Prog Metal legends System Of A Down have announced three stadium events for Summer 2025.
The first will take place at MetLife Stadium in East Rutherford, NJ, on August 27 and 28 with Korn; the second show to be held atSoldier Field in Chicago, IL, on August 31 with Avenged Sevenfold, and the final show at Rogers Stadium in Toronto, ON, on September 3 with Deftones. Special guests Polyphia and Wisp will open for all three shows.
As the most inspired, impactful, and inimitable rock band of the 21st century, System of a Down has sold over 40 million records worldwide, earned a GRAMMY® Award, and headlined arenas, festivals, and stadiums on multiple continents, worldwide. Formed in Los Angeles, the group have soundtracked personal, political, sonic, and spiritual revolution since the 1998 release of their multi-platinum self-titled debut. The quartet have consistently sold out shows worldwide and regularly register over 23.4 million monthly listeners on Spotify, making them one of the most-listened to rock/alternative bands in the world. System of a Down is Daron Malakian [guitars, vocals], Serj Tankian [vocals, keys], Shavo Odadjian [bass], and John Dolmayan [drums].
Korn changed the world with the release of their self-titled debut album. It was a record that would pioneer a genre, while the band’s enduring success points to a larger timeless, cultural moment. Since forming, Korn has sold more than 40 million albums worldwide, collected two GRAMMY®s, toured the world countless times, and set many records in the process that will likely never be surpassed. Korn has continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans and generations of artists around the globe.
Korn – Albany, March 2022 – photo by Zak Radick
Avenged Sevenfold have sold millions of albums worldwide, earned two consecutive No. 1 albums on Billboard’s Top 200 Albums chart (2010’s Nightmare and 2013’s Hail To The King), have over a billion video views and a billion-plus Spotify streams, as well as multiple No. 1 singles on rock radio. The band (comprising M. Shadows, Synyster Gates, Zacky Vengeance, Johnny Christ and Brooks Wackerman) is equally known for their spectacular live shows, selling out arenas and headlining the world’s most prestigious rock festivals as well as always being at the forefront of rapidly changing technology, cultural mile markers, and new ways for communities to engage.
Formed in Sacramento, CA in 1988, Deftones are one of the most influential alternative bands in the world. The band, comprised of Chino Moreno, Frank Delgado, Stephen Carpenter, and Abe Cunningham, has released nine studio albums, with the most recent release being GRAMMY®-nominated Ohms. Deftones’ culture is revered as one of the most fervent that exists.
Tickets will be available starting with an artist presale beginning on Wednesday, December 11. Additional presales will run throughout the week ahead of the general on-sale beginning on Friday, December 13 at 12 pm at LiveNation.com
Rock unit Louisiana Child has released their debut single, a gritty Old West and rock ‘n roll fusion track titled “Cocaine Cowboy”.
Louisiana Child is a gritty powerhouse of a rock unit based out of Toronto that blends the kick of southern rock, the swing of blues, and the tone of country into a dynamic sound of foot-stomping and head-banging that leaves a long-lasting impression full of raw energy.
Comprised of Daniel Theriault on vocals and guitar, Ricky Theriault on drums and backup vocals, Jean-Marc Lanteigne on lead guitar, and Chris Moore on bass, Louisiana Child is currently working away on their debut EP in collaboration with seasoned producers and mixing engineers George Panagopoulos and Mark McCaster, the former being widely recognized for his work with Audioslave, Red Hot Chili Peppers, and the legendary producer Rick Rubin. These music industry powerhouses bring a wealth of expertise and experience to Louisiana Child’s already promising sound.
The first product of the project to go public and Louisiana Child’s debut single comes in the form of “Cocaine Cowboy,” a hauntingly gritty track that follows the internal battle of a man facing his demons.
Painting the image of a haunting Old West setting through rounded blues-y guitar tones, a sharp country-tinged vocal punch, and lyrics that tell the tale of a lone vagabond, Louisiana Child explores the concepts of temptation towards things that are inherently destructive, namely drugs and alcohol.
Mastered by Ted Jensen of Sterling Sound, “Cocaine Cowboy” marks a promising beginning for Louisiana Child, establishing a distinct sense of storytelling and carefully crafted sound as they enter the rock scene with a bang.
