#acclaim studios austin

[n64retro]

Turok 3: Shadow of Oblivion Acclaim Studios Austin / Acclaim Nintendo 64 2000

[bangpuddingmuffin]

Turok 3: Shadow of Oblivion

Turok 3 just wasn't very good. Some of the weapons felt satisfying, but by the end they either lost their luster against tanky enemies or simply didn't have enough ammo to be feasible to use. The cerebral bore, arguably Turok's defining weapon, was fun, but it was too slow to be all that useful in fights with more than one enemy, and if there was just one I had to use the vampire gun to heal.

The (limited?) respawning enemies once again made traversing the levels feel strange, although these are mercifully linear compared to the previous two. The plot was not good, and neither was the writing. I can't recommend this, but if you're really hankering for a retro FPS, there are many worse ones.

Playlist: https://www.youtube.com/playlist?list=PLMOeTsMoezKYp_kjx15doXL8ZAHGztR0T

[numberxxisora]

Last week, we went to the diamond to try out our first baseball demo.

[mariacallous]

Last week, while Summer Game Fest attendees shuffled between game reveals and demos in Los Angeles, an unusual digital billboard captured the attention of millions of people online and off. “Gone but not forgotten,” it read, listing shuttered studios like Arkane Austin, Tango Gameworks, and Volition, “+ everyone laid off, downsized, & ‘made redundant.’ Thank you for great games.” When the sign flashed to its second message to downtown LA, it was equally direct: “We love you. We miss you. We hate money.”

The message was signed “your friends at New Blood,” and as soon as Game File reporter Stephen Totilo posted a video of the billboard to X on Thursday, it went viral, eventually racking up more than 3 million views and making headlines on gaming news sites. New Blood Interactive cofounder Dave Oshry, who paid for the viral ad, says he wanted people in the gaming industry to “see it and go ‘Hell yeah, good shout’ and pour one out for those studios and just remember the games they made.” But what he ultimately did was troll an industry that’s squeezing developers right as its bigwigs were headed to LA to show off their glitzy new releases.

It’s been a particularly brutal year for developers at studios big and small. Indies continue to close or go on “hiatus,” a more hopeful move that implies they’ll one day return. Big-name studios have been laying off developers in the hundreds. Microsoft in particular is responsible for the most recent closures on that billboard list, Arkane Austin and Tango Gameworks.

Originally, Oshry told Totilo, he wanted to post the names of all of the recently shuttered studios, but there simply wasn’t enough room on the billboard. Still, his action resonated with the developers who have lost their jobs this year, and the others who are looking to support them.

Oshry says he’s received many messages from people formerly of those studios, so “mission accomplished.” He declined to provide specifics on how much the billboard cost, simply telling WIRED via X DM that the price was “$xx,xxx.” “It cost a lot but not that much,” he adds.

Whatever the cost, it was likely far less than the money game studios were ponying up to participate in Summer Game Fest, where showing a one-minute trailer can reportedly cost $250,000. Over the Game Fest weekend, companies from Microsoft to Blumhouse got major buzz debuting early looks at games like Doom: The Dark Ages and Sleep Awake, but a lot of the chatter also went to Oshry's stunt.

Oshry told Game File that the original messages he brainstormed with his New Blood colleagues were much more direct than what they actually posted. “People started suggesting: ‘You should take shots at the execs,” Oshry said. “Put a picture of Phil Spencer up there and be like, ‘Hey man, what the fuck?’”

Spencer, Microsoft Gaming’s CEO, spoke to IGN over the weekend about the company’s decision to close studios like Tango Gameworks—a controversial move considering the developer made the widely acclaimed Hi-Fi Rush. "In the end, I've said over and over, I have to run a sustainable business inside the company and grow, and that means sometimes I have to make hard decisions that frankly are not decisions I love, but decisions that somebody needs to go make,” Spencer said.

For anyone looking to show support for the developers impacted by this year’s cuts, Oshry’s answer is simple: “Hire those developers and follow their projects.”

[freddiemercurylegendabovelegends]

November 21st, 1975 - Queen Story!

'A Night At The Opera' released in the UK

🔸“Bohemian Rhapsody was totally insane, we never stopped laughing. It was basically a joke, but a successful joke.”

- Roy Thomas Baker, Producer

Queen's fourth and probably best known album, was recorded in England between August and November 1975. Such was the complexity of the compositions that no less than six different studios were employed, with the band members often recording various parts simultaneously in order to work most efficiently and get through it all. The sessions were long and gruelling and spanned four long months. Once again the band produced the album with trusted collaborators, Roy Thomas Baker and Mike Stone, and what emerged was a genuine triumph on all levels, meticulously pieced together to make the best possible album. A Night At The Opera would propel Queen on to the world stage on a mammoth scale and establish them as a major international force. Though it was never in any doubt within the band, it proved that Seven Seas Of Rhye and Killer Queen were not fleeting hits from another glam-type British wannabe band; Queen were here to stay and Bohemian Rhapsody and A Night At The Opera would confirm it for those in any doubt.

It is a matter of public record that a very great deal hinged upon the success or failure of this album. Had it failed, it is entirely feasible the band would not have survived and Queen may well have ended there and then. Despite having two top ten albums under their belt, and significant international hits with Seven Seas and Killer Queen, and sell-out shows all around Britain, the band was in serious financial difficulty by the start of 1975. Recording and relentless touring for three solid years had still not yielded anything like what the band were due, and, to add insult to injury, Roger, John, Brian and Freddie were still struggling to get by on the minimal wage from Trident, to whom they were signed. Enter the story at this point, Jim Beach, the lawyer who would eventually negotiate Queen's release from Trident's grasp and from the deal that had so far afforded such little reward for the band. It would be some years before the band formerly parted company with Trident. Eventually Queen were extricated from their deal and left to make A Night At The Opera without distraction or financial pressure. So, with a clean slate and blank canvas on which to create, the much relieved Queen, along with stalwarts Roy Thomas Baker and Mike Stone, committed the next quarter of a year to the meticulous and all-consuming craft of honing the album that Brian would later refer to as ‘Queen's Sgt Peppers’.

The album cover was given a simple but lavish treatment, with Freddie's original crest design updated and coloured and placed centre of the album cover. The LP gatefold complimented the style, with the lyrics printed over two sides of the inside cover, and for the first time the inner sleeve was in colour and featured live photos from Queen’s most recent tour.

