#they all have fantastic one stage presences so their live performances are pure vibes

[somuchfuckingsalt]

I’ve been thinking musicians AU where Steve, Robin, and Eddie are all famous and usually do their own thing but they also do collaborative efforts.

Like Steve and Robin do an album all about their friendship and the whole thing is written like two friends shooting the shit and reminiscing for an hour. One of the songs is just the two of them going back and forth roasting each other’s choices in partners.

Steve and Eddie do an album where they re-record older songs they’ve written about each other to be duets as well as new songs and covers of songs that remind each of them of each other.

All three of them do a cover album plus tour for charity where they sing songs that they either deeply love or have served as inspiration in the past. Some of them they record almost the exact same as the original and others they play around with different genres. Eddie’s cover of Make Me Feel by Janelle Monae and video of every live performance he does of it goes viral.

[grimelords]

My November playlist is complete from Aretha Franklin to Blood Incatation, and I guarantee there’s at least something in here you’ll love. Thanks for listening!

If you’d like to get these playlists emailed to you instead of having them appear randomly on your dash, please sign up to my tinyletter.

listen here

Don't Start Now - Dua Lipa: Dua Lipa said disco lives. I absolutely love this song, it’s rock solid disco without being throwback or ironic about it. The way this song starts with the first line of the chorus and then launches into the verse and only gives you the full chorus later feels like that thing movie trailers do now where they give you a little trailer before the trailer for some reason. It’s also something I’ve never heard before, and it gives the song a very fun structure in the intro where it has two different levels of elevation it can drop down to before the bass properly drops in. I think Dua Lipa understands something fundamental about being a pop singer: literally the only thing you have to do is make bangers. She has basically zero personality and was criticised massively around New Rules for having zero stage presence (which she's definitely gotten better at since) but I kind of like it like that - she's just an unknowable blank canvas that's not particularly interested in any kind of narrative, she just makes bangers.

Mirage (Don't Stop) - Jessie Ware: Jessie Ware has been putting out some extremely good singles since her last album and this song is another. It’s the kind of smooth neo-soul that Jungle is pioneering but the way this song is structured is really beautiful; it gives the ‘don’t stop moving’ part a lot of space early on before it really gets to take hold and take over the second half of the song - it gives the whole song this feeling of disco evolution and the song going on and on and changing rather than static pop.

What A Fool Believes - Aretha Franklin: I can’t believe I’ve never heard Aretha’s version of What A Fool Believes before. It’s amazing. It’s the best kind of cover where you just basically do the song exactly the same but better in every single way. Push the tempo slightly, put big brass in it, make the bass hot as hell, sing the hell out of it, add a sax solo obviously. She takes such liberty with the rhythm of the vocals and it gives this whole song this great swooping and diving energy that just uplifts in such a beautiful way.

Walking Into Sunshine (Larry Levan 12” Mix) - Central Line: Something I love about this song is the crowd noise that breaks in with a ‘woo’ near the beginning. It’s such a strange little detail that instantly injects so much life and love into the track. It positions it at a party rather than a studio from the outset and somehow that mindset carries through the whole rest of the song even though the crowd noise only lasts a couple of seconds until they reconvene right at the very end.

Freedom - Grandmaster Flash & The Furious Five: There was a time in the history of rap music where some kind of government mandate demanded that every song go for at least 7 minutes, so you ended up with great songs like this where they spend a good couple minutes in the middle killing time by going through everyone’s star sign and then asking the crowd their star sign too. Also they appear to have recorded their own kazoos on the track over the kazoos in the sample, which is a lesson in good production everyone take.

Freedom Funk It Up Freedom - Freedom: I was looking up where the sample on that Grandmaster Flash song Freedom was from and it turns out it’s from this band called Freedom. Easy enough. This isn’t the song Freedom samples though, this is Freedom’s other song Freedom Funk It Up Freedom. It’s fucking hot and contains maybe the livest crowd I’ve ever heard, they are just going absolutely nuts the whole time and it only helps the energy of the song which is already off the charts.