This track is just the beginning for the band- to learn more about Louisiana Child, stay up to date with their latest endeavors, and keep an eye out for future shows, follow their official Instagram and Facebook pages.
Ringo Starr and His All-Star Band delivered a laid-back yet nostalgic performance at the OLG Stage, Fallsview Casino, on Sunday, September 22. With a notably early 7:05 pm start and a crowd whose average age hovered around 70, the evening had an easy-going vibe, more in tune with quiet reflection than raucous rock.
Yet, despite this atmosphere, the night offered plenty of memorable moments, capturing the essence of Ringo’s lifelong musicianship and his enduring charm. Ringo Starr was last in the area ten years ago at Artpark in Lewiston.
Ringo Starr
Ringo’s Enduring Presence
At 84 years old, Ringo Starr continues to be a magnetic stage presence. Alternating between vocals and his iconic spot behind the Ludwig drum kit, Ringo displayed both energy and humor. Early in the show, he quipped, “I guarantee everyone here will know at least one song, and if you don’t, I don’t know why you are here,” setting the tone for the night with his easy humor and rapport with the audience. His performance, while not flawless, was full of heart especially when he asked the band to restart “Boys” after making a mistake early in the song. It was a candid and endearing moment that underscored Ringo’s human touch, something fans have loved him for since his Beatles days.
Ringo Starr
A Setlist That Surprised
Though many came hoping for a set heavy with Beatles classics, the show took a different direction, giving room to the diverse talents of his All-Starr Band. Steve Lukather (Toto), Colin Hay (Men at Work), Warren Ham, Hamish Stuart (Average White Band), and Gregg Bissonette all had their moments to shine, playing a range of hits that leaned more on Toto and Average White Band than the Fab Four. This could have been a disappointment to purists, but for the seasoned crowd, it provided a fresh mix of classic rock and pop staples. Lukather’s precision on guitar and Hay’s vocals were particularly strong, bringing life to tracks like Toto’s “Africa” and Average White Band’s funky “Cut the Cake.” His usual keyboard player Edgar Winter was not seen on stage
In a playful twist, the band spiced up their performance of “Cut the Cake” by weaving in snippets of iconic songs like “We Will Rock You,” “Moby Dick,” and even Led Zeppelin’s “Immigrant Song,” which sent ripples of excitement through the audience.
A Lighter Touch of Beatles Magic
Beatles fans were rewarded with only four songs from Ringo’s original group, and while this might have been fewer than expected, each performance carried its own magic. “Yellow Submarine” and “Down Under” both invited sing-alongs from the crowd. These moments were cherished by the audience, even if they weren’t the show’s central focus.
The Venue and Atmosphere
The OLG Stage at Fallsview Casino, with its 5,000-person capacity, created an intimate atmosphere well-suited to the more laid-back energy of the evening. The audience, particularly those in the upper levels, stayed seated for most of the night. Some on the floor level were standing. There was a subdued but sense of nostalgia as people swayed and sang along to familiar tunes.
The stage production added a layer of subtle drama, with the use of haze and smoke enhancing the lighting effects. Heavy magenta tones dominated the palette, giving the stage a soft, ethereal glow. This visual element, though not overbearing (for non-photographers), helped elevate the mood and complemented the All-Starr Band’s dynamic performances.
Ringo Starr
Final Thoughts
Ringo Starr may be 84, but he’s still rocking. The show wasn’t just a nostalgic trip down memory lane; it was a testament to his enduring love for performing and his ability to bring together an eclectic group of musicians who each add their unique flair. While it wasn’t a Beatles-heavy evening, it was an enjoyable celebration of music’s timelessness. For the crowd of mostly older fans, it was a comfortable, cozy night spent with one of rock’s most beloved drummers.
If this performance was any indication, Ringo’s all-star band experiment is still going strong, as he continues to charm and entertain with humility and humor. Ringo’s final show of this tour will be in NYC on 9/25/2024.
Setlist: Matchbox, It Don’t Come Easy, Rosanna, Pick Up the Pieces, Down Under, Boys, I’m the Greatest, Yellow Submarine, Cut the Cake, Octopus’s Garden, Back Off Boogaloo, Overkill, Africa, Work to Do, I Wanna Be Your Man, Who Can It Be Now? Hold the Line, Photograph, With a Little Help From My Friends
From the birthplace of punk, to hard rock on the streets of London, this fall readers can anticipate two captivating tales about two historic venues on October 15.
