guitar), Tommy Henricksen (guitar), Chuck Garrick (bass) and Glen Sobel (drums) – offered up a set filled with classic tracks, including “I’m Eighteen” (the 1971 single that put him on the map), “Feed My Frankenstein,” “Poison,” and the closing number, “School’s Out.”
Rob Zombie | Photo Credit: Michael Dinger
An acclaimed cult horror filmmaker, Zombie is said to be turning his attention back to music and is currently working on his first new material since he dropped his seventh studio album, The Lunar Injection Kool Aid Eclipse Conspiracy (Nuclear Blast), back in 2021. Backed by Piggy D. (bass), Ginger Fish (drums) and Mike Riggs (who is back with the band after replacing guitarist John 5), Zombie delivered a theatrical, mind-blowing performance to the near 15,000-capacity crowd.
The stagecraft was impeccable, complete with pyrotechnics, a hovering flying saucer, large-scale puppetry and eye-popping, next-level videos displayed across numerous high-def screens. Zombie and company delivered a 14-song set (including an epic drum solo) comprised of notable hits like “House of 1000 Corpses” and “Living Dead Girl,” along with two covers by his former band White Zombie – “More Human Than Human” and “Thunder Kiss ’65.” The night concluded with Zombie’s most notorious anthem, “Dragula.”
Filter Setlist: The Drowning > For the Beaten > Obliteration > Take a Picture > Welcome to the Fold > Hey Man Nice Shot
Ministry Setlist: Thieves > The Missing > Deity > Stigmata > Supernaut > Burning Inside > N.W.O. > Just One Fix > Goddamn White Trash
Alice Cooper Setlist: Lock Me Up > No More Mr. Nice Guy > I’m Eighteen > Under My Wheels > Billion Dollar Babies > Hey Stoopid > Lost in America > Snakebite > Feed My Frankenstein > Poison > “The Black Widow” segment from Alice Cooper: The Nightmare > Nita Strauss Guitar Solo > Black Widow Jam > Ballad of Dwight Fry > Killer > I Love the Dead > Elected > School’s Out
Rob Zombie Setlist: The Triumph of King Freak (A Crypt of Preservation and Superstition) > Dead City Radio and the New Gods of Supertown > Feel So Numb > Well, Everybody’s Fucking in a U.F.O. > What Lurks on Channel X? > Superbeast > Demonoid Phenomenon > The Lords of Salem > House of 1000 Corpses > Drum Solo > Living Dead Girl > More Human Than Human (White Zombie song) > Thunder Kiss ’65 (White Zombie song) > Dragula
UPCOMING TOUR DATES
09/12 – Nashville, TN @ Bridgestone Arena 09/13 – Cincinnati, OH @ Riverbend Music Center 09/15 – Bonner Springs, KS @ Azura Amphitheater 09/16 – Greenwood Village, CO @ Fiddler’s Green Amphitheatre 09/19 – Ridgefield, WA @ RV Inn Style Resorts Amphitheater 09/20 – Auburn, WA @ White River Amphitheatre 09/22 – Concord, CA @ Toyota Pavilion at Concord 09/23 – Anaheim, CA @ Honda Center 09/24 – Phoenix, AZ @ Talking Stick Resort Amphitheatre 10/04 – St. Augustine, FL @ St. Augustine Amphitheatre 10/05 – Wilmington, NC @ Wilson Center at Cape Fear Community College 10/07 – Evansville, IN @ Aiken Theatre 10/08 – Wheeling, WV @ Wesbanco Arena 10/10 – Troy, OH @ Hobart Arena 10/11 – Wabash, IN @ Honeywell Center 10/13 – Paducah, KY @ The Carson Center for the Performing Arts 10/14 – North Little Rock, AR @ Simmons Bank Arena 10/15 – Lafayette, LA @ Heymann Performing Arts Center 10/17 – Enid, OK @ Stride Bank Center 10/19 – Colorado Springs, CO @ Pikes Peak Center for the Performing Arts 10/20 – Rio Rancho, NM @ Rio Rancho Events Center 10/21 – Tucson, AZ @ AVA Amphitheatre 10/23 – Paso Robles, CA @ Vina Robles Amphitheatre 10/25 – Highland, CA @ Yaamava’ Resort & Casino 10/26 – Reno, NV @ Grand Sierra Resort and Casino 10/28 – Las Vegas, NV @ Zappos Theater
Splitting the bill on a 23-date trek of North America which commenced in the Pacific Northwest in early August, dubbed the Summer Odyssey Tour, indie-rock heavyweight Beck and French pop rockers Phoenix descended upon the Hartford HealthCare Amphitheater in Bridgeport, CT this past Wednesday evening, September 6.
