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
Afropunk returned to Brooklyn for 2 days of music on August 26th & 27th. The festival took place at Brooklyn’s Greenpoint Terminal Market for 2023.
As on brand for Afropunk, the lineup for the festival was all black artists from various genres. Some notable names included Tobe Nwigwe, Baby Tate, and Vince Staples. The lineup also included New York’s own Joey Bada$$, and day 2 headliner, Teyana Taylor.
Unlike last year, this year had a theme, which was Circus of Soul. Motifs of this theme could be seen throughout the event. Both on stage and in the crowd, fans and artists dressed as though they were part of a circus. R&B artist Cleo Reed really leaned into the theme by dressing them selves and other stage performers in clown attire during their set. There were performers on stilts wearing kente cloth patterns walking throughout the crowd. There were also Aerial Ring performers periodically doing stunts throughout the weekend.
This year was truly one to be at, as there were many performances and attractions that festival goers could really interact with all day.
A festival of the Arts
Afropunk is a festival that is bigger than music. Though music may be the highlight, it also features art and artists from all over the globe that center their creativity around the African diaspora. Inside the Spin Thrift Market, there were vendors selling things like clothes, jewelry, books, and weed products. Outside the Market, there were spaces for health and beauty. Festival goers were able to get their hair and makeup done, henna tattoos, and facials. Most of the vendors were also African American owned and operated.
In addition to vendors that were selling merchandise, there were also areas for festival goers to interact. In the center between the two stages, there were tents set up for festival goers to play games and run through a bubble pit. It seems as though they learned from last year as most activities and vendors were set up under large tents to protect against any potential rain.
Nonetheless, as much as there was to do off stage, there was much to watch on stage. There was a two stage setup to accommodate for about 30 performances. In between performances on both stages were DJ SNS and DJ Mohogany. They helped to keep the party going as people awaited some of their favorite artists to take the stage.
Day 1 Highlights
Day 1 had strong performances from Cleo Reed and a collaboration from the Soapbox presents on the 3 Ring Stage. The Soapbox brought together vocalists and musicians to bring a rock, R&B, and gospel like performance. This was one of the many perfect displays of how African American music is has roots in so many different genres that tend to overlap one another. The performance had fans feeling cool in the end of summer heat.
One of day 1’s most notable and electric performances was from Tobe Nwigwe. Originally from Houston, TX, Tobe holds on to his Nigerian roots well as they could be seen in his performances. He is always recognizable with his seafoam green outfits and sets. He brought out his wife, Martica Nwigwe, for a few songs from his set. He also had Olu from Earthgang come out for a song. Olu came out on brand, wearing seafoam green wings to sing “WILDLINGS” with Tobe. The performance was full of energy and surprises that keep the audience screaming for an hour.
Tobe’s performance was evened out by a more mellow from Vince Staples. Vince stared as “Maurice” earlier this year in the Emmy award winning show, Abbott Elementary. His Long Beach, CA vibes really brought the crowd down from their state of choas from before. Though his set did not features as many theatrics like Tobe’s, he still had the attention of the crowd. Vince had the crowd singing along to his hit song, “Norf Norf,” before there was a mass exodus from the event.
An uneventful end to the hype
The first night was headlined by Flying Lotus. He is a producer and DJ who has worked on many projects on TV shows and film. One of the most notable projects was Netflix’sYasuke, an anime centered around the story of Japan’s first black samurai. He makes a lot of EDM and electronic rap songs primarily.
Flying Lotus did not receive much of an introduction which left many fans confused. Though his fans would be familiar with his music and style, this may have been many’s first exposure to him. He could barely be seen from behind his DJ booth and did not say a word for at least the first 20 minutes of his set. About halfway through, he was joined by rapper Smoke DZA, who he is working on a collaborative album with. Smoke DZA did bring some excitement and energy to his performance.
After Smoke DZA’s exit, Flying Lotus played a few more songs and was about to leave. He did not realize that his set was not over and played for about another 15 minutes. Flying Lotus had a pretty anti-climatic exit, as it was a pretty bleak end to day 1 of Afropunk 2023.
A stark turn around from Day 1’s mishaps
Day 2 still featured a full lineup that had Greenpoint full. What was nice about this year’s festival was the scheduling of performances. With the stage schedules pretty staggered, fans were able to see all their artists without really having to miss a performance. This really set Afropunk apart from other festivals as many usually have fans contemplating which artists they wanted to see more. If they wanted to, fans could see just about every artist and take in the full Afropunk experience.