Set Guitars To Kill (Live) - And So I Watch You From Afar: For the 10th anniversary of their debut album, And So I Watch You From Afar just played the whole thing front ot back and put it out as a live album, and it’s amazing. They’re an instrumental band that’s always emphasised the rock part of post-rock, in the same space as bands like 65daysofstatic and Russian Circles but not so self-serious about it, just big honking rock and roll tunes with a surprising depth and complexity to them that never get bogged down in ambient buildups or the other space-making trappings of post-rock. Their debut album has always been my favourite of theirs because it felt the most ‘live’ and wasn’t as cleanly produced as their subsequent releases (which are still very good), and so this live version feels sort of like a definitive version for me, like this is how it was always meant to sound but they didn’t have enough fans to do the ‘woo!’ part properly yet, which is one of the most purely joyful moments in music.

Bullet The Blue Sky (Live) - U2: I saw U2 this week for the second time in my life and guess what: they’re still great. Even though they’re old as fuck and Bono is getting stranger and stranger they’ve still got it. They have a very good bit of stage design going with this current tour where for a big chunk of it they’re out on a little platform in the middle of everyone with no screens or fancy lights and it’s one of the most effective ways I’ve seen of making an arena show feel like an actual intimate experience. I was a million miles away and Bono looked like an ant more than usual but the energy still came across. Then, when they do the Joshua Tree Start To Finish part of the show they have big visuals for every song but it’s still pretty light on actual cameras on the band, which I think works really well - a sort of best of both worlds where you get the arena show but the actual band performance. This song was a highlight for me, and they’ve somehow managed to make it even more ferocious now than ever before. It got extremely noisy, far noisier than you’d ever expect from U2 at least and really amped up the swirling energy that I’ve always loved about this song. People accuse U2's politics of being too wide ranging, and it's well founded they're the prototypical 'heal the world' rock stars - even in this song and the way they've repurposed its messages to fit various political causes over the years they've tried to dilute it, but this feels to me like a song that you can't wash the meaning out of no matter how hard you try. It's one of the best and most direct criticisms of American evil put to song, and it's an arena song that doesn't particularly have an arena melody to it. Especially in the Joshua Tree/Rattle And Hum era, U2 have always been captivated by the American mythos but have never been able to completely ingratiate themselves as an American Rock Band because they're not and I think that point of difference in identity has them uniquely positioned to criticise the American mythos as well. They can have it both ways because they can't fully have it, so in this song the circle of American violence is complete in the women and children who run from the American fighter planes into the arms of America as refugees. Bono's actually mad, which is a nice change of pace from love healing the world.

Gingerly - Enemies: I love this Enemies album so much. A sweet spot between post-rock and midwest emo math guitar, and listening to it now this song really stood out in a way it hasn’t before. It turns up at a good spot in the album just as you might be getting tired of the twinkly clean guitars that characterise the rest of it and burns a hole in the speaker with that distorted bass and siren guitar sound.

You Look Certain (I’m Not So Sure) - WXAXRXP Session - Mount Kimbie: I think every band should get the chance to re-record their album a year or two after they’ve put it out, once they’ve had a chance to really sit with the songs for a while and figure out exactly how they work because this version is just so much better than the album version (which was already great!). The guitar sound is so much bigger, properly leaning into the post-punk idea they were only exploring on the album, and the vocals are so much stronger and more up front which makes it feel so much more like a full song than an experiment. This whole Warp Session EP is fantastic and I’ve been listening to it on repeat, it’s so great that they’ve morphed from this insular electronic duo into a proper band over the years and I'm excited to see where they'll take it next.

Peace To All Freaks - of Montreal: The new of Montreal single is great. Embracing an 80s dance vibe and immediately turning his back on it in the opening lines and not going out because he needs to educate himself instead. I love this song, an unironic and non-cheesy rallying against negativity which is a lot harder to do with earnesty than they make it sound here.

Taipei - Social Climbers: Thankyou to my friend and yours agrifuture for this recommendation. Social Climbers played an odd and paranoid version of art rock in the early 80s that on this song at least sounds more like modern opera trying to fit itself to a rock band than anything else. I can also say with confidence this is the only song I’ve ever heard where someone sends a quiche back in the middle of it.