Beck | Photo Credit: Michael Dinger
No strangers to one another, Beck joined Phoenix during their Los Angeles residency at the Fonda Theater in 2018, performing the tracks “Lost Cause” (Sea Change, 2002) and “Jack-Ass” (Odelay, 1996). And this past June, the two artists joined forces on a new single titled “Odyssey,” with vocals from both Beck and Phoenix’s lead singer Thomas Mars. Prior to the collaboration, Phoenix released Alpha Zulu (Glassnote Records) in November of last year (their seventh studio album), while Beck most recently issued his fourteenth studio album Hyperspace (Capitol Records) in 2019.
Thomas Mars of Phoenix | Photo Credit: Michael Dinger
On a late afternoon filled with sweltering heat, the festivities kicked off promptly at 5:45 pm as the first of two opening acts, Sir Chloe, took to the boutique amphitheater stage nestled along the Long Island Sound waterfront. Despite the early start time on hump day, the quintet hailing from Bennington, VT, led by frontwoman Dana Foote, had amassed a strong contingent of die-hard fans along the steel barricade of the general admission floor area. Although their set was over all too quickly, the collection of young alt-rock musicians (rounded out by Foote’s brother Palmer, Teddy O’Mara, Emma Welch and Austin Holmes) made the most of their allotted 25-minutes while braving 90+ degree temperatures – particularly that of Foote, who rarely stood still.
Sir Chloe | Photo Credit: Michael Dinger
As the picturesque, 6,000-capacity venue that opened in July 2021 continued to fill up with fans of all ages, Natalie Laura Mering, professionally known as Weyes Blood (pronounced Wize Blood), was next up to perform support duties on behalf of Beck and Phoenix. Born in Santa Monica, CA and raised in Doylestown, PA, Mering is touring in support of her fifth studio album, And in the Darkness, Hearts Aglow (Sub Pop), released in late-2022. A talented artist whose musical catalog crosses several genres – chamber pop, indie pop, folk rock, noise music and experiment rock – Mering sported an elegant, off-white dress with a flowing cape while backed by a guitarist, bassist, drummer and keyboardist. Her set piece was decorated with numerous candelabras perfectly matching the romantic tone of her glorious, nearly 45-minute long set.
Weyes Blood | Photo Credit: Michael Dinger
The sun having mercifully set and temperatures finally bearable beneath the amphitheater’s massive canopy, co-headliner Phoenix entered stage left at 7:40 pm to a raucous ovation from the packed house. With a history dating to 1995, when Phoenix started releasing synth pop singles which were later featured in their debut album United (Rhino/Parlophone) released in 2000, the band has remained unchanged since their formation, comprised of the aforementioned Mars, Deck d’Arcy (bass, keyboards), Christian Mazzalai (guitar) and Laurent Brancowitz (guitar, keyboards). In Bridgeport, the French band was rounded out with touring musicians Thomas Hedlund (drummer) and Robin Coudert (keyboards, percussion).
With a stage backdrop of stunning visuals continually plastered across a jumbotron video wall, Phoenix offered up an 18-song set spread across five albums in their discography, with the most presentations (eight in total) coming from their 2009 studio album, and fourth overall, Wolfgang Amadeus Phoenix (V2 Records). Mars and his bandmates transformed The Amp with the lushness and beauty of their arrangements, exquisitely balancing swirling guitars and synthesizers on songs such as “Lisztomania,” “Too Young” and “Love Like a Sunset, Pt. 1,” with its guitar ostinatos and driving percussion.
Phoenix | Photo Credit: Michael Dinger
As the set turned for the homestretch, the beloved group from Versailles gifted their fans “Funky Squaredance,” with its country-inspired slide guitar couple with bluesey-funk and “Winter Solstice,” a tune drenched in vocal distortion and building synths. Before Phoenix’s night closed with “1901,” the tune which propelled the band to immense popularity and recognition, the charismatic Mars thrilled his fans by leaving the stage for a journey into the crowd, making his way to the rear of the venue, and back again. He paused several times along his route, interacting with ecstatic souls who would no doubt remember this night forever.