About CBGB
The star of the first book is CBGB, which served as the birthplace of punk and new wave in America in the 1970s. The Ramones, Blondie, Television, Talking Heads and many other groundbreaking bands got their start in the rock club on New York’s Bowery. Originally issued in 1988, and out of print for decades, This Ain’t No Disco: The Story of CBGB by Roman Kozak outlines a detailed history of the glorious venue and features gritty anecdotes and interviews from multiple inside sources like CBGB founder Hilly Kristal, Joey Ramone and Dee Dee Ramone (the Ramones), Clem Burke and Chris Stein (Blondie), David Byrne (Talking Heads), Jim Carroll, Willy DeVille (Mink DeVille, Handsome Dick Manitoba (Dictators) and others.
This reprinted edition also includes a foreword by Chris Frantz of Talking Heads, 12 pages of photographs by Ebet Roberts and two pieces of historical reporting about the club’s closing in 2006.
Marquee Feature for Historic Jazz Club
The second book takes place with the backdrop of London. Marquee, originally a a jazz club on London’s Oxford Street, but later mutated into an R&B and hard rock club on Soho’s Wardour Street. Showcasing icons like Alexis Korner, the Rolling Stones, the Yardbirds the Who, Cream, Jimi Hendrix and Led Zeppelin, the Marquee became home to the new wave and reached international fame status. The club also hosted AC/DC, Bryan Adams, Faith No More, Guns n’ Roses, INXS, Metallica, R.E.M. and ZZ Top, and Marquee: The Story of the World’s Greatest Music Venue by Robert Sellers and Nick Pendelton walks you through this wild journey and all the behind-the-scenes drama contained in the 30-year old club walls.
Both books will be available for pre-orders soon here.
Nigerian star Asake roared into New York Friday night for his debut at Madison Square Garden with a show in support of third and latest album, “Lungu Boy.” Asake is promoting his third album, titled Lungu Boy which is out now via EMPIRE/YBNL Nation and features appearances from Central Cee, Ludmilla, Stormzy, Travis Scott, and Wizkid.
In the lead-up to the release of ‘Lungu Boy,’ a lot of the chatter around the project hinted at Asake introducing the world to Lagos Island and the quirks of its subculture, in order to contextualize his stunning rise and his stage design and presence did just that. The evening started with a narrating explaining the experience that the crowd was going to set on with none other than Asake himself. The show opened in spectacular fashion as Asake ascended from beneath the depths of Madison Square Garden. The performance had everything from pyrotechnics to choreographed dances and visual effects.
His set Friday night at New York’s Mecca, Madison Square Garden — his debut MSG performance— saw him backed by a full band, street dancers, DJ and MC, including horns, to bring his jazz-influenced sound into a live setting. Clad in between two outfits show off his unique wardrobe style, he performed cuts from the entire album such as “Active” featuring Travis Scott, “Wave” featuring Central Cee, “Skating” which saw an elaborate display of skating and BMX biking tricks and more from the album.
In addition to performing songs from his new album on the Lungu Boy tour, Asake also performs tracks from his 2022 studio debut, Mr. Money With The Vibe(“Terminator,” “Peace Be Unto You,” “Muse,” “Joha,” “Sungba”), and its 2023 follow-up Work Of Art (“Amapiano,” “Basquiat,” “Lonely At The Top,” “Remember” and “2:30”).
In the end, it was hard for the crowd to fathom the electric show ending and even harder for Asake himself.
In true Asake fashion, he left the New York crowd with a night that they will never forget, the Lungu Boy from Lagos Island.
Country and folk rock band Cowboy Junkies has announced a new tour for the fall of 2024 that will begin with two stops in New York, one in Buffalo and the other in Geneva. The tour is in support of their most recent album, Such Ferocious Beauty, which is the band’s first release of new material in five years.
Formed just over the border in Toronto, Cowboy Junkies have been actively making and performing music for almost 40 years. Comprised of bassist Alan Anton, songwriter/guitarist Michael Timmins, drummer Peter Timmins and vocalist Margo Timmins, the quartet has recorded a total of 16 live albums and five live albums. Moreover, with Michael, Peter and Margo all being siblings, the band’s many years of unwavering togetherness only makes sense.