Mad Eyed Screamer - The Creatures: I’ve never gotten much into Siouxie And The Bashees, they're probably somewhere on my list of bands to have a deep three week long obsession with somewhere in the future, but for now my biggest exposure to them is the time The Weeknd sampled them. I am, however, deeply interested in this drums and vocals only side project that Siouxie Sioux formed with her then-partner Budgie. I’m a big fan of any kind of restricted composition like this and I love this song. It’s so busy and the amount of reverb and extra percussion going on makes for this extremely chaotic, noisy vision of what is essentially a folk song in its lyric and melody.

Black Magic - Jarvis Cocker: I found out that the main guitar part in this song is sampled from Crimson & Clover by Tommy James and The Shondells. Which is something I don’t think I’ve ever seen before, a rock song like this built around a sample. Not exactly sampling in order to recontextualise across genres or approaches but sampling to recontextualise in a lateral, parallel approach. I love this song because his delivery is so feverish and impassioned it really does feel like he’s seen beyond the veil and come back without the language or capacity to explain what he saw, only the passion.

Year In Pictures - Dick Diver: Every year since this album came out it's shown up somewhere in my Spotify most listened list at the end of the year. It's surprising because I don't think of it as one of my all time favourites when it definitely is, it's such an easy listen that it just comes and goes pleasantly. This song is kind of about that feeling I guess, of things just happening and time just passing pleasantly enough year on year, everthing in its own time while the past disappears and doesn't matter anymore. "Whatever happens, I think everything will"

Heart - Bertie Blackman: I love the percussion in this song, the same propulsive clapping-centred beat that makes Single Ladies so good with the dark grinding bass underneath it that just pulses malevolently until the gearshift of the chorus where it morphs immediately into this 60s soul version of itself, with the ooh la la backing vocals and everthing, and that disonnance between the two styles drives the song for me. Where the verse lays out the evil plainly and the music matches, the chorus accentuates it in wide eyed irony "I know there's something sick with what I've been sold" sung with a smile and showgirl backing vocals.

Love Lockdown - Kanye West: Something I think we’re all learning as Kanye loses his mind completely on the world stage is that Kanye has always been insane. He has always had an unnervingly powerful self-belief and unwavering vision that has up until recently been what made him such a unique and era-defining artist. After the radical directions of MBDTF and Yeezus it’s sort of hard to remember just how radical 808s And Heartbreaks was at the time because unlike the self aware harshness and strangeness of the other two it was also so pop adjacent, because of its 80s synthpop influence but also because of the way it (and T-Pain) impacted all other pop music of the time. The instrumentation on this song is still so staggering, even just the pitched kick at the centre I could listen to on loop forever I think.

It Might Be Time - Tame Impala: Absolutely cannot wait for the new Tame Impala if this and Patience are any indication. The absolutely huge blown out drums on this are so good and remind me of something I’ve been trying to place for weeks and can’t. Maybe a Chemical Brothers song or some kind of big beat era thing. I think of Kevin Parker and Adam Granduciel from The War On Drugs as the same kind of guys, absolute craftsmen studio nerds that are completely obsessed with sound but unlike most other guys of that genre are actually great songwriters as well. Long haired studio hermits that emerge every few years to bless us all.

Never Again - Kelly Clarkson: I’ve been trying to decide whether this or Since U Been Gone is a better song and I’ve settled on this having the superior verses and Since U Been Gone the better chorus. The absolute venom in the lyrics is incredible. “I hope the ring you gave to her turns her finger green.  I hope when you’re in bed with her you think of me” is like.. the most metal opening I’ve ever heard. She literally sings “You’ll die together, but alone” in the second verse, jesus christ.