If Phoenix weren’t enough to satisfy your indie rock taste buds, there was still one headliner left – Mr. Beck David Hansen of Los Angeles, CA – who if you don’t know, rose to fame in the early-1990s after living in a rat-infested shed and dead broke. Armed with a Silvertone 1448 guitar made of particle board that he bought from the Sears catalog, the lo-fi, art pop musician guru would never look back as he released album after album to critical acclaim, beginning with the breakthrough single and worldwide hit “Loser” from 1994’s Mellow Gold.
Appearing onstage with musicians that have contributed to his success in one way or another during the span of his 35-year career, Beck’s set got underway at 9:40 pm with “Devils Haircut,” lifted from his fifth studio album Odelay (DGC Records) released in 1996. Beck would later bequeath upon his faithful listeners two more incredibly successful singles from said album including “The New Pollution,” and the final number of the set, “Where It’s At,” a tune during which he would be accompanied onstage by Phoenix, Weyes Blood and Sir Chloe for an epic party atmosphere conclusion, complete with a conga line.
Beck & Co. | Photo Credit: Michael Dinger
The crowd already in a fervor from the jump, a performance of the humorous ode to a girl named “Debra” from Beck’s seventh studio album released in 1999, Midnite Vultures (DGC Records) at the half-way point put us all over the top. Hilariously improvising his signature falsetto lyrics as the soul R&B-ballad pastiche went along – about meeting a girl named Jenny who works at JCPenney and who had a sister named Debra that Beck wanted to ‘get with’ – I had to reproduce some of them here:
I just wanted to do something nice for her, to show her how much I cared. So, I went down to Bed Bath & Beyond. And I went straight to the back, to the beyond section. And in the beyond section, there’s a little door. That’s where they keep all the potpourri and the scented candles and the apricot exfoliator. I bought all that shit. And I loaded it up in the car. And I drove down to the shopping center where she works. And I came to surprise her after work on a Wednesday night. I said “Lady, step inside my Hyundai.”
Beck | Photo Credit: Michael Dinger
The hits kept coming, including “Gamma Ray” and “Chemtrails” from 2008’s Modern Guilt (DGC Records/XL Recordings), “Lost Cause” from 2002’s Sea Change (Geffen), and of course a duet execution of “Odyssey” with Mars reappearing to contribute his share of the vocals. As the clock struck 11:00 pm and the show neared its denouement – having showcased more than two decades of material traversing eight albums (from Stereopathetic Soulmanure released 1994 via Flipside Records to Colors released in 2017 via Fonograf Records) – the summer party was officially over, and I was glad to have been invited. The Summer Odyssey Tour wraps on September 10 with an outdoor gig at the Merriweather Post Pavilion in Columbia, MD.
Phoenix Setlist: Lisztomania > Entertainment > Lasso > Too Young > Girlfriend > Alpha Zulu > Ti Amo > After Midnight > Armistice > Love Like a Sunset, Pt. 1 > Love Like a Sunset, Pt. 2 > If I Ever Feel Better > Funky Squaredance > Tonight > Winter Solstice > Rome > Trying to Be Cool > 1901
Beck Setlist: Devils Haircut > Mixed Bizness > The New Pollution > Qué Onda Guero > Girl > Wow > Nicotine & Gravy > Debra > Gamma Ray > Soul of a Man > Chemtrails > The Golden Age > Lost Cause > Odyssey (Beck & Phoenix cover) > Dreams > Loser > E-Pro > One Foot in the Grave > Where It’s At
On the threshold of releasing their 12th studio album Relentless (Rhino Records) on September 15, their first in three years, frontwoman Chrissie Hynde and The Pretenders are supplementing their seven summer stadium shows in support of Guns N’ Roses with their own U.S. headlining tour.
The string of special dates – nine in total – are bringing to their fans a rare look at the iconic English-American rockers as they play intimate clubs across America. The trek kicked off at NYC’s Bowery Ballroom on August 16, followed by a second gig in Nashville, TN on August 26. This past Tuesday (August 29), on a humid night in Asbury Park, NJ, it was The Stone Pony’s turn to perform host duties.
Photo: Michael Dinger Photography | Pit Perspectives
The new album’s title, as described by Hynde, refers to “The life of the artist. You never retire. You become relentless.” And relentless she and her crew were as they thrilled the 850-capacity crowd with a 20-song assault that featured deep cuts across the landscape of their 44-year discography. Made famous by their helping hand in launching the careers of local natives Bruce Springsteen and Jon Bon Jovi into superstardom, the seaside bar was filled to the rafters with a healthy contingent of Baby Boomers, hundreds of which were queued along Ocean Avenue more than 2 hours before doors!