Cowboy Junkies’ first album, Whites Off Earth Now!!, in 1986, kicked off their careers and was then followed up in 1988 by the now-Platinum The Trinity Season. In a world where many bands chase whatever sounds are trending, the Junkies have stayed their course, maintaining the low-impact excavation of melody and evocative language that gave them so many fans in the first place.
About Cowboy Junkies
The band’s newest outing, Such Ferocious Beauty, is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of, well, family. As a result the album is a tangle of sonic textures, ruminating on aging, losing parents, facing mortality and creating space for one’s life in the midst of the ruin that comes from merely living. “Mike has never shied away from the darker, harder and sometimes uglier realities of our human condition,” Margo Timmins explained of the band’s singular focus, “nor has he shied from its beauty. Thankfully, with one comes the other.”
Michael Timmins, the oldest, is the chief architect, songwriter and guitarist, who works with Margo on sculpting the emotional planes and vocal performances before bringing in younger brother Peter on drums and lifelong friend Alan Anton on bass to create the soundscapes that have made Cowboy Junkies a band that defies categories. Alternative? Rock? Americana? Roots? Perhaps the answer is a simple “yes.” Hence, the churning beauty builds on all those things, evoking the best of a group that’s evolved over three and a half decades. Michael adds, “This record is connected to All That Reckoning. I see our recent work in a cycle: Reckoning, Ghosts and Such Ferocious Beauty. They were all done in very violent and tumultuous times. The violent side is so much a part of our society now—not just the physical, but the way we relate to each other. It’s hard to escape.”
Photo Credit: Heather Pollock
Inside The Band
Whether drawing on a pop culture reference like a quote culled from Mike Tyson or mining Greek mythology, there’s an ease and fluidity to how Michael draws songs together. For the sinewy “Mike Tyson (Here It Comes),” he employs a high-plains spaghetti Western tension that marries a nervy acoustic strum and tympani rolls to a creeping bassline, while “Circe & Penelope” deploys a wheezy fiddle and an acoustic guitar with its strings more flicked than strummed.
“I love the blunt reality of this song,” Margo offers. “I love the two women’s strength and realistic view of the situation. They have a great love for their men, but also this discontent. The image of these two women waiting for their men to return but getting on with the work that needs to be done and living their lives as strong women is truly empowering and reflects upon many of the women I know today.”
“The expectations and responsibilities of what we all do—it’s a big part of this. We’re still amazed that we’re doing this, but the longer [we have], the more fun it’s become. We don’t take it for granted,” said Michael. “We do what we do,” Margo agrees, “and it feels right for all of us. After 30-plus years of playing together, the band and its music are more important to us than ever. The music we make brings each of us a great sense of contentment, a knowing of place and a sense of doing what we were meant to do.”
To catch Cowboy Junkies on tour and watch them perform Such Ferocious Beauty, visit their website for tickets and information. Additionally, see below for a written list of the tour dates and locations.
Alice Cooper launched his “Too Close for Comfort” North American headlining tour at the OLG Stage in Niagara Falls, Canada on Tuesday July 30.
It was an unforgettable night that left fans buzzing with excitement. Despite a slight delay in the show’s start, the rock legend wasted no time in proving why he remains a vital force in the world of rock and roll. This was the first time Cooper played this venue in Niagara Falls. The last time he played the area was the fall of 2022 at Sheas in Buffalo.
The moment the lights dimmed, a wave of anticipation swept through the crowd. As the clock ticked past the scheduled start time, murmurs of impatience began to ripple through the audience. However, all was forgiven the instant Alice Cooper stormed the stage and launched into the electrifying opener, “Lock Me Up.” The high-energy performance immediately set the tone for the evening. Cooper’s signature raspy vocals and theatrical stage presence, captivated the audience.
Following the explosive opener, Cooper seamlessly transitioned into “Welcome to the Show,” a fitting anthem for a night that promised rock spectacle at its finest. The band’s tight musicianship and Cooper’s commanding presence turned the venue into a carnival of rock, complete with his trademark macabre flair. The song’s lyrics seemed to invite the audience into Cooper’s world, a blend of horror and rock ‘n’ roll that fans have cherished for decades.
The true highlight of the evening came with the third song, “No More Mr. Nice Guy.” The classic hit had the entire audience singing along, a testament to Cooper’s enduring appeal and the timelessness of his music. As he belted out the chorus, it was clear that Cooper’s voice has lost none of its edge over the years. The performance was infused with a raw energy that transported the audience back to the 1970s, when the song first made its mark on the rock scene.