A Night At The Opera is a wonderfully rich and diverse gathering of carefully constructed and, some might say, unlikely compositions from all four band members. Every track is strong and every moment from beginning to end is beautifully recorded. The late lamented Mike Stone (engineer), who sadly passed away in 2002, once again played an integral part in achieving the sound of this album. Opera spans all kinds of musical styles and genres and veers off at tangents as unlikely the album title itself.

Aside from the well known material, also on this album is to be found Freddie's exquisite Love Of My Life, rumoured to have been inspired by his long time girlfriend of the time Mary Austin.

A Night At The Opera was finally finished in early November of 1975 and released to worldwide critical acclaim later that month on the 21st. It very quickly became Queen's first No 1 album, and also their first to achieve Platinum sales status. It went top 5 in the USA and achieved Gold status there, helped in no small part by extensive tours of North America and Canada earlier in the year.

Singles from this album: Bohemian Rhapsody / You’re My Best Friend / Death On Two Legs (on Queen’s First EP)

(source: queenonline.com)

Pic: 'A Night At The Opera' – EMI - HOLLAND (2005) ~ 30th Anniversary Edition

[slowsweetlove]

From Variety.

‘The Bikeriders’ Vrooms Into the Awards Race With Austin Butler, Jodie Comer and Tom Hardy Riding Shotgun

By Clayton Davis

Jeff Nichols brings pure Americana to the Telluride Film Festival with his luscious period drama “The Bikeriders,” which feels like the distant older cousin of “The Outsiders.” It stands as his single best directorial outing, and in tow are a trio of invigorating performances from Austin Butler, Jodie Comer and Tom Hardy, all putting their stamp on an awards season that will be undoubtedly competitive.

Based on the 1968 photo and interview book by Danny Lyon, “The Bikeriders” tells a fictional story inspired by a Midwestern motorcycle club, seen through its members’ lives over a decade.

Nichols, who writes and directs, has carved out a special lane of talented American filmmakers who are able to wrangle honest and moving performances from the likes of Michael Shannon (“Take Shelter”) and Matthew McConaughey (“Mud”). He does it once again with his actors including Butler, Hardy and Comer.

Butler shows he can do far more than just play Elvis Presley. Fresh off last year’s inaugural nom for “Elvis,” his role as Benny, much more internalized than you would expect, will offer another opportunity to invite him to the ceremony.

Hardy has been a dynamite actor with his fair share of critical darlings and blockbusters to his credit. As Johnny, the leader of the motorcycle gang, you see the British actor skirting the line between Marlon Brando in “The Godfather” and Robert DeNiro in “Goodfellas.” Hardy’s first and only nom was for best supporting actor for his villainous turn opposite Leonardo DiCaprio for “The Revenant” (2015). This could put him in contention of a second.

The past few years have shown an industry flirtation with a possible Comer Oscar nomination, following her surprise Emmy win for BBC’s “Killing Eve” in 2017. When Julie Huntsinger, executive director of Telluride spoke with Variety about the festival lineup, she said she didn’t recognize her. “I left the screening and went to IMDb on my phone because I wanted to know who this actress was, and I was shocked it was her.”

She was right. What a delight as she anchors the movie sporting a Midwestern accent and managing to steal focus in almost any scene she inhabits. Much of the discussion will surround where she decides to campaign, either in lead or supporting actress, which will also be the case for Butler and Hardy.

Like many movies with a sprawling cast, expect the film to be a candidate for the SAG Awards cast ensemble category. It features Nichols’ frequent collaborator Shannon, in addition to Mike Faist, Boyd Holbrook, Toby Wallace, Norman Reedus and Emory Cohen.

Though most of Nichols’ six films have garnered critical acclaim, only a single Oscar nom has come for any of his movies: best actress for “Loving” star Ruth Negga. Under the guidance of distributor 20th Century Studios, perhaps it can tack on more.

Artisan categories are beautiful to look at, featuring stunning cinematography by Adam Stone, and crisp editing by Julie Monroe.

Will it be able to ride into the Oscars? As the starting gun of Telluride, I would suggest so.

[lboogie1906]

Chloe Elizabeth Bailey (July 1, 1998) known mononymously as Chlöe, is a singer-songwriter, record producer, and actress. She rose to prominence alongside her sister Halle Bailey as Chloe x Halle; the duo released two studio albums, with their second, Ungodly Hour(2020), being met with widespread acclaim upon release. In 2021, Bailey released her debut solo single “Have Mercy”, which was certified platinum in the US. Her debut album, In Pieces, was released in 2023, to positive reviews from critics.

She starred in Grown-ish (2018–22) and Swarm (2023). She won a NAACP Image Award for her lead role in Praise This.

She was raised in Mableton, Georgia, with her sister Halle Bailey and younger brother Branson Bailey moved to Los Angeles in mid-2012. While in Georgia, she played minor acting roles in films, including The Fighting Temptations and Let It Shine. Their dad began teaching them how to write songs at the ages of ten and eight.

They launched a YouTube channel at the ages of 13 and 11 respectively, with a cover of Beyoncé’s “Best Thing I Never Had”. The duo made their talk show debut when they appeared on The Ellen Show. She made a cameo appearance in Austin & Ally performing the song “Unstoppable”. She joined the cast of The Exorcism. She starred in Jane.

She performed “Have Mercy” at the main show of the 2021 MTV Video Music Awards. At the 53rd NAACP Image Awards, she was nominated in three categories, including Outstanding Female Artist and Outstanding Soul/R&B Song for “Have Mercy”.

She co-starred in the scripted podcast, Electric Easy. She released “Treat Me” with an accompanying music video as her second solo single. She sang the national anthem during Game 3 at the 2022 World Series.

She announced her debut solo album, titled In Pieces, which was released on March 31, 2023. She released the lead single from the album, “Pray It Away” and the second single, “How Does It Feel”. #africanhistory365 #africanexcellence

[alexzalben]

Prime Video’s The Lord of the Rings: The Rings of Power Announces New Cast Members for Season Two

The Lord of the Rings: The Rings of Power has announced seven new recurring cast members for the forthcoming second season, currently in production in the UK. “Since its premiere, The Lord of the Rings: The Rings of Power has been bringing audiences together to experience the magic and wonder of J.R.R. Tolkien’s magnificent Middle-earth. To date, season one is the top Original series for Prime Video in every region and has been viewed by over 100 million people worldwide, a truly global hit that speaks to the universal nature of powerful storytelling. We welcome these wonderful actors to our ‘fellowship’ and look forward to telling more incredible Second Age stories in season two,” said Vernon Sanders, Head of Global Television, Amazon Studios. The new cast members are: Gabriel Akuwudike, Yasen ‘Zates’ Atour, Ben Daniels, Amelia Kenworthy, Nia Towle, and Nicholas Woodeson. The role of Orc leader “Adar” has been recast for Season Two, and will be played by Sam Hazeldine.