Some notable performances from Day 2 were from Baby Tate and Joey Bada$$. Baby Tate brought a fun energy out of the crowd. With a lot of positive sexual messages infused in her lyrics, her music and performance made Greenpoint a safe space for women to express themselves. In the middle of her set, Baby Tate took a break and her DJ Sky Jetta tapped into a different side of her fans. Though Baby Tate makes rap music, Sky Jetta played alternative rock hits, including “I write sins not tragedies” that absolutely killed.
Baby Tate came back and continued to kill. She played unreleased song “Wig” and ended on her hit “I am” to leave things on a high. Joey Bad$$ proceeded her and continues to bring smiles.
New York showing out for New York artists
Joey Bad$$ was happy to be back in his hometown as he expressed his love for Brooklyn all through out his performance. The theme around his performance was love as he turned the camera toward the audience to celebrate black love. He had a kiss cam going on for a bit before singing “Love is only a feeling.” He dedicated a few songs to fallen black artists including, XXXTentacion, Nipsey Hustle, Pop Smoke, Young Dolph, and more.
Before he left, he expressed his happiness to be playing at an event where he could see so many black faces. He also threw a jab at Afropunk for being a bit unprofessional behind the scenes. He still left things on a high with “Devasated” before handing the stage over to Teyana Taylor.
The energy from day 2 was drastically different than from the previous day. Day 2’s lineup featured so many artist that people knew and loved. They had performances that people wanted to be a part of and sing along with. Day 2 was originally supposed to end with Grammy award winner Jazmine Sullivan. Due to some personal reasons, she could not perform, but Teyana Taylor was passed the torch to close out the weekend.
Rose of Harlem feeling the love
Nicked named the “Rose of Harlem”, Teyana Taylor closed out to packed audience in her city. Teyana had mentioned during her performance that she was nervous to headline a show as she felt as though no one would stay for her. Though some mic issues may have fueled those nerves early on, New York showed her so much love that it brought her to tears.
The sound was getting too much for Teyana as she asked for just the keys to play during one of her songs. She was able to get real close and emotional with the crowd before turning things back up. The crowd screamed “Issues” and ” Gonna Love Me” with Teyana.
She was joined on stage by her daughter ,”Junnie,” and husband Iman Shumphert, for a few songs. Her daughter helped her throw out free t-shirts to the audience. Teyana also had 3 outfit changes that synced up with the many different vibes of her performance.
She exited the stage, but quickly came back for an encore. Teyana ran into the middle column of the pit to slap the hands of her fans before closing out the night. She thanked New York for showing her so much love and making this performance one worth leaving retirement for.
Afropunk continued to bring peace, love, and education about African American culture to one of the biggest melting pots of the world. With Afropunk’s voice continuing to reach millions, it’s only a matter of time before it starts to expand to other cities across the globe.
A sound must have life, be huge, take up space and matter in order to play at Madison Square Garden. On the New York City night of September 12th, Greta Van Fleet’s “Starcatcher World Tour” watered The (sold out) Garden for the very first time. “The world’s most famous arena” is a sort of heaven’s gate for any name in the music industry. The name Greta Van Fleet rolls right off the tongue and has proven their ability to collect a loyal fandom and climb the charts, and the key was handed over indubitably.
Photograph by Emma Dowd
The opener, Surf Curse, a surf-rock band born in Nevada warmed up the ever-filling crowd. After their performance, the Greta Van Fleet curtain was pulled towards the iconic barrelled ceiling of Madison Square Garden. The stage sat idle, out of sight, as the pre-show setlist began to play. An intense elongated intro score played between the sets. Violins and percussion sewed together to form a melody of a sort of Nordic folk music – it was a fail-safe adrenaline amplifier.
Greta Van Fleet is a transcending rock band from Frankenmuth, Michigan. The group was fortified by three brothers, twins Josh Kiszka (lead vocalist) and Jake Kiszka (guitarist), Sam Kiszka (bassist, multi-instrumentalist), and companion Daniel Wagner (drums and percussion). Their love for each other on stage is tangible in their embraces and sweet brotherly admiration. Their journey into stardom intensified their connection and heavily dosed confidence into their production.