Throughout the concert, Cooper’s band provided a rock-solid foundation, with blistering guitar solos, pounding drums, and thundering bass lines that kept the energy levels high. The stage production was equally impressive, featuring the elaborate props and dark, theatrical elements that have become synonymous with an Alice Cooper show. The setlist, a mix of classic hits and newer material, was carefully curated to keep fans of all ages engaged and entertained.
The setlist was a thrilling journey through Cooper’s extensive catalog, featuring fan favorites and deep cuts alike. “I’m Eighteen” and “Under My Wheels” kept the momentum going, while “Bed of Nails” and “Billion Dollar Babies” showcased the bandâs prowess. “Hey Stoopid” and “Be My Lover” were delivered with infectious enthusiasm. “Snakebite” and “Feed My Frankenstein” brought a touch of theatrical horror that fans loved.
“Lost in America” and “He’s Back (The Man Behind the Mask)” added to the night’s nostalgia, and the crowd roared during “Poison,” which was followed by a powerful drum solo. “Welcome to My Nightmare” and “Cold Ethyl” maintained the eerie atmosphere, while “The Black Widow” and “Ballad of Dwight Fry” were masterfully performed.
Alice Cooper demonstrated why he remains an iconic figure in the music world. Fans left the OLG Stage in Niagara Falls not just satisfied, but exhilarated, having witnessed a true legend in action. If this show is any indication, the rest of the tour promises to be a wild, unforgettable ride.
Once this headline tour ends later this month, Alice Cooper with join up with Rob Zombie for more shows this summer for the ‘Freaks on Parade’ tour. Alice Cooper’s band consists of Chuck Garric on bass, backing vocals, Ryan Roxie an Nita Strauss on guitars, Tommy Henriksen on guitars, backing vocals, and Glen Sobel on drums. Alice Cooper will be back in New York on September4 in Syracuse.
This fall S2O, one of Asia’s most highly anticipated music events, is making its United States debut. Running from August 31 to September 1, the immersive water music festival, is proud to bring electronic music’s biggest names to the Brooklyn Mirage during Labor Day weekend.
Known as “the world’s wettest festival,” S2O has celebrated the Thai New Year with a killer festival since 2015. The festival is known for upholding numerous New Year traditions in Thailand, including the Songkran tradition of spraying one another with water for good luck, for which it is most famous. In the almost decade since its creation, S2O has gained recognition for its innovative blend of electronic dance music and spectacular water effects. The unique festival concept aims to harness the power of water as an elemental force of joy and unity, bringing together fans from all backgrounds to celebrate the Thai New Year.
Since the festival’s creation, S2O has entertained thousands with the biggest names in electronic music, garnering fans and visitors from all over the world. Its resounding support has made S2O the largest Thai New Year celebration in the world. The high anticipation of the festival has made it continental, bringing it to other neighboring countries in Asia. Now, the United States joins the list, standing alongside spectacular past shows in Vietnam, Japan, Taiwan, South Korea, and Hong Kong.
This year, S2O brings some of electronica’s biggest acts to Brooklyn in celebration. Headlining the festival are Marshmello and Subtronics, with an exciting lineup of supporting artists like Alan Walker, B2B, and more.
S2O Full Lineup
Saturday, August 31, 4 pm – 12 am
Headliner: Marshmello
Accompanied by: Alan Walker, timmy, Borgeous, Dzeko
Additional support: Sensei, Jokah
Sunday, September 1, 4 pm – 12 am
Headliner: Subtronics
Accompanied by: Said the Sky, B2B, William Black, ARMNHMR, Kaivon, Level Up
Additional support: Zion, Jomu, Cyberpunk, PSYXTOI
Attendees will immerse themselves in a water music festival experience with experiential elements. The Brooklyn Mirage’s 200-foot LED wall and indoor lounge guarantee the ultimate Songkran (Thai New Year) celebration. Regardless of culture or individual traditions, S2O promises a celebration fans will never forget. Tickets are now available on S2O’s website. However, two-day passes are now sold-out, with limited Sunday tickets still available.