Giant Swan - The Blood Brothers: I found out recently from reading the wiki article on screamo (which like almost all wiki articles about music genres is about 60% artists claiming that genres are fake and critics coining new genre names half in jest) that The Blood Brothers were apparently part of a screamo subgenre called Sass, which is a term I have never heard before in my life and certainly never heard in the heyday of the style. You learn something every day I suppose. “It originated as an opposing style of hardcore punk to the machismo in heavy hardcore scenes. It takes influence from genres such as post-punk, new wave, disco, electronic, dance-punk, emoviolence, grindcore, metalcore and heavy hardcore. The genre is characterized by often incorporating overtly flamboyant mannerisms, erotic lyrics featuring sexual tension, and a lisping vocal style. The genre is also noted for its "spastic edge", blast beats, chaotic guitars, danceable beats and the use of synthesizers.” My understanding is that when emo went mainstream and the split between ‘emo’ as a music and ‘scene’ as a fashion occurred, this is the music that emerged from the middle ground. Turning against the masculinity of their screamo forebears and toward the queer aesthetics of scene, the resulting style was still furious and violent but furious with a light cabaret (but like, if cabaret was good and not just a guy in a top hat emoting, a different style of emo that Panic! At The Disco famously pioneered) and violent in a psychedelic, surreal way that set it apart from the depressed and black aesthetics of the rest of emo. I love The Blood Brothers and have never found another band like them in terms of lyrical inventiveness and sheer vocal insanity, the characteristic shrill falsetto that sporadically turns to screams is an amazing choice that’s incredible it works at all. This song especially stands out as unique even amongst the chaos of their discography. The loping lounge feel in the first half, coupled with the properly surreal description of the giant swan in the lyrics establishes such an strange and dark cabaret mood that makes this song so oddly singular to me.

The Ripper - The Used: I really appreciate the production on this whole album, it is so overdone and hyperactive that it creates this irrepressible momentum because something is always happening. The songs themselves are incredibly compressed in structure and extremely hook heavy, and it feels like to counteract and complement that approach they‘ve been gone over bar by bar finding every possible spot to add interest. Dynamics shifting, drums filtering and then revealing themselves, choirs appearing from this air for two lines. Guitar squeals fly in and out in the background and the bass suddenly becomes extremely chunky in parts. The whole mix gets sucked down a black hole and then a little glockenspiel outlines the vocal melody in the background for a second leading back into a huge chorus. Everything happen in this short song. It’s an interesting approach that can be overwhelming, but it has undeniable results.

Ilana - Mdou Moctar: Mdou Moctar rocks because he takes a big power chord riff like the one at the start of this song that could just as easily start a Thin Lizzy song and then immediately discards it and twists a melting solo that crosses time and space for the rest of the song instead.

Ancestral Recall (feat. Saul Williams) - Christian Scott aTunde Adjuah: The press release for this album says: “In its inception, Ancestral Recall was built as a map to de-colonialize sound; to challenge previously held misconceptions about some cultures of music; to codify a new folkloric tradition and begin the work of creating a national set of rhythms; rhythms rooted in the synergy between West African, First Nation, African Diaspora/Caribbean rhythms and their marriage to rhythmic templates found in trap music, alt-rock, and other modern forms. It is time we created a sound that dispels singular narratives of entire peoples and looks to finally represent the wealth of narratives found throughout the American experience. One that shows that all forms of expression in sound are valid, as all people are." All that and a bit of spoken word at the start that sounds like Hannibal Buress’ Morpheus Walruses rap and I’m sold. I’m such a fan of jazz like this that purposefully opens itself up to the influence of the modern world and modern tradition, and the percussion work across this album in particular is so unique and really does what he set out to do in my opinion, bringing the rhythms of tradition into a modern context seamlessly.

Spider Hole - Billy Woods & Kenny Segal: I only found out about Billy Woods this month and I’m surprised I’ve never heard of him before because he feels like the middle of the venn diagram between Earl Sweatshirt, Aesop Rock and Death Grips. This flat out sounds like a Death Grips song played at half speed. The justified paranoia and anger that runs through this whole album is palpable and jumbled, centring around a feeling of lashing out in a moment of hopelessness because you don’t know what else you can do. "4 million USD hovering over some mud huts, it's nuts, it's not the heat it's the dust" is one of the most evocative lines of the year for me.

El Toro Combo Meal (feat. Mavi) - Earl Sweatshirt: When this new earl EP came out I listened to it 4 times in a row because it is just so compulsively brilliant. He’s refining his style more and more with every release and he’s honed it to this fine point now where every song is so super dense in its lyrical content and production that a full length release would almost be too much. There’s just so much to absorb here. Mavi’s verse is incredible too. I’ve never heard of him before but I’m a big supporter now. The beats too, through this whole EP are the kind that sound like a radio stuck between stations - looping snatches of vocals and drums drowned out in tape hiss where the beat is only a suggestion that Mavi and Earl both glide over on some sort of metric modulation and only land every now and then just to take off again.