Lights overhead shown onto the blue and white silk of the curtain, holding steady focus on Greta’s symbol. All at once the surrounding lights shut off and strobes danced across the curtain. After the hard climax of the introduction song, the curtain dramatically fell to the foot of the stage. On an elevated platform, the four-man band was revealed, posing in formation around Wagner who sat charged behind the drums.
Photograph by Emma Dowd
“The Falling Sky” was their first song of the evening, which proved an excellent introduction to Josh’s prodigious vocal range and the unmatchable aptitude of Jake and Sam on the strings. The song, as does most of their discography, allows for a melodic conversation to happen between the instruments. If one speaks, the other listens and responds.
Photograph by Emma Dowd
As fire shot above the band and sparks spewed to the beat of the percussion, a thick heat could be felt across Madison Square Garden’s vast rows of seating. The atmosphere of the night was spawned tonally and visually, for the stage was alive with hot fashion and literal flames. Josh wore his iconic white jumpsuit with a deep chest plunge – the eccentricity of outfits is something fans look forward to and emulate themselves. The rest of the band wore tight pearly white or black trousers, beaded blazers, glorious capes and a sparkly chainmail crop-top. Josh and Daniel’s faces were painted with elegant make-up that reflected with each stroke of spotlight.
Photograph by Emma Dowd
Observing Greta Van Fleet fans felt like looking into a time capsule; fashion from the sixties and seventies re-surged that evening, as people floated around in shimmering shawls and exaggerated bell-bottoms. They thrusted upon the barricade, extending their hands towards the glimmering band members as if they were reaching for grace. It’s fascinating at concerts, how the crowd reacts physically. It’s as if the sound alone isn’t enough. Their physical bodies need something to touch to hold, because the viscerality of digesting music feels too far out of body at times.
Photograph by Emma Dowd
The stage set-up served as a playground for Greta Van Fleet. The band members ran around shoeless, bounded into the air mid guitar riff, rattled their bodies to the beat of their music. Two catwalks extended into the general admission pit. There Jake and Sam took turns running out towards the edge with their instruments slung precariously over their shoulders. Multiple impressive guitar solos took place all across the stage, for their motion was fluid.
Photograph by Emma Dowd
After their first couple of songs, Josh left the stage for an outfit change. He came back adorned in a navy velvet jumpsuit to match the next few songs of the setlist. The fashionable theatrics complimented their artistry greatly. They performed “Meeting The Master,” “Heat Above,” and Josh’s favorite song on their discography, “Highway Tune.” Madison Square Garden has never been louder than it was during the final chorus of “Highway Tune.” Singing along required guttural yelling of high energy.
Josh Kiszka is a special voice in the current of music. He is the birth of something new while being a timeless looking-glass through the past of rock n’ roll. He has the confidence of Freddie Mercury. He has the celestial coolness of David Bowie. He has the hypnotic stage presence of Stevie Nicks. Most impressively, he has the raw range of Robert Plant. Though, comparing him to anyone feels sinful, for he and his band are carving their own realm of rock. He is the starcatcher, an earth-rocker.
Photograph by Emma Dowd
The transition out of “Highway Tune” turned into a drum solo by Daniel Wagner. He played with speed, edging a climax for five minutes but never finishing out the song. His intensity cooked a sweet tension in the arena, and the audience ate it up. The stamina he displayed informed the genius of their production; none of their songs ever want to end.
Photograph by Emma Dowd
Towards the finish of Wagner’s solo, the rest of the band made their way to the polar side of The Garden and crowded on a small platform with their instruments. Everyone in the standing audience shifted their attention and migrated to huddle at the base of their bare feet. The next two songs, “Waited All Your Life,” and “Black Smoke Rising” were played with the keys, an acoustic guitar, and a ginormous mandolin.
After entertaining the petite B-stage for a short while, the band was escorted by security back to the main stage. A security guard carried Josh on his shoulders while Josh tossed white roses into the understandably feral crowd, while Jake, Sam, and Daniel tossed flowers on the opposite side of the arena.
Photograph by Emma Dowd
Josh reappeared in a new jumpsuit patched with the sun and the moon. As the end of the show neared, the stakes rose. Flames reclaimed the stage, and the lights seared red. Jake took to his guitar with an impressive attack, riffing over his head and behind his back. The songs “Sacred The Thread” and “The Archer” played with the elements on stage, a thick smoke bellowed into the audience. As special as witnessing Greta Van Fleet at Madison Square Garden was, it felt like one should see them in the red dust swells of Utah, or in a spanning field with no end – some place where Earth becomes indistinguishable from the rest of the universe and all that matters is a sound.