GABRIEL AKUWUDIKE Gabriel Akuwudike is a British-Nigerian actor who has appeared in the acclaimed series Hanna (Prime Video). Other TV credits include Ridley Road (BBC) and War of the Worlds (FX/Disney+). He has appeared in films including Sam Mendes’ 1917, and HBO’s Brexit directed by Toby Haynes. 

YASEN ‘ZATES’ ATOUR Yasen ‘Zates’ Atour is most known for his role as “Coen” in Season Two of The Witcher (Netflix). He was also a series regular in Young Wallander (Netflix), playing the role of “Reza Al-Rahman.” He directed the film Good Intentions and was an executive producer and star of the film When the Screaming Starts.

BEN DANIELS Ben Daniels has had recurring roles in television including Jupiter’s Legacy (Netflix) as “Walter Sampson,” The Crown (Netflix) as “Lord Snowdon,” The Exorcist (Hulu) as “Father Marcus Keane,” House of Cards (Netflix) as “Adam Galloway,” and Law & Order: UK (ITV) as “James Steel.” Film credits include roles in Benediction, Captive State, Rogue One: A Star Wars Story, and The Exception. Ben is an award-winning stage actor who has appeared in numerous productions including The Normal Heart (National Theatre – Olivier Award Nomination - Best Actor, Critics' Circle Theatre Award – Best Actor), All My Sons (National Theatre - Olivier Award – Best Supporting Actor), and Les Liaisons Dangereuses (Broadway - Tony and Drama Desk Nominations – Best Actor). Ben trained at the London Academy of Music and Dramatic Arts.

SAM HAZELDINE Sam Hazeldine’s credits include Peaky Blinders (BBC), Slow Horses (Apple TV+), The Huntsman: Winter’s War, Mechanic: Resurrection, and Ridley Scott’s The Last Duel.  He currently appears in The Sandman (Netflix) and The Playlist (Netflix), and will next be seen in the upcoming Band of Brothers sequel Masters of The Air (AppleTV+) opposite Austin Butler and Callum Turner, and starring alongside Jonah Hauer-King and Dar Zuzovsky in the Casanova drama feature, A Beautiful Imperfection.

AMELIA KENWORTHY Amelia Kenworthy is a graduate of the Royal Academy of Dramatic Arts.  While at RADA, she performed in numerous stage productions including Spring Awakening as “Anna,” A Midsummer Night’s Dream as “Puck,” Two Gentlemen of Verona as “Julia,” Pomona as “Ollie” and Against as “Shiela.”  She has also appeared in short films IRL and Messenger.  She will make her television debut in The Lord of the Rings: The Rings of Power.

NIA TOWLE Nia Towle was most recently seen in the Netflix film Persuasion. On stage, Nia debuted Neil Gaiman’s The Ocean at the End of the Lane at both the National Theatre and Duke of York Theatre. During her studies at Guildhall School of Drama, from which she graduated in 2021, Nia played leading roles in plays including Yerma, A Streetcar Named Desire, and Medea.

NICHOLAS WOODESON Nicholas Woodeson is a veteran English performer of television, film, and theatre. In television, his credits include Silent Witness (BBC), Baptiste (BBC), The Honourable Woman (BBC), Poirot (ITV), and Rome (HBO / BBC). He can also be seen in films including The Hustle, Paddington 2, The Danish Girl, Skyfall, and Conspiracy. His most recent theatre performances include The Two Popes, “The Duke of Norfolk” in The Mirror and The Light, “The Mayor” in The Visit, “Pope Francis” in The Pope, “Mr. Kidd” in The Room, and “Willy” in Death of a Salesman. Nicholas is a graduate of the Royal Academy of Dramatic Arts.

[ear-worthy]

Announcing On Air Fest First Wave Lineup And Major Expansion For 2025

On Air Fest is one of podcasting's signature events. This year, the lineup includes SNL’s James Austin Johnson and the Jokermen, Latino USA’s Maria Hinojosa, Hyperfixed's Alex Goldman, Design Matters’ Debbie Millman, Modern Love Host Anna Martin, Radiolab Creator Jad Abumrad, The Kid Mero, J(enna) Wortham, Ronald Young Jr, and exclusive programming with NASA, WNYC, WBUR, Talkhouse, Radiotopia/PRX and more to be revealed soon.

Plus, for the first time, On Air Fest Brooklyn will feature 6+ locations including Festival HQ at Wythe Hotel, an interactive Experience Hall at XXV, a party space at 74Wythe, Music & Storytelling events and National Sawdust & more. Early Bird Tickets (35% off) On Sale Now

This year's programming will dive deep into the worlds of creativity and innovation, exploring new storytelling formats, technology, audio art, the expanding world of creators, AI, sonic branding, the intersection of social and sound, and how audio is changing industries and culture.

Rooted in sound & storytelling and expanding out through voice, visuals and multi-sensory experiences, we are set to feature: main stages with visuals, live tapings, intimate listening and screening experiences, an experience hall that will allow attendees to interact with sound and art, big ideas, performances, poetry, brand activations, music, trends & forecasting, sound meditation and mindfulness and the world’s first ever ASM(bar) for listening to the inside of your cocktail.

On Air Fest 2025 First Wave Lineup Includes: SNL’s James Austin Johnson and the Jokermen in conversation about NYC’s music history, The Kid Mero hosting his Victory Light podcast live, Alex Goldman of Hyperfixed (and Reply All), Debbie Millman of Design Matters celebrating the show’s 20th anniversary, Modern Love host Anna Martin, Radiolab creator Jad Abumrad interviewing acclaimed composer and co-founder & Artistic Director of National Sawdust, Paola Prestini, the high celebrated ESPN documentary series 30for30 Podcasts, Brian Reed of KCRW’s Question Everything (and S-Town), Latino USA host Maria Hinojosa, iHeart’s Stuff They Don’t Want You to Know in a rare live immersive audio performance, New York Times staff writer, podcast host and sound healer J(enna) Wortham, filmmaker/radio producer Bianca Gaiver, Anna Sussman (Snap Judgment), Stars and Stars with Isa, Ronald Young Jr. in a live version of Lemonada Media and BBC’s Pop Culture Debate Club!, a live special with Blank Check powered by Patreon, Max Cutler and creators from PAVE Studios, podcast producer Ngofeen Mputubwele, and Radiolab Senior Producer Simon Adler (talk and performance). And exclusive programming from NASA, WNYC, WBUR, Talkhouse and Radiotopia/PRX and more. Finally, KCRW and On Air Fest will present: KCRWWW, a pop up radio lounge live streaming music, talks, and sonic experiments from the festival. Featuring KCRW's newly appointed Music Director, Alejandro Cohen, plus musicians, artists, poets, performers, and more, the pop-up will be free and open to the public via a dedicated microsite underscoring On Air Fest and KCRW’s commitment to accessible public programming that fuels music discovery, culture, and connection. 