Greenwich Entertainment has released the documentary Revival69: The Concert That Rocked the World in select theaters across the US and on streaming platforms. The film tells the story of the 1969 Toronto Rock and Roll Revival festival, and how two friends inadvertently changed the course of music history forever. This festival single-handedly cemented the legendary status of classic acts, highlighted up-and-comers, and ended the greatest act in music history. With a mix of archival footage, slick animation, and artist interviews, Revival69 captures the energy of its titular festival without sacrificing any details.
Award-winning filmmaker Ron Chapman directs bringing his concert film expertise. Chapman has previously collaborated with Madonna, U2, Sting, and Lady Gaga on his documentary Who the F**K Is Arthur Fogel, bringing him much acclaim. This acclaim has continued with the release of Revival69, winning Best International Feature at the Florida Film Festival. Additionally it was officially selected at the SXSW Festival.
Revival 69 Synopsis
For much of the 1960s, Toronto was not on the map musically. Despite this, two friends were dead set on bringing touring acts to their city. 22 year old John Brower and 23 year old Ken Walker decided to take matters into their own hands when it came to booking acts. The duo started an independent promotion business to bring their favorite artists to Toronto. By 1969, their dreams had become a reality with the duo organizing the Toronto Pop Festival. Legends like the Velvet Underground and Chuck Berry all performed at the first major pop festival in Canadian History.
Building off the success of this festival, the duo immediately began to plan a new event for the fall. While the pop festival was a rapturous success, this new festival’s planning was anything but. The spark for Rock and Roll Revival was purely coincidental, with Brower realizing that some of the biggest names of 1950s rock were all available on the same day – September 13th. The plan from there was simple: book these legendary acts and wait for audiences to flock to Toronto for a historic concert. With Chuck Berry, Jerry Lee Lewis, Bo Diddley and more, who wouldn’t want to see the concert? This however was not the outcome, with the festival planning proving the maxim “anything that can go wrong will go wrong.”
As it turns out, not as many people wanted to see these acts as expected. Brewer and Walker had only sold 2,000 tickets – 7,000 fewer than needed to break even. Needing a headliner, Brower contacted the Doors, who were riding high off the success of their no. 1 hit “Hello I Love You.” This, however, only added to Brower’s issues. The Doors requested $25,000, which Brower did not have, forcing him to borrow money from a local motorcycle gang. On top of this, the Doors soon had to deal with legal issues, as Jim Morrison faced felony indecent exposure charges, leading to a cancellation of all shows.
Enter John Lennon
In a hail mary, Brower and Walker called John Lennon‘s office in London. This point marks a shift in tone for the rest of the documentary. While anxiety still exists in the background, pieces slowly begin to fall into place, with the Rock and Roll Revival seeming more and more likely to succeed. Through the assurances of mutual friends, Lennon eventually agrees to perform in Toronto. This sequence of the film is brought to life by office recordings of John Lennon, humanizing such a legendary figure, and bringing a needed authenticity to these interactions.
Art of the Plastic Ono band from Revival69
Lennon – who had not performed live in years – needed a new band. Much like the haphazard planning of the Revival festival, the formation of the Plastic Ono Band was equally chaotic. Viewers see Lennon alongside Yoko Ono, bassist Klaus Voorman, Drummer Alan White of Yes, and Eric Clapton band together for the first edition of the group. Despite having a large festival scheduled, the group never rehearsed together until they were on the plane heading to Toronto. This sequence feels straight out of a superhero movie, with these legendary artists banding together to form a true supergroup . Additionally, it features small artistic flourishes for keen viewers. Whether it is Voorman’s Revolver-esque drawings of the group, or the instrumental for “Roundabout” playing during White’s introduction, music fans will take joy in these little details.
Revival Comes to Life
Cutting to the day of the festival, the documentary truly comes to life. The driving force for the rest of the film is archival footage from documentarian D.A. Pennebaker and camerawoman Molly Davis. During Bo Diddley’s set, the footage shows audiences smiling, smoking, and dancing without a care in the world. With the anxiety and fear that marks the first half of the film, this footage is a cathartic release. Audiences can see that all of the gambles and hard-work going into the festival actually paid off.