Once “The Archer” came to a close, the band briefly waved goodbye and trotted backstage. No encore plea has ever been louder. The audience roared as one collective voice, pleading from their hearts for a return. It wasn’t long before the lights danced back to life, and the band returned in one final outfit change. Josh wore a sun pantsuit with a lavish cloak while the rest of the band seemed to lose articles of clothing, their hair a mess and eyes wild.
The key-in note of “Light My Love,” one of the band’s most successful releases, elicited a collective emote from the audience. When the second chorus blasted through the arena, sparks shot up from the stage once again. The lights stemming from the center-roof projected the colors of the rainbow, and a sea of pride flags popped up above heads in the crowd. It was a glorious moment of peace and celebration.
Photograph by Emma Dowd
Their final song, “Farewell For Now,” was the perfect send-off. It was an ode to The Garden, a praise for the fans. The lyric: “Tonight, it’s all for you,” felt personal and honest, as the members of Greta Van Fleet looked out into the cellular starlights with awe painted blush across their faces. Once the song concluded, they gathered where they started, around Daniel and his drums to take a bow. Unable to contain their thrill, they bounced off each other as they left the stage.
Photograph by Emma Dowd
It was jarring, while fans began to file out of the venue with stunned looks, to remember that Madison Square Garden is in the heart of Midtown Manhattan. While Greta’s performance unfolded and wrapped itself up again, the clamoring chaos of New York City persisted all around. I’m sure the magic could be felt radiating down the avenues.
Photograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma DowdPhotograph by Emma Dowd
Arctic Monkeys played two sold out shows at Forest Hills Stadium in Queens, NY over September 8-9, as part of their ongoing North American tour. The second evening at Forest Hills Stadium coincided with the tenth anniversary of their self-titled album, and marked their return to Forest Hills Stadium after last playing there in 2018.
Arctic Monkeys at Forest Hills Stadium, NY. Photography by David Reichmann (@davidpresspass)
Beloved post-punk outfit Fontaines DC opened for Arctic Monkeys both nights. They played powerful hard-hitting sets, warming up the crowd before the Arctic Monkeys took the stage.
Fontaines DC at Forest Hills Stadium, NY. Photography by David Reichmann (@davidpresspass)
On the second night, legendary poet John Cooper Clarke introduced the band with his spoken word poem “I Wanna Be Yours,” which the band had covered in their self-titled album.
John Cooper Clarke introduces Arctic Monkeys at Forest Hills Stadium, NY. Photography by David Reichmann (@davidpresspass)
After taking the stage to rapturous applause, Arctic Monkeys started the second evening’s set with the opening track on their self-titled record, “Do I Wanna Know.”
Arctic Monkeys at Forest Hills Stadium. Photography by David Reichmann (@davidpresspass)
Fans of all ages seemed to know the words to every song, occasionally even singing the guitar melodies along with the band.
Arctic Monkeys at Forest Hills Stadium. Photography by David Reichmann (@davidpresspass)
The setlist featured many of the band’s most iconic tracks from their catalog, including “Brianstorm,” “Why Do You Only Call Me When You’re High,” and “Fluorescent Adolescent.” At the end of “There Better Be a Mirrorball” from their latest record, a large disco ball descended from above, bearing the singular word “Monkeys” on both sides. They immediately launched into “505” and the mirrorball lit up, spreading dots of glowing white light throughout the stadium and its 13,000 fans. This induced a seemingly-involuntary cheer among the audience, who lost themselves in the moment that was certainly a highlight from the show.
Arctic Monkeys at Forest Hills Stadium. Photography (captured on a point-and-shoot) by David Reichmann (@davidpresspass)
For their encore, the band returned to the stage to play their cover of John Cooper Clarke’s “I Wanna Be Yours,” and closed their sold out two-night run with “I Bet You Look Good on the Dancefloor” and “R U Mine?” (which they started with the opening chords to The Strokes’ “Last Nite”).