According to event organizers, more news to come.  

Technical Advisor: Pushpa Khanal

[moochilatv]

Souls Extolled presents: Triumphant Monsters

Rocker indie music we love it

The new song holds a light up to society for the platform we give to those who value their own success over the greater good.

Austin, TX – Torchbearers of the Austin Indie-Punk scene, Souls Extolled have proven time and time again that the dedication they bring to their craft is unmatched. Building momentum off their latest album, “MMXXII,” which garnered nationwide attention on its own merit upon its release in 2022, the band plans to build on this momentum as they announce the release of their upcoming record “Soulsex,” slated for January 2nd, 2025. Their fourth studio album together, the band hopes to reach new heights with its debut and has already garnered critical acclaim for its eminence so far.

Their most personal and eclectically-inspired album to date, the band felt it was the obvious choice to deem it their self-titled collection, opting for the shortened version of their name to which the members refer to their project. In discussing the personal weight behind the album, vocalist Zach Black commented “We feel like the album captures perfectly the meaning of the band. Souls Extolled has always meant a celebration of our souls, spirits, or unique consciousnesses through music or art in general.” On the intimate significance felt by this accomplishment, Black goes on to say “If this is the last music I ever release, I’m absolutely ok with that. This is the album for me.”

Recorded in their hometown of Austin in the historic Bubble Studio under the guidance of local mastermind Chris “Frenchie” Smith, the history of the artist’s musical roots was ingrained in the recording process on a molecular level. Determined to integrate an indie, Avante-Garde feel into the production from day one, the bandmates felt an immediate connection to the studio’s production style and a deep respect for Frenchie as an artist himself. This connection allowed for the producer to creatively push them in ways they could not have imagined. Upon reflecting on the recording process and final product, Black remarked “It was not only ‘us’, but it was an ‘us’ packaged and polished in a way we felt other people would get as well.”

Already available on all major streaming platforms, the debut single off the album, “The Cut,” pushes the limits of the artist’s adrenaline-pumping proclivities. Born from an extemporized hard-hitting bass and drum exchange between the bandmates in their practice room, the idea quickly grew into the fast-paced powerhouse of the album, anchoring the central themes of rebelliousness and individuality throughout the record. Featuring a hypnotically rhythmic beat, grungy vocal enthusiasm, and aural embellishments that pay homage to the pioneers of the genre, it serves as a personal tribute to growing up in the Austin counterculture scene.

Moving forward, Souls Extolled showcases the creative range of “Soulsex” with the album’s second single “Triumphant Monsters.” A melodic anthem with a skank-reggae chorus, the energy is hard to overlook. An upbeat and danceable oasis in the album, its message embodies the ethos of the artists on a personal level at a time when they believe these words need to be heard the most. The lyrically-motivated track seeks to give commentary on the absence of morality so often seen in those who pursue wealth and power, and holds a light up to society for the platform we give to those who value their own success over the greater good.

As a whole, the album makes great strides in showcasing the musical range of the artists. Its design threads the needle between paying homage to the influences of their genre and defining their own individual sound through the band’s commitment to technique, coupled with a nuanced sensibility.

While their fans have shown a great deal of excitement for this upcoming release, Soul Extolled hopes to return the sentiment to their own Restless Kind with a grand release and celebrate this milestone. In support of the album the band hopes to cement its legacy within its hometown community through local touring. And while the group has enjoyed success with touring throughout the United States and will continue to do so, the members have made it clear that their ambitions are set on an international stint their next time on the road and plan to announce more details in the year following the album’s release!

In the lively city of Austin, a visionary named Zach Black imagined a fusion of rock genres that would shake the musical landscape. Conceiving the idea in his college days at the University of Texas, Zach dreamt of a unique blend of indie rock, psychedelic, and ska-punk influences. Souls Extolled, an Austin-based power trio, emerged in 2019 from this vision. Now, after a series of eclectic phases, the 5-year-old band has matured into their signature ‘indie-punk’ sound, reminiscent of early Arctic Monkeys and The Strokes!

[viagogodirect]

Concerts 2024 in the USA: A Complete Guide to Upcoming Shows and Tours

Concerts have always been a thrilling part of the American entertainment landscape, offering fans the opportunity to connect with their favorite artists, sing along to beloved songs, and experience live music in all its glory. As we look forward to 2024, the concert scene in the USA is shaping up to be nothing short of spectacular. From global superstars embarking on massive tours to emerging artists making their mark, there’s something for everyone on the horizon. In this article, we’ll dive deep into the most anticipated concerts, tours, festivals, and everything you need to know to make the most of the 2024 concert season.

1. Why 2024 Is Shaping Up to Be a Stellar Year for Concerts

The year 2024 is gearing up to be one of the biggest years for concerts in recent memory. With the music industry rebounding from a few years of pandemic-induced disruption, fans are hungrier than ever for live experiences. Artists, eager to reconnect with audiences, are launching some of their most ambitious tours to date.

Several factors make 2024 a year to watch:

Massive Global Tours: Many major artists are planning worldwide tours with extensive U.S. legs, ensuring that fans from coast to coast will have access to incredible live shows.

Festival Resurgence: With music festivals becoming increasingly popular, 2024 will see the return of some of the biggest, such as Coachella, Lollapalooza, and Bonnaroo.

New Music Releases: Several artists are dropping new albums in late 2023 and early 2024, sparking excitement for tours that will showcase fresh material along with their biggest hits.

2. Top Artists Touring in 2024

2024 will see a slew of big-name artists hitting the road, from seasoned legends to newer sensations. Here's a look at some of the most anticipated tours:

Taylor Swift – The Eras Tour Continued

After a monumental success with her Eras Tour in 2023, Taylor Swift is continuing to tour in 2024, adding more dates across the U.S. This tour promises to be an expansive journey through her musical career, featuring songs from each of her studio albums, from Fearless to Midnights.