Photo: Michael Dinger Photography | Pit Perspectives
Promptly at 8:30 pm, as the entrance aria from the 1875 French opera Carmen played over the house PA, the quartet discretely slipped into the venue from a side door and entered stage right to a raucous ovation. Rocking knee-high leather boots, Levi’s and a black Stony Pony tee over a waffle-knit shirt, Hynde took up her Fender – she would relinquish it only once during the night – and immediately offered up a brand new track (“Losing My Sense of Taste”) for their forthcoming release. Speaking of The Boss, Hynde quipped early in the set, “Bruce, are you hear? I lost your phone number, or I would’ve called.”
Photo: Michael Dinger Photography | Pit PerspectivesPhoto: Michael Dinger Photography | Pit PerspectivesPhoto: Michael Dinger Photography | Pit Perspectives
While playing all their hits in the stadium gigs with Guns N’ Roses – choice numbers the likes of “Don’t Get Me Wrong,” “Back on the Chain Gang,” “I’ll Stand by You,” “Brass in Pocket,” “Middle of the Road” and “Talk of the Town” – tonight’s setlist was tailor-made for all the die-hard Pretenders fans in attendance, the ones who know every album inside and out. For nearly 90-minutes straight, Hynde enchanted her followers while showcasing powerfully distinctive vocals and captivating, emotional depth, making it evident as to why The Pretenders have long since carved their name into the annals of rock history with unwavering authenticity. The only hiccup in an otherwise flawless performance was a false start to the opening verse of “Thumbelina,” a track taken from their third studio album Learning to Crawl (1984).
Photo: Michael Dinger Photography | Pit Perspectives
Injecting a raw, edgy quality into the performance, infused with the unmistakable sound that defines The Pretenders’ signature style, “The Buzz” (Hate for Sale, 2020) was dedicated to the late Johnny Thunders who came to prominence in the early-70s as a member of the New York Dolls and with whom Hynde made a guest appearance on his first solo album. The Pretenders would dedicate another song later in the night, albeit sarcastically to the Sackler family, with their delivery of “Junkie Walk,” another track from Hate for Sale. The epic night of rock and roll concluded with a three song encore featuring the lone cover of the night, “I Go to Sleep,” an homage to The Kinks by Hynde and The Pretenders whose very first single in 1979 was a cover of The Kinks’ “Stop Your Sobbing,” quickly giving the newly founded band critical attention that they would preserve for nearly the next five decades.
Setlist: Losing My Sense of Taste > A Love > Turf Accountant Daddy > The Adultness > Downtown (Akron) > The Buzz > Domestic Silence > Time the Avenger > Biker > Boots of Chinese Plastic > Don’t Cut Your Hair > Gotta Wait > You Can’t Hurt a Fool > Tequila > Thumbelina > Let the Sun Come In > Junkie Walk Encore: I Go to Sleep (The Kinks cover) > Precious > Tattooed Love Boys
UPCOMING TOUR DATES
September 3 – Toronto, Ontario (Rogers Centre)* September 5 – Detroit, MI (Shelter)^ September 7 – Minneapolis, MN (7th St Entry)^ September 9 – St. Louis, MO (Busch Stadium)* September 17 – Leicester, UK (BBC Radio 2 In The Park)◊ September 19 – Paris, France (Maroquinerie)† September 20 – Paris, France (Maroquinerie)† September 21 – Utrecht, Netherlands (Tivoli Vredenburg Ronda)† September 23 – Hamburg, Germany (Reeperbalm Festival)◊ September 25 – Berlin, Germany (Columbia Theatre)† October 1 – Dana Point, CA (Ohana Festival)◊ October 2 – Los Angeles, CA (The Regent Theater)^ October 4 – Pioneertown, CA (Pappy + Harriet’s)^ October 6 – San Francisco, CA (Bimbo’s 365 Club)^
* With Guns N’ Roses ^ Headlining show(U.S.) ◊ Festival appearance † Headlining show(Europe)
The Hartford HealthCare Amphitheater in Bridgeport, CT bore witness on Sunday, August 20, to an epic convergence of Norse mythology and haunting mystique as two Swedish metal powerhouses, Ghost and Amon Amarth, graced the stage for their highly anticipated “Re-Imperatour” tour. The night unfolded as a mesmerizing journey through the realms of heavy metal, with each band offering a distinct, yet equally captivating performance that left the audience entranced and exhilarated, an indelible mark etched into the hearts of metal enthusiasts.