The high-point of these classic performances comes from Chuck Berry. Berry was known for assembling rag-tag backing bands in each city he traveled to. The footage shows Berry enter alongside the teenage members of the local band Nucleus. Berry calls out to the audience “Ole” and “Peace,” ramping up the energy more and more. Then without saying what song will be played or what key it is in, Berry bursts into song. The footage of this set does a spectacular job at visual storytelling. At the beginning of the set, you can see drummer Danny Taylor with fear in his eyes trying to keep up with Berry. After a few songs, however, things begin to click, and following a single chef’s kiss motion from Berry, you can see the band begin to mesh like they had been playing together for years.
Chuck Berry’s performance from D.A. Pennebaker’s footage
The festival was not just classic acts, also acting as a springboard for one of the greatest names in rock. Brower needed to find a backing band for rockabilly so Gene Vincent enlisted the help of Arizona’s Alice Cooper. Chapman’s direction alongside Pennebaker’s film does an amazing job illustrating the energy and sheer horror of Alice Cooper’s set. As Cooper recalled, they were the underdogs of the show, so had to make their time on stage count. On top of playing scorching proto-metal, Cooper turned the stage into a battleground. He fought with his bandmates, hammered the stage, and sprayed a feather pillow out into the crowd. Interview with singer and audience-member Claudia Barry illustrates the atmosphere of the moment, recalling feeling like “Somebody’s gonna die.”
Alice Cooper’s set illustrates another strength of the film: making the legendary feel human. Throughout the segment, there is a comical back and forth between Cooper and agent Shep Gordon. Their interaction – strangely enough – revolved around a chicken in a pillowcase. Gordon thought it would be funny to release it on stage during Cooper’s set. Cooper, seeing the chicken, decided to throw it assuming that chickens could fly away. It did not fly, and rather plummeted into the crowd, spawning rumors of Cooper’s chicken killing spectacles at concerts. In an interview, Cooper still fights back, saying Gordon refuses to admit he released the chicken. Little flourishes like this help bring a sense of levity and humanity to such a big event.
Alice Cooper’s infamous chicken throw
Lennon Finds Peace
The highlight of the festival – and the film – is John Lennon’s much-anticipated performance. Lennon, despite being the biggest star of the era, is mortified to go out on stage. The archival footage shows him throwing up before the performance, really humanizing Lennon. Despite his anxieties, he alongside the Plastic Ono Band emerged to deafening applause and a sea of candles throughout the crowd. The applause however, died out quickly, as Yoko Ono began to sing. As bassist Klaus Voorman recalled, someone “must have stepped on a nail or something.” Despite the cold reception, John stuck by Yoko throughout the set, hugging her and yelling at the audience to “Wake up” and realize the artistic merit of her performance. These small acts of devotion and love really help to humanize a couple as legendary as John and Yoko.
Voorman provides a thought-provoking monologue through this portion of the film, set alongside a montage of the Vietnam war. This marks a stark contrast with the rest of the film, being much more somber and even bone-chilling at points. Voorman recalls the performance clicking, realizing the duality of Lennon and Ono. He realized that as Lennon sang “Give Peace a Chance,” offering hope for the future, Ono howled with her classically-trained voice, reflecting the current death and destruction of the Vietnam war, with both of these halves coming together to form a truly moving reflection on the war.
Leaving the stage, Lennon immediately announced to his bandmates that he was leaving the Beatles. He had found a new band, a new identity, and a new lease on life, and wanted to move into a new era of his career. Ending on such a big piece of music history like this really works to wrap up the film well. At its heart, the Toronto Rock and Roll Revival was a pet project between two friends that was not assured to succeed. Despite countless monetary, legal, and booking issues that threatened to derail the show, it somehow persevered. Through this perseverance, Brower and Walker inadvertently ended the Beatles, bringing about a symbolic end to the 1960s, and moving rock into a new era.
“When we played at the Rock n’ Roll Revival show in Toronto…it was exciting for John because he felt he didn’t need to live up to the Beatles mystique…we had total freedom”
– Yoko Ono, 2020
Review
In conclusion, Revival69: The Concert That Rocked the World brings one of the most momentous nights in rock history to life. Pennebaker’s superb archival footage displays the utter joy of both the performers and audience. This combined with interviews from organizers, performers, and audience members weaves a complex tapestry. These interviews are the emotional backbone of the film’s compelling narrative. Overall, Revival69 is a perfect film for lovers of 1950s and 60s rock, history, or live performances more generally.
The film is now playing at Manhattan’s New Plaza Cinema for a limited time. Additionally, the film is available to rent or buy on Amazon Prime Video.