Tour Start: Spring 2024

Cities Covered: Major cities including New York, Los Angeles, Chicago, Miami, and more.

Beyoncé – Renaissance Tour

Following her critically acclaimed Renaissance album, Beyoncé’s 2024 tour is poised to be one of the hottest tickets of the year. Fans can expect an extravagant show with a mix of new songs and classic hits from her extensive catalog.

Tour Start: Summer 2024

Cities Covered: Major U.S. cities, with a rumored residency in Las Vegas.

Harry Styles – Love on Tour 2.0

Harry Styles is extending his Love on Tour, bringing his dynamic performances and crowd-favorite hits like "As It Was" and "Watermelon Sugar" to more U.S. cities. Styles has captivated audiences with his electric stage presence and vibrant fashion, making each concert a memorable experience.

Tour Start: Spring 2024

Cities Covered: New York, San Francisco, Dallas, and more.

Ed Sheeran – Mathematics World Tour

Ed Sheeran’s Mathematics tour is one of the most highly anticipated events of 2024. Known for his intimate and heartfelt performances, Sheeran’s tour will showcase tracks from his new albums along with classics like "Shape of You" and "Thinking Out Loud."

Tour Start: Summer 2024

Cities Covered: Los Angeles, Boston, Seattle, and more.

Coldplay – Music of the Spheres Tour

Coldplay is continuing their Music of the Spheres tour into 2024, promising a breathtaking blend of visual effects, interactive elements, and their signature anthemic sound. The tour has been praised for its eco-friendly approach, using sustainable practices to reduce its environmental impact.

Tour Start: Fall 2024

Cities Covered: New York, Washington D.C., Austin, and other major venues.

3. Must-Attend Music Festivals in 2024

Music festivals have become a staple of the concert-going experience, offering fans the chance to see multiple artists across genres in one epic event. In 2024, several of the biggest festivals in the U.S. will return, with lineups that are sure to excite music lovers of all kinds.

Coachella Valley Music and Arts Festival

One of the most iconic festivals in the world, Coachella returns in 2024 with another star-studded lineup. Held in Indio, California, this two-weekend event attracts music fans from around the globe and is known for its mix of mainstream, indie, and up-and-coming artists.

Dates: April 2024

Location: Indio, California

Headliners (Rumored): Drake, Billie Eilish, Bad Bunny

Lollapalooza

Lollapalooza remains one of the biggest and most diverse festivals in the U.S. Held in Chicago’s Grant Park, it spans multiple genres, including rock, hip-hop, electronic, and alternative music. In 2024, expect a lineup featuring both massive stars and cutting-edge new acts.

Dates: August 2024

Location: Chicago, Illinois

Headliners (Rumored): Foo Fighters, Post Malone, Dua Lipa

Bonnaroo Music and Arts Festival

Known for its laid-back vibe and eclectic lineup, Bonnaroo is held on a farm in Tennessee and offers a unique festival experience. From jam bands to electronic artists, the festival caters to a wide array of musical tastes.

Dates: June 2024

Location: Manchester, Tennessee

Headliners (Rumored): Tame Impala, Megan Thee Stallion, Tyler, The Creator

Stagecoach Festival

For country music fans, Stagecoach is the ultimate destination. This festival, held right after Coachella at the same venue, features the biggest names in country and Americana music.

Dates: April 2024

Location: Indio, California

Headliners (Rumored): Luke Combs, Carrie Underwood, Chris Stapleton

4. Key Concert Venues to Check Out in 2024

The USA is home to some of the most iconic concert venues in the world, each offering a unique atmosphere for live music. Here are a few must-visit venues in 2024:

Madison Square Garden (New York, NY)

Known as "The World's Most Famous Arena," Madison Square Garden has hosted countless legendary performances. Whether it’s rock, pop, or hip-hop, seeing a concert at MSG is an unforgettable experience.

The Hollywood Bowl (Los Angeles, CA)

The Hollywood Bowl is an iconic outdoor venue nestled in the Hollywood Hills. Famous for its stunning backdrop and incredible acoustics, it’s the perfect place to see live music in 2024.

Red Rocks Amphitheatre (Morrison, CO)

Red Rocks is a natural wonder and a top destination for live music lovers. The venue’s incredible rock formations and open-air design create an awe-inspiring setting for any concert.

Alpine Valley Music Theatre (East Troy, WI)

One of the largest amphitheaters in the U.S., Alpine Valley is known for hosting big-name acts in a lush outdoor setting. If you’re attending a summer concert in 2024, this is a prime location.

5. How to Get Tickets for Concerts in 2024

Concert tickets can sell out fast, especially for major tours and festivals. Here are a few tips to make sure you don’t miss out:

Sign Up for Pre-Sales: Many artists and venues offer pre-sale tickets to fans who sign up for newsletters or follow them on social media.

Use Verified Platforms: To avoid scams, always buy tickets from verified sources such as Ticketmaster, Live Nation, or the official festival/artist website.

Set Reminders for Ticket Releases: Popular concerts often sell out within minutes. Set reminders on your phone to be ready when tickets go live.

Consider VIP Packages: If you’re looking for a premium experience, many artists offer VIP packages that include perks like early entry, meet-and-greets, and exclusive merchandise.

6. Trends in Concerts for 2024

2024 will see several trends shaping the concert-going experience:

Sustainability in Concerts: Artists like Coldplay are leading the charge in making concerts more environmentally friendly, with tours incorporating solar power, biodegradable confetti, and reduced carbon footprints.

Hybrid Concerts: With the rise of live streaming, many concerts will offer both in-person and virtual options, allowing fans who can’t attend in person to still experience the show.

Interactive Concert Experiences: Fans can expect more immersive experiences, with interactive elements such as augmented reality, custom mobile apps, and real-time audience participation.

As we look ahead to 2024, it’s clear that this will be an incredible year for live music in the USA. With a diverse range of artists, massive tours, and a packed festival calendar, there’s something for every music fan to look forward to. Whether you're planning to see global superstars like Taylor Swift or experience the magic of a festival like Coachella, the concert season promises unforgettable moments and memories. Make sure to grab your tickets early, mark your calendars, and prepare for a year filled with extraordinary live performances.

[beatdisc]

Some new re-issues & crucial re-stocks through our doors in the past few weeks. Highlights include new milestone anniversary editions of Mark Lanegan's Bubblegum, Oasis' Definitely Maybe, The Church's The Blurred Crusade and Violent Soho's Hungry Ghost, plus long overdue re-pressings of classics from Shellac, Neu! and Alanis, along with a pair of new Numero Group re-issues. More info below!