Ghost | Photo: Michael Dinger
As the sun gradually dipped beneath the horizon, an electric energy crackled through the air, a palpable anticipation that heralded the impending sonic onslaught. The stage underwent a transformation, a living tableau of Norse legends emerged before the crowd’s eyes. Amon Amarth’s stage presence was nothing short of breathtaking, a testament to their commitment to creating an all-encompassing experience that transcends music alone. With their drummer perched atop a colossal, illuminated Thor helmet and flanked by stone statues whose piercing eyes glowed with intensity, the visual spectacle was akin to stepping into a living mythology.
Amon Amarth | Photo: Michael Dinger
Amon Amarth’s setlist was a symphony of raw power and mythic storytelling, a riveting journey that delved deep into Viking lore. The ferocious energy of “Raven’s Flight” ignited the night, propelling the audience into a realm where axes clashed, and ships sailed on stormy seas. Each subsequent song, from the rallying anthem of “Guardians of Asgaard” to the epic crescendo of “Twilight of the Thunder God,” was an auditory saga that stirred the soul. The unexpected moments, like the crowd becoming Viking rowers during “Put Your Back Into The Oar” or the dragon battle during the aforementioned finale, demonstrated Amon Amarth’s ability to create an immersive experience that bridges the gap between music and the mythic.
Amon Amarth | Photo: Michael Dinger
Following Amon Amarth’s thunderous display, the stage underwent a transformation of a different kind, the atmosphere shifting to one of enigmatic reverence as Ghost made their entrance. The band’s mastery of theatricality and musical prowess was immediately evident, with every song seamlessly weaving into the next. The setlist, a carefully curated journey through their discography, was an ode to their unique blend of infectious melodies and haunting storytelling. Tracks like the infectious “Rats,” the dark allure of “Cirice,” and the mesmerizing chants of “Year Zero” resonated deeply with the audience, who became ensnared by Ghost’s mystique.
Yet, it was the unexpected twists that truly showcased Ghost’s ability to captivate and surprise. The resurrection of Papa Nihil during “Miasma” for a masterful saxophone solo was a moment that underscored the band’s penchant for defying expectations. Amid a stage design evoking the ambiance of a gothic church, Ghost spun a spellbinding narrative that balanced arcane themes with auditory enchantment.
Ghost | Photo: Michael Dinger
Amon Amarth and Ghost, each in their distinctive ways, crafted performances that married music and visual artistry, weaving a tapestry of sights and sounds that enveloped the audience in a visceral embrace. The “Re-Imperatour” tour etched itself into Bridgeport’s musical history as a night when the spirit of metal surged to the forefront, a powerful testament to the enduring appeal of heavy music. Attendees departed with not only cherished memories, but also renewed fervor for the immersive possibilities of live music.
Amon Amarth Setlist: Raven’s Flight, Shield Wall, Heidrun, Deceiver of the Gods, Put Your Back Into The Oar, The Way of the Vikings, Guardians of Asgaard, Raise Your Horns, Twilight of the Thunder God
Ghost Setlist: Kaisarion, Rats, From the Pinnacle to the Pit, Spillways, Cirice, Absolution, Ritual, Call Me, Little Sunshine, Con Clavi Con Dio, Watcher in the Sky, Year Zero, He Is, Miasma (featuring Papa Nihil’s saxophone solo), Mary on a Cross, Mummy Dust, Respite on the Spitalfields Encore: Kiss the Go-Goat, Dance Macabre, Square Hammer
This past Sunday evening, July 16, in the heart of New Haven’s downtown arts district, veteran singer-songwriter Jenny Lewis paid a visit to College Street Music Hall (CSMH), a historic concert hall constructed in the mid-1920s that was nearly sold-out to its holding capacity of 2,000 souls.
Jenny Lewis | Photo: Michael Dinger
Lewis is touring in support of her latest solo album Joy’All (Blue Note/Capitol) released last month, a good portion of which was written in early-2021 during a week-long virtual songwriting workshop hosted by Beck. For more than 90 minutes, the co-founder of the charting indie outfit Rilo Kiley in the late-1990s did not disappoint en route to a dazzling performance. But more on our treasured country-rock troubadour a bit later.
College Street Music Hall Marquee | Photo: Michael Dinger
The first of two opening acts was Hayden Pedigo, an eccentric 29-year old performance artist who also moonlights as a model and even a politician – he campaigned in 2018 to fill a City Council seat in his native Amarillo, TX. Pedigo mesmerized the growing audience on the general admission floor with four tranquil instrumental pieces featuring exquisite fingerpicking on an acoustic Yamaha 12-string and an electric Epiphone.