Drug Dealer - Slowthai: Slowthai is so full of fire on this song it's scary. Facing a dead end future down and screaming that something's gotta change, and that he's the one to do it.

Lighthouse (feat. Rico Nasty, Slowthai and ICECOLDBISHOP) - Take A Daytrip: I have never heard of Take A Daytrip before this song but doing some research it turns out I have heard them, because they produced Panini by Lil Nas X. I have also never heard of ICECOLDBISHOP before but the way he brings an absolutely deranged verse on this song has made me an instant fan. I love this trio of features: three out there, huge personality voices at the outer limits of mainstream rap that in their oddness complement each other perfectly.

Rich Girl - Michie One & Louchie Lou: Something I learned this month was that Rich Girl by Gwen Stefani isn't a direct rip of If I Were A Rich Man from Fiddler On The Roof, it actually samples this song which acts as a sort of bridge between the two, and I think there's something interesting in the transfer of intention between the three songs, lyrically and musically. In the original his conception of a rich man is someone who can afford to have lots of ducks and geese, eat well and have enough time to pray because he doesn't have to work, then in the Michie One & Louchie Lou version rich is being able to feed your family and start a school (as well as play the horses and never lose), and in the Gwen Stefani version rich is having a house in Hollywood and London, clearing out designer stores, and buying four Harajuku girls and naming them Love, Angel, Music and Baby. It spirals up mercilessly from geese to, I guess, human trafficking. Musically there's a transformation as well, where the jewishness of the 'daidle daidle deedle daidle dumb' in the orginal is changed to a 'na na na na na' in this version and only a part of the original melodic lilt remains, a part that is completely ironed out in the Gwen Stefani version's 'na na na na na's. The downsides of wealth morph too, in the original it's simply not a part of God's plan, in this version it can't buy love, is the root of all evil (is a  worldwide thing / rich is getting richer while the poor are getting stink) and only leads to more trouble (you reap but you never did sow / rich today you could be poor tomorrow / mind your back and watch your enemies grow) but in the Gwen Stefani version being rich is amazing on its own and the only thing that can top it is your love.

Santa Teresa - EOB: Tricked into enjoying ambient side projects once again. Ed O'Brien from Radiohead's new side project came up on my Discover Weekly without me realising it was him and I absolutely loved it. It’s expansive and cinematic and nice in a way that feels rare in ambient experimental stuff like this, to not be morose or depressing and gloomy for its own sake. It’s sharp and angular, or as sharp and angular as a song as slow moving as this can be and reminds me in part of HEALTH’s Max Payne 3 soundtrack, and Emma Ruth Rundle’s Electric Guitar One which are both masterpieces on their own.

Rough Sleeper - Burial: Reading Mark Fisher’s Ghosts Of My Life I was pleasantly surprised to see his Burial interview in there that I remember reading years and years ago before I knew who Mark Fisher was. I’ve thought of parts of that article here and there ever since and finally placing it in the wider context of Mark’s work was very satisfying, it’s funny how people come back to you in different forms over your lifetime. I don’t listen to Burial much now, or at least not as much as I used to at the height of my depression a few years ago where he was on near constant repeat and as a result his music became completely waterlogged with the feeling of that time and I couldn’t listen to him at all for a while without the memories completely marring any appreciation. But time passes as it does and it’s a nice feeling to finally be able to listen to Untrue again and not have it be so permanently soaked with memories of the worst time of my life, and now with a different mindset and viewpoint I can really see different sides of his music. Where before all I could hear was the bleak and empty future haunted by the ghosts of the past, now new colours appear - a warmth of hazy, pleasant memory and imagination. Reds and oranges creep into the black and grey and this song can feel like staying under covers while it storms outside instead of standing in the rain.

Night MXCMPV1 P74 - Venetian Snares & Daniel Lanois: I really don’t think I’ll ever hear another album like this in my life. The push and pull of the humanity of Lanois’ pedal steel and the digital nightmare of Venetian Snares percussion is just so engaging, and the moments where they overlap and move together in harmony contrast so beautifully with the times they feel like they’re playing two different songs altogether. Then they overlap, the effects overpower the steel guitar and it moves into a leaping angular digital realm and the percussion coalesces into an altogether human rush, or as human as Venetian Snares can be.