What do you do when your husband and musical partner of many years runs off with your teenage goddaughter? You write a boatload of wonderful songs, dye your wedding dress black and make it into a dynamic, emotional rollercoaster of a musical stage show. That’s how the soulful Australian-born, New York-based singer-songwriter-pianist Tracey Yarad coped with heartbreak by crafting an emotionally raw and sometimes even humorous blend of memoir and song entitled All These Pretty Things.
New Yorkers will get a chance to experience this unique fusion of song and monologue when it comes to the 59E59 Theater in New York City, July 13, 14 and 16. Yarad’s Big Apple run is a part of 59E59’s East to Edinburgh 2024, a showcase of 16 shows, including Yarad’s, which will be heading to the famed Edinburgh Fringe Fest in August 2024.
This confessional and cathartic one-woman show is a classic illustration of when life gives you lemons, you make lemonade. A phoenix rising from the ashes story, it takes the audience from the fallout of a devastating divorce in Australia, following her husband’s affair with their goddaughter, to an inspiring new life and musical career in New York City. Tracey Yarad plays both the damsel in distress and the heroine who saves the day in this dramatic sound play.
“I started writing these songs to keep myself from going insane,” explains Yarad. “I didn’t realize that it would ever be recorded or performed. It was just my healing process. But the audience reactions so far have shown me it’s something that touches and helps other people to move through their struggles and challenges too.”
Yarad’s sprawling All These Pretty Things began life as an album. It features contributions from some of New York’s finest jazz musicians including guitarist Luca Benedetti (Jim Campilongo), bassist Tony Scherr (Norah Jones, Bill Frisell), violinist Zach Brock (Snarky Puppy, Stanley Clarke), drummer Josh Dion (Chuck Loeb, Bob James) and organist Jon Cowherd (Brian Blade Fellowship, Joni Mitchell). An accompanying illustrated book will be available for purchase at the show and online at her Yarad’s website. Acclaimed jazz singer Madeleine Peyroux has called All These Pretty Things “an emotional roller coaster ride from thoughtful resignation to heartbreak, rage, acceptance and back again. I like it when I hear her roar!” BroadwayWorld.com labels it “a beautiful alchemy, breathtakingly honest and gorgeously sung songs on the themes of loss and abandonment and the restorative power of music and love.”
Tracey developed this evocative portrayal of one woman’s capacity to come back stronger than ever with the help of her co-writer and director, the acclaimed jazz songstress Tessa Souter. The work also serves as Souter’s directorial debut. Yarad names “heart-on-sleeve” songwriters like Laura Nyro, Rickie Lee Jones, Joni Mitchell and Bonnie Raitt as some of her primary influences for the piece. Her music reflects her diverse experience as a performer – from classical pianist to singing German lieder, from leading a jazz fusion trio to fronting funk bands. All these stylistic variants blend to create Yarad’s singular style.
All These Pretty Things showcases Yarad’s strength as an instrumentalist and vocalist. With only a piano and her powerful voice, she communicates a wide range of human emotions, ones that come with the burgeoning of new love through to its inevitable and uniquely tragic unraveling to her rebirth as both a woman and an artist. Her musical and lyrical acumen are showcased in the spoken word passages which are the connective tissue to the musical pieces. They are a testament to another of her unique talent as a dramatist.
Yarad’s musical life has been varied and globe-trotting. A pianist and singer-songwriter with jazz sensibilities, her career has taken her from touring her native Australia with her original music and having a Top 40 single in the 1990s, to a seven-year residency singing in 5-star hotels in Japan, to running her own music school for 18 years in the Blue Mountains of Australia and, finally, to New York City.
Since relocating to the Big Apple in 2017, she has added jazz photographer to her list of professional accomplishments, specializing in portraits of leading names in jazz. Her work has appeared in Downbeat, Guitar Player and Drum Scene magazines to name a few.
New York serves as an inspiring backdrop that has greatly fueled Tracey’s creative musical spirit. In the relatively short time since moving here, Tracey has produced two original music projects—one with her all-female group featuring Claudia Acuña, Jennifer Vincent, Elsa Nilsson and Rosa Avila and this one-woman version of All These Pretty Things. Another musical memoir, Lost in Translation, featured stories and songs from her days as a hotel singer in Japan and was performed with virtuoso jazz pianist Jim Ridl.