Hayden Pedigo | Photo: Michael Dinger
Following Pedigo was Cass McCombs who hails from Concord, CA, but calls NYC his home. Born in 1977, the alt-country musician who owns the reputation as one of the great songwriters of his generation was backed by a trio of touring musicians on bass, drums and keyboards. Like Pedigo, music is not McCombs’ only passion – in 2020, a book of his poetry was published titled Toy Fabels, with illustrations by none other than McCombs himself. For nearly 40 minutes, and without much pandering to the audience, the quartet presented a set filled with jaw-droppingly gorgeous, soulful rock delivered with a laid-back attitude, which was more than fine by me.
Cass McCombs | Photo: Michael Dinger
Smack in the middle of an 18-date tour that kicked off in early-June in Nashville, TN, including an appearance by Lewis at the Bonnaroo Music & Arts Festival, the Las Vegas native who first gained prominence in the 1980s as a child actress took to the CSMH stage at 9:15 pm. Bathed in a sea of red, purple and blue lights and accompanied by a foursome of all-female musicians, Lewis gracefully glided about the stage, frequenting an elevated circular platform adorned in red roses or taking a seat at her piano which was positioned front and center.
Lewis’ evocative lyricism was on full display from the jump with “Psychos,” the lead single from Joy’All and her first No. 1 song on a Billboard chart that she earned only two days prior to the CSMH show. Lewis would go on to gift her fans four more songs from Joy’All, but she was sure to spread the wealth around from her discography, including “Red Bull & Hennessy” (On the Line, 2019), “Head Underwater” (The Voyager, 2014) and the title track from 2008’s Acid Tongue.
Jenny Lewis | Photo: Michael Dinger
During the sugary-sweet “Cherry Baby” (Joy’All), red, white and silver balloons were released into the air, much to the delight of the audience, many of whom were in their late-teens and early-20s and sung along to the chorus on several songs. Several of the flailing balloons that were being batted around by the fans depicted the likeness of Bobby Rhubarb, Lewis’ beloved two-year old black Cockapoo who even has her own Instagram account with more than 5,600 followers! Two tunes later, during “Just One of the Guys” (The Voyager), one of the balloons mysteriously hovered between Lewis and her bassist at stage left. Static electricity? A demonic possession? Check out the video below and you decide what the strange occurrence may have been attributed to.
Speaking of Lewis’ dog, as the show turned for the home stretch, the rotary dial telephone sitting atop her piano suddenly rang. It was Bobby Rhubarb on the other end of the line, and she had a joke for all of us! Because most of us in attendance did not speak the “bark” language, Lewis translated, “Why is it so hot at the Grateful Dead show? Because their fans don’t work!” As part of the four song encore, Lewis offered up two wonderfully rendered covers – “Lust for Life” by Girls and the night’s finale, “With Arms Outstretched,” by none other than Rilo Kiley from 2002’s The Execution of All Things.
Following its New Haven stopover, The Joy’All Tour continues for three more weeks, including scheduled dates along the west coast in early-August. For the final three shows of the tour – Bend, OR (August 3), Concord, CA (August 5) and Inglewood, CA (August 7) – Lewis will be joined by the aforementioned Beck and Phoenix, who are embarking on a split bill of their own next month.
Jenny Lewis | Photo: Michael Dinger
No rest for the weary, Lewis and the indie pop supergroup The Postal Service, a trio that she has been a part of since 2002 with Ben Gibbard and Jimmy Tamborello, will be hitting the road on a co-headlining, 30-date U.S. tour (performing Give Up in its entirety to celebrate the album’s 20th Anniversary) with Death Cab for Cutie this fall. So, in case you missed Lewis this time around, or you just cannot get enough of the “redheaded indie wet dream,” as the rock critic Robert Christgau fittingly referred to her in a 2004 piece for The Village Voice piece, she’ll be back soon!
Jenny Lewis Setlist: Psychos > Do Si Do > She’s Not Me > Late Bloomer > Joy’all > Red Bull & Hennessy > Heads Gonna Roll > Head Underwater > Giddy Up > Cherry Baby > Little White Dove > Just One of the Guys > Puppy and a Truck > Acid Tongue > Encore: The Next Messiah > Lust for Life (Girls cover) > With Arms Outstretched (Rilo Kiley song)