American Analog Set - The Golden Band - $60 (LP) - Numero Group YELLOW vinyl re-issue of the 1999 slowcore classic from Austin group. First time back on vinyl in 25 years!

Shellac - At Action Park - $60 (LP) - Back in print! The 1994 debut LP from Bob Weston, Todd Trainer & Steve Albini (RIP). Touch & Go Records 180-gram recycled wax in custom printed cardboard uni-pak style.

Oasis - Definitely Maybe - $75 (2LP) / $130 (4LP) - 30th Anniversary re-issue of the landmark 1994 debut album. Available as a newly pressed Digsy's Dinner inspired 'Strawberries & Cream' coloured 2LP set, or an expanded 4LP box featuring Monnow Valley Versions and Sawmills Outtakes.

Mark Lanegan - Bubblegum XX - $65 (2LP) / $45 (3CD) - Beggar's Banquet 20th Anniversary re-issue of the acclaimed 2004 solo release. Available on Indie-Exclusive 2LP red vinyl, or in an expanded 3CD digipack featuring unreleased songs & demos.

Neu! - s/t - $35 (LP)- Back in print! The iconic 1972 debut LP from influential German krautrock group featuring Klaus Dinger and Michael Rother after their split from Kraftwerk. Big love to @groenlandrecords for continually re-printing these one at such an agreeable price!

The Church - The Blurred Crusade - $60 (LP) - Limited edition BLUE vinyl remaster of the excellent 1982 sophomore studio album from Steve Kilbey & Co. Featuring Almost With You and When You Were Mine.

Alanis Morissette - Jagged Little Pill - $45 (LP) - Back in print! Alanis' gigantic 1995 studio album & first internationally distributed release. Jam-packed with hits like You Oughta Know, Hand in My Pocket, Ironic, Head over Feet, You Learn etc.

Unwound - Single History: 1991-2001 - $70 (2LP) - Numero Group 25th Anniversary Expanded & Remastered 2LP WHITE vinyl re-issue of the 1999 compilation of early singles & compilation tracks. Touring in November!!

Violent Soho - Hungry Ghost - $70 (LP) - 10th Anniversary limited edition BLACK & RED splatter vinyl re-issue of the previously out-of-print and hard to find 2013 breakout studio album featuring Covered in Chrome.

[marwahstudios]

ICMEI Congratulates the United States on Independence Day

New York, 4th July 2024: The International Chamber of Media and Entertainment Industry (ICMEI), led by its President, Dr. Sandeep Marwah, extends heartfelt congratulations to H.E. Eric Garcetti, the Ambassador of the United States to India, and the people of the United States on their Independence Day. Dr. Marwah, who is currently in New York, addressed the press at the Ritz Carlton Central Park, highlighting the strong cultural ties between India and the USA.

Dr. Marwah expressed, “On behalf of ICMEI and the entire art and culture fraternity of India, I extend our warmest greetings to the government and people of the United States as they celebrate their Independence Day. Our two countries share a deep cultural connection, and we have been doing a lot to bring the people of both nations together through various programs and initiatives.”

Reflecting on past interactions, Dr. Marwah said, “I had the honor of being invited by President Bill Clinton during his visit to New Delhi, and it was a privilege to welcome First Lady Laura Bush to Noida Film City during President George Bush’s official visit to India.”

Dr. Sandeep Marwah, a globally acclaimed media personality with seven world records to his name, has been extensively recognized for his contributions to the industry. He has been a case study at the University of California, Los Angeles, and Virginia University. He has received honorary doctorates from George Washington University of Peace, Washington, and Kings University, Honolulu.

Through his institutions—AAFT (Asian Academy of Film And Television), ASMS (Asian School of Media Studies), and ABS (Asian Business School)—Dr. Marwah has partnered with renowned institutions like the University of Southern California, New York University, and Lee Strasberg Theatre and Film Institute. He is also associated with the New York Film Academy and the Academy of Arts University in the USA.

Dr. Marwah has been honored by the Tisch School of Arts as the “Father of Cellphone Cinema” for his pioneering work in mobile films over the last fourteen years. He made his first mobile film with Karl Bardosh of the Kanbar Institute of Film & Television at New York University.

Marwah Studios was also involved in the Oscar-winning short film “Smile Pinky” at the 81st Academy Awards, handling graphics and animations. Furthermore, Marwah Studios participated in a project with the National Center for Atmospheric Research, invited by NASA, USA, and is associated with the Scientific Academic Research Foundation headquartered in New York.

Dr. Marwah’s extensive work includes research on tourism, representing the National Federation of Tourism and Transport Cooperatives of India Limited. His contributions have been documented in two popular books published in the USA: “The Complete Idiot’s Guide to Digital Video” and “Thinking Through Digital Media-Transnational Environments.”

Dr. Marwah has been honored alongside Hollywood superstars such as Salma Hayek, Lucy Liu, and Samuel Jackson at the Cairo International Film Festival. He has hosted Hollywood celebrities like Michael J. Fox, Jean Marie Lhomme, Director Jeno Hodi, Terry McLuhan, and Producer-Director Andrew G. Vajna at his studios.

Marwah Studios and AAFT have welcomed numerous dignitaries from various fields, including Charles Duke, the tenth man on the moon from Apollo 16, and marketing guru Philip Kotler. AAFT has collaborated with Epic Bible College and awarded life membership of the World Peace Development And Research Foundation.

Dr. Marwah’s research collaborations include working with Swapnil Rai from the Moody College of Communication at the University of Texas at Austin. Phyllis M. Wise, Chancellor of the University of Illinois, and Roderick Harding of National Louis University are now part of the Asian Education Group.

Marwah Studios has also hosted prominent filmmakers like Paco Wiser, Gabrielle Kelly, Tom Shepard, Sadia Shepard, Mike Berry, David Forlano, Narender Karri, and Judy Kaplan. Other notable associates include sports personality Sergio Menezes, lawyer Alfred G. Schweppe, medical doctor Raj Pillai, classical dancer Sharon Lowen, journalist Randall Feldman, boxer Evander Holyfield, Miss USA Stephanie Ellen Almeida, writer Steve Bedi, singer Geeta Kapoor, hotelier Neena Singh, social worker Angeli Monet, writer Kiran Bhat, and singer Lindsay Kirlay.