Arctic Monkeys at Forest Hills Stadium. Photography (captured on a point-and-shoot) by David Reichmann (@davidpresspass)
Arctic Monkeys North American tour with Fontaines DC continues, and you can check out their upcoming tour dates here and stream their music here. And if you like the Monkeys, you should definitely listen to Fontaines DC’s catalog here.
Check out our full gallery below, with photography by David Reichmann.
On Thursday, August 31, Jackson Browne and his band performed at the Koussevitzky Music Shed in Lenox, Massachusetts, performing as part of Tanglewood’s 2023 Popular Artist Series.
With the ring of the shed bell, the show began promptly at 7pm. Jackson, taking to the stage solo with one of his many guitars that he would use through the night, performed “Don’t Let Us Get Sick”, a Warren Zevon cover, before motioning for his band to join him on stage.
The evening was filled with a stellar setlist, fantastic vocals and an outstanding instrumental performance. Jackson shared stories that inspired the songs that were played. The night was filled with many well-known hits such as, “Somebody’s Baby”, “Doctor my Eyes” and, “Running on Empty” to name a few.
While they kept to their planned setlist, they did play the audience’s request of “Lawyers, Guns and Money” during the 2nd set. The audience was filled with people of all ages having a great time dancing and singing along throughout the evening.
Jackson Browne – Koussevitzky Music Shed in Lenox, Massachusetts – August 31, 2023
Set 1: Don’t Let Us Get Sick (Warren Zevon cover), Downhill From Everywhere, Until Justice Is Real, For Everyman, My Opening Farewell, Time The Conqueror, The Long Way Around, Call It a Loan, Sky Blue and Black, The Indifference of Heaven (Warren Zevon Cover), Doctor My Eyes, These Days, The Barricades of Heaven.
Set 2: Farther On, The Naked Ride Home, Too Many Angels, I’m Alive, Fountain of Sorrow, For A Dance, Love Needs a Heart, Boulevard, Rock Me on The Water, Somebody’s Baby, Lawyers, Guns and Money (Warren Zevon cover), Your Bright Baby Blues, Sleep’s Darker and Silent Gate, The Pretender, Running on Empty
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
Hailing from New York’s Finger Lakes Region, The Endless Mountain Derelicts released their third full-length EP in August, titled Good Got Damn. The group is an all-original blend of alternative, country, classic rock, folk, and punk, or a self-described mountain rock. EMD cites a blue collar, original yet familiar sound as inspiration for Good Got Damn. The EP features six tracks, all distinct yet with a strong style indicative of their passion and intensity.
The opening track, “State Lines,” starts out strong with energized, gritty vocals. The minor key and consistent backing vocals create a depth to the track that shows the group’s skill and unity.
The EP’s second track, “Ain’t It A Shame,” follows with an acoustic base and melancholy lyrics, leading into another energized, belting chorus. The vocals stay reserved during verses, but the energy and passion is released in the strong chorus.
“Light That Fuse” stands out creatively as a key track on the record. In this track, the group shows off their versatility in structure. The song has a strong, memorable hook in the chorus’s “light that fuse and run.”
Overall, The Endless Mountain Derelict’s Good Got Damn is a strong display of their unique style and passion. Their use of drums and creative syncopation is a key component that stands out across the board, as the arrangements strongly feature percussion. Additionally, the vocals show off an intense grit, which is a strong way to add character to a track, but finds its way to being a hallmark of EMD’s style.
The group carries an ethos of blue collar, lively inclusivity, which shines through in both their lyrics and sound. The group’s third full length release, Good Got Damn is a passionate combination of soulful lyrics and skilled musicianship.
Organ Fairchild’s new album, Leisure Suit, was released on all platforms on September 8. The sophomore album from the Buffalo-based jam band, the group recorded, mixed, and co-produced the album in New York’s Hudson Valley.
An eclectic instrumental mix from the band’s three members, Joe Bellanti, Corey Kertzie, and Dave Ruch, Leisure Suit carries an ever-positive energy and displays the group’s technical skill and creativity. A stand out feature of the album is the guitar tracks as well as, of course, the ever-present organ throughout the record.
The title track and opening song on the record, “Leisure Suit,” has an earworm opening guitar track that captures the listener as it repeats throughout the song. This track especially highlights guitarist Dave Ruch’s laid-back yet technically impressive skills.