As we celebrate this joyous occasion, ICMEI reaffirms its commitment to strengthening the cultural and artistic bonds between India and the United States.

[newmusicradionetwork]

Broken Gold Tap Power Pop Influence On New Single “Fault”

Broken Gold today share the glistening power pop ripper “Fault”. The track is the final single to be released in advance of the band’s second studio full-length Wild Eyes. On an album that is riven with reflection, “Fault” stands as a particularly striking testament to realization. From the opening salvo, “Feeling like the living dead, The dream had died inside my head” Broken Gold singer/guitarist Ian MacDougall navigates the equally cursed and blessed nature of being a touring musician. Years spent playing stages in places you’ve always dreamed of, all the while watching your home life disintegrate as relationships are strained and an exhausting never-ending search is undertaken for part time jobs to fill the downtime. It’s a topic close to the heart of seasoned road dog MacDougal, who’s served lengthy stints with Band Of Horses and a legion of punk and crust bands, as well as over 20 years as a founding member of beloved Texan punks Riverboat Gamblers. Notes MacDougal, “it’s sort of a cautionary tale in a way.  Be careful what you wish for. This one’s about crumbling under pressure, constantly feeling like you’re getting tested and that you’re always at odds with everything but at the heart of everything you have to admit that you yourself are a root of the problems you’re having.” “Fault” is taken from the upcoming Broken Gold album Wild Eyes, which is set for release on May 3rd via Austin hometown label Chicken Ranch Records. Wild Eyes was announced in January with the soul-searching single “Spiraling” and was followed by the raucous “Bad Days” which featured local legend Alejandro Escovedo on guest vocals. The album name, Wild Eyes, is a nod to a lyrical phrase shared both by the album track “Shambling”, as well in Thin Lizzy’s “The Boys Are Back In Town”. The Thin Lizzy reference is one that always resonated with MacDougall who felt the line “guess who just got back today, them wild eyed boys that had been away” summed up the fried feeling of arriving home after weeks on tour. The collection of songs that make up Wild Eyes reach across genre boundaries to showcase the technical versatility and emotional insight that MacDougall has refined over the past two decades as he performed everywhere from punk squats to headlining mainstages at Austin City Limits and Lollapalooza. The constant is the honesty and vulnerability in both MacDougall’s DIY ethics and approach to music, facts that are laid bare on every note of Wild Eyes. To bring Wild Eyes to life, Broken Gold enlisted acclaimed engineer Stuart Sikes (The Walkmen, Modest Mouse, The White Stripes) to track and mix the record, while the legendary Howie Weinberg (Nirvana, Smashing Pumpkins) provided the mastering polish. Limited edition Wild Eyes vinyl preorders are available here. Read the full article

[independentartistbuzz]

Indie 5-0: 5 Questions with Hearsing

Hearsing, the groundbreaking musical project of Avery Murphy and Jordan Taylor, marks a new chapter in their storied careers with the release of "Silicon Prairie." This innovative single highlights their evolution from high school bandmates to professional musicians. Their journey began in high school with the surf punk band SUBPAR, which they co-founded alongside Lukas Henderson and Austin Corona. Over the years, they have garnered acclaim in various musical ventures, including LILACS, Jean Dawson, and Lizzy McAlpine.

SUBPAR achieved notable success, with their self-titled album surpassing 3.5 million streams on Spotify and maintaining a dedicated monthly listenership of over 21.5k. This early success set the stage for Hearsing, which blends their surf punk origins with nostalgic melodies and a wide range of influences to create a unique western music style.

Listen to “Silicon Prairie” here:

In March 2021, Hearsing debuted with a self-titled collection of home-recorded tracks, marking the start of their musical exploration. In 2024, they truly come into their own with the release of their first professional studio EP, "Pastoral." Recorded under the expert guidance of producer and singer-songwriter Henry Chadwick, known for his work with Jesse Daniel and Coffis Brothers, the EP showcases Hearsing's artistic growth. It also features the dynamic drumming of Ellington Peet, noted for his work with Runnner and Babehoven.

The lead single from "Pastoral," "Silicon Prairie," is accompanied by a visually stunning music video directed by Diego Diaz Lundquist. The video takes viewers on a cinematic journey through familiar and otherworldly landscapes, perfectly complementing the ethereal quality of the track. This immersive experience highlights Hearsing’s boundless creativity and artistic vision.

Below is an exclusive interview with Hearsing, where Avery Murphy and Jordan Taylor discuss the inspiration behind "Silicon Prairie" and their transition from high school friends to musical innovators. They provide insights into their creative process, the evolution of their sound, and what fans can anticipate from their upcoming performances.

In the interview, Avery and Jordan reveal how their shared history and diverse musical influences have shaped Hearsing's unique sound.

As Hearsing continues to carve out their place in the music world, their story serves as a testament to the power of collaboration, creativity, and perseverance. "Silicon Prairie" and the "Pastoral" EP mark the beginning of an exciting new chapter for Avery Murphy and Jordan Taylor, promising a bright future filled with innovative music and compelling narratives. Don't miss their latest release and the exclusive insights shared in the interview below.

What has been the most challenging part of the music industry, and how do you overcome those challenges?

There are a ton of barriers to entry, and barriers to success. It’s not as simple as writing and recording music that is good. These days you have to be a business person, be a PR person, be a social media manager, be a booking agent, be a videographer, be a creative director, be a copywriter, be a playlist pitcher, be so many things that for us feel so beyond what we originally set out to do – which is write, record, and perform music. So it’s really easy to get overwhelmed by all of that and for the music to get a bit lost in the process. It has definitely been a journey creating this EP, and even more of a journey getting it released – but in the end we’re really happy with what we’ve done and so excited for it to be out in the world. 

As for overcoming those challenges, you have to take it one thing at a time, and at the end of the road you’ve got to just be confident that you did your best and your creation is going to resonate with the people it’s going to resonate with. Making peace with that is a constant practice, but when it’s all done and the project is out, we get to move on to the next thing and do it all again, and that can be a really reassuring aspect – that its this iterative process that we get to keep doing and bettering, because we love the act of making music. 

Can you describe your songwriting process and how you collaborate as a duo in particular on your upcoming EP, Pastoral? 

We have a very collaborative writing style. Sometimes one of us writes a demo of the song and brings it to the other, or one of us writes the lyrics and the other sings, or one of us writes the chords and the other writes the lead lines, or does the arrangement. In the end we always create the end-product together. Neither of us would take complete credit for any song, because it really does happen super collaboratively. 

Before we recorded Pastoral, we were writing a ton of music together, so when the time came to get in the studio and record, we went through the 30+ demo songs we had and picked the ones that felt cohesive together as a project. Then we ended up cutting a couple more songs after recording – and what we were left with ultimately became ‘Pastoral’

How do you hope to contribute to the broader musical landscape and leave your mark?

We just want our music to mean something to people. Both of us really owe so much to music, it is such an important part of our daily lives and listening to our favorite artists' creations has kept us sane and made us feel seen and heard at times when that seemed impossible. So if we can do that for as many people as possible, that would be a contribution to the musical landscape and to the world that we would feel really proud of. 

What are your goals or dreams for the future of Hearsing?

MSG baby! 

Is there anything else you'd like to share with your fans or potential new listeners?

Hearsing is for everyone forever. We want our songs to soundtrack the good moments, the bad moments, and the ugly moments – we just want them to mean something to you! 

This EP feels like the first real offering of our music, and we have a whole lot more coming, so strap in! 

Our second single, Silicon Prairie will be our May 31st, and the whole Pastoral EP is out June 21st.

[sinceileftyoublog]

Baroness, Portrayal of Guilt, & GOZU Live Show Review: 6/9, House of Blues, Chicago

From left to right: Baroness' Gina Gleason, John Dyer Baizley, Sebastian Thomson, & Nick Jost

BY JORDAN MAINZER

Even if it wasn't nearly as critically acclaimed as their first five records, Baroness' sixth album STONE (Abraxan Hymns) was a showcase for the long-running metal band's versatility. At the House of Blues on Sunday night, they played only a few songs from it, but each choice reflected that song-to-song differentiation while blending in seamlessly with the rest of the set. From the time they launched into "Last Word", lead vocalist and rhythm guitarist John Dyer Baizley and lead guitarist and backing vocalist Gina Gleason showed off their vocal harmonies, an impressive feat for a band as loud as they are. Nick Jost's limber bassline and Sebastian Thomson's slow-rolling drums buoyed the burning "Under the Wheel". And the band came together beautifully on "Beneath the Rose", whose performance exemplified a Baroness show in 2024. That is, you had Thomson introducing the song with a drum solo, Gleason beckoning the crowd to cheer him on, Thomson delving into something unexpected--a pseudo disco beat--before the rest of the band blasted along, Baizely's vocals occupying the guttural end of the spectrum. In other words, these days, the quartet is simply psyched to play, loose, but still able to turn it on, on a dime.

Gleason & Baizley

Gleason, Jost, & Baizley

Baizley & Jost

Baizley

Jost

Gleason & Baizley

Indeed, the current lineup of Baroness has been playing together for 7 years at this point, and they expertly work the crowd while still finding room for improvisation. They've penciled in "A Horse Called Golgotha" third, which feels like when a MLB manager finds their perfect leadoff hitter. On Sunday, after two new songs, the Blue Record cut's instantly recognizable introductory riff primed the crowd to ramp up the intensity and get ready for a barrage of classics. "March to the Sea" was still an absolute banger, while "Green Theme" was as brawny and beautiful as ever, its skyward riffs and muscly drums trading barbs with subtle picking that was as worthy of Crazy Horse as it was metal. On emotional Purple highlight "Chlorine & Wine", Thomson's drums cascaded like a thunderstorm, while Gleason's guitarwork during the song's breakdown twinkled with the hum of Midwest emo. Gleason, in particular, remained a thrill to watch, at one point during "Shock Me" ripping a guitar solo while making a face like even she couldn't believe the sounds coming from her axe.

Baroness

Baroness

Baroness

Baizley

Portrayal of Guilt's Matt King

Portrayal of Guilt's James Beveridge

Portrayal of Guilt's Alex Stanfield

Opening for Baroness was two bands who, fittingly, mirror the harsher and more melodic sides of Baroness: Austin black metal giants Portrayal of Guilt and Boston stoner metal outfit GOZU. Coming in, I was particularly excited to see the former; their twin 2021 records both made SILY's year-end albums list, while last year's inventive Devil Music (Run for Cover) consisted of half the usual metal and half fucked-up chamber music. Of course, there were no classical stringed instruments to be found on stage, but Portrayal of Guilt used the effects at their disposal--sampled vocals, pulsating synth bass, a pedal board--to create an atmosphere that was just as disorienting as it was cathartic. Live, they were able to stay faithful to the layered cacophony of their studio material while being dynamic enough to be captivating. Matt King's vocals alternated between icy scream and jarring growl on "When Angels Come to Die". He even treated us to a deadpan baritone on the motorik breakdown of "Burning Hand". James Beveridge's drum work was breathtaking throughout, whether imbuing "Devil Music" with blast beats or more subtly shifting into syncopated post-punk on CHRISTFUCKER'S "Fall From Grace". King's guitar tones, too, were impressive, atonally twangy when introducing "The Sixth Circle" and chirping on set closer "The Crucifixion", the latter of which could have passed for Fugazi were you to take away the vocals. There was a small portion of the crowd there to see Portrayal of Guilt--you could tell by the merch-clad mosh pit goers--so when King asked whether anyone in the crowd had ever heard of them, he was happy at the rapturous response. "Respect to Baroness," King said before the set ended. "You don't often see a band like them have a band like us on tour with them."

Portrayal of Guilt

King

GOZU's Seth Botos and Marc Gaffney

From left to right: GOZU's Doug Sherman, Joseph Grotto, Botos, & Gaffney

And then there's GOZU, who, at times, resemble the stoner metal you're used to, and other times, inject a subgenre that can be slow and stoic with humor and show. They performed mostly from last year's Remedy (Metal Blade), chugging standouts like "Tom Cruise Control", "Joe Don Baker", and "Rambo 2". (If you think those song titles are funny, check out lead vocalist and guitarist Marc Gaffney's Sleep-style baseball shirt that said "Cher".) "The Magnificent Muraco" saw epic wordless vocal harmonies from Gaffney and drummer Seth Botos, while lead guitarist Doug Sherman supplied meaty riffs. Despite how much GOZU's instrumental style is rife for drawn-out jams, they played a lean set, to the point, emphasizing the blues stylings of "Bald Bull" from The Fury of a Patient Man and the deft tempo changes of set closer "CLDZ". That's not to say Sherman didn't rip virtuosic, stadium-sized solos--he did--but GOZU, like Baroness and Portrayal of Guilt, were in control, purposeful in every move.

Grotto

Sherman