In addition, the group mastered a cover of the famed Grateful Dead’s “He’s Gone.” The beloved track with numerous live recordings, as per Grateful Dead usual, is a seamless fit with Organ Fairchild’s tone and musical presence. Instead of a vocal track, the band opts for a guitar playing the usual vocal melody. In addition, the group infuses an upbeat rhythm to the classic track.
A third track on Leisure Suit that stands out is the final “Rusty Barge.” The band shared that this track came as engineer Justin Guip played effects pedals on his hands and knees, coaxing the song from the musicians. An eerie yet invigorating opening echo, the song opens into a sci-fi-like mysterious tune with a constant organ tone.
Photo by Greg Meadows
Organ Fairchild is Joe Bellanti (organ/keyboard), Corey Kertzie (drums/percussion), and Dave Ruch (guitar). Leisure Suit was recorded and mixed by Juistin Guip at Milan Hill Studio, co-produced by the band and Guip, and mastered by Alan Evans at Iron Wax Studios.
In honor of hip hop’s 50th anniversary and lasting culture, Genius brought a return to their “IQ/BBQ” summer showcase. In the first edition of the annual event since Covid, hosts Miabelle and Jacques Morel took on the role of emcee, with DJ Saige, DJ Stacks, RNB House Party and DJ S’Wit serenading the crowd with memorable hip hop tracks.
Held at Queens’ Knockdown Center, the day-long festivities provided a fitting end-of-summer experience for guests to enjoy. While in the midst of a year-long celebration of hip hop, IQ/BBQ expertly combined the best of hip hop and urban culture to provide all-around good time.
Guests gather at center stage at IQ/BBQ. Photo by Ki Steiger-Dahl
In light, Knockdown Center’s large terrain set the stage for a diverse live music experience, allowing for the ambience to differ with each change of location. Consequently for performers, it left the crowd scattered. As guests warmed up to performances by opening acts Rich Greedy and Wynne, their attention split between a number of enjoyable experiences at Genius IQ/BBQ.
IQ/BBQ Brought the Culture
After all, aside from a rich lineup of acts, IQ/BBQ offered experiences like the So Fresh, So Clean Shop. Presented By Paco Rabanne 1 Million, attendees had the chance to snag free barber shape-ups by Groomed Guys, along with sneaker cleanings by Fresh Kicks NYC.
Photos by Kia Steiger-Dahl
In like manner, the outdoor Rap Cafeteria, presented by Showtime’s The Chi, created a true backyard barbecue vibe for Genius. This fun space featured picnic tables with designs that paid homage to iconic cities and eras from hip-hop’s first 50 years. Along with games, food from some New York City’s best food trucks and of course, great music.
IQ/ BBQ’s Rap Cafeteria offered delicious eats from some of New York City’s best vendors
Meanwhile, VIPs enjoyed sips of PATRÓN EL ALTO in the VIP Genius Lounge, which was adorned with famous song lyrics featuring PATRÓN.
Photos by Kia Steiger-Dahl
Performances
As the acts warmed up so did the crowd. However, New York City’s “too cool for school” attitude reared its head, as less experienced and less-known performers struggled to captivate the crowd. Yet as the evening waned and guests had eaten and drank their fill, the center stage began to heat up. Performances from Luh Tyler and Lola Brooke got the crowd going. While Armani White showcased true stage presence and talent in getting a stubborn crowd to come alive.
Photos by Spicy Rico
As a result, a now-perked up and fully gathered crowd waited patiently for the headliners, Clipse, to make their appearance. After a near hour-long wait Pusha T dawned the stage, feverishly spitting out lyrics from his Grammy-nominated release, It’s Almost Dry.
Pusha T came out to a very engaged crowd. Photo by Kia Steiger-Dahl,
After performing records performing a slew of solo tracks, he brought out his brother Malice as they performed one of their classic album cuts, “Popular Demand” to a now-fully engaged crowd. The energy levels remained high throughout their set as they ran through a number of hit records including “Mr. Me Too,” and “What Happened to That Boy,” before ultimately performing a run of deep album cuts and closing out with one of hip hop’s classic records, “Grindin’.”
Pusha T and No Malice are in the midst of a reunion 14 years in the making. Photo by Kia Steiger-Dahl.
As Pusha T and Malice performed their last record, the duo thanked the crowd for repeatedly showing the Virginia natives love. Just as suddenly as the electrifying performance began, it was over, and guests dispersed knowing that hip hop delivered them another memorable day.
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