Were You There When They Crucified My Lord - Marisa Anderson: I can't find the quote but somewhere when she was doing interviews about this album Traditional And Public Domain songs, Marisa Anderson said part of the reason she likes traditional songs so much is because when she was coming up and playing in cafes around town she mistakenly thought she'd have to pay royalties if she did covers of popular songs, so she only did public domain songs instead.

Were You There When They Crucified My Lord - Johnny Cash: Another side of Were You There When They Crucified My Lord, one that expands magically into an amazing many-layered harmony led by June’s high and lonesome howl.

See That My Grave's Kept Clean - Blind Lemon Jefferson: Jefferson was buried at Wortham Negro Cemetery in 1929. His grave was unmarked until 1967, when a Texas historical marker was erected in the general area of his plot; however, the precise location of the grave is still unknown. By 1996, the cemetery and marker were in poor condition, and a new granite headstone was erected in 1997. The inscription reads: "Lord, it's one kind favour I'll ask of you, see that my grave is kept clean." In 2007, the cemetery's name was changed to Blind Lemon Memorial Cemetery, and his gravesite is kept clean by a cemetery committee in Wortham.

The Giza Power Plant - Blood Incantation: What I find so appealing about Blood Incantation is how dedicated they are. Zealots to the cult of being long haired death metal guys who wholeheartedly and sincerely believe in interdimensional aliens and the pyramids being the remnants of an ancient advanced technology. The dedication extends to them being maybe some of the best players in the genre I’ve ever heard, and them recording this whole album analog live in studio is such a feat of performance that adds another layer of intensity to this already extremely intense music.

listen here

[soundsandnoises]

Slam Dunk Festival 2019: SOUTH, Hatfield Park (26/05/2019)

I was extremely anxious about this one. I was usually going to the one in Midlands, knew the site inside out. Knew how to get to the festival, where to stay, etc. Made it easier to focus on music. This year I worried about so many things, like if I bought right ticket to right Hatfield (can't count the amount of times I actually checked maps, infos and trains, still wasn't enough). I'm not a fan of big train stations and King's Cross ain't a small nor easy for first, second and third timers. It can be quite overwhelming, but what's the fun in it when it's simple, right? Then there was a question of – what gate leads to festival site. Or where to buy a coffee - that one was left unanswered, Sunday morning and relatively small train station (for a change) didn't help.

And then there was... waiting. Before the main gate opens, before the actual festival site opens... Longest three hours full of wondering, while people gathered in a constant flow in space between wristband exchange and gates, green grass was replaced by black blur of people.

But, but... As soon as it opened and I could start realizing my plan: get to the chosen stage, see the first artist, enjoy. I could relax. And that was the leit motiv of this day (maybe except the part where I felt like thirst in Sprite commercial during Busted intense and punk as fuck set when I was fighting for survival, but to be fair, even then I felt so alive and... happy).

I was in for a treat after all and it started perfectly with William Ryan Key opening on Marshall Stage. I would love to hear his material, but I understand his choice to play Yellowcard's songs. Fans surely appreciated the acoustic nostalgia floating through surprisingly sunny morning/midday. There was a bit of a technical hiccup at the beginning, but other than that things ran smoothly.

Milk Teeth took over on the adjacent Dickies Stage. Faster. Louder. Wake up Slam Dunk. Sunny day or not a mix of moody grunge and raw punk energy should do that to you. Make the crowd sit down just to make them ask “Why the fuck are we sitting down?!” seconds later. It's a rock show! But clearly Milk Teeth captivated the audience enough to pull pranks like this.

Hot Milk didn't have easy on The Club Key Stage, 'cause people started to gather for Busted and tent was packed, yet their Left side was in for a fun gig and soon enough young rockers won hearts over with their 'non compromise, everyone's invited attitude'. They were all in, mixing pop, punk and lacing it with electronic samples – nothing better to make you bounce, dance and have a good time.

Quite right warm up for Busted on the Right side of the The Key Club Stage. The tension, the anticipation was hanging thick and heavy over people's heads. The excitement exploded with joyous scream when boys appeared onstage. Boy, I didn't expect the madness. My body wasn't mine for most of the gig, pushed and shoved in random directions as the crowd waved under the tide of moshing, crowdsurfing and bouncing quite randomly. But it was strangely beautiful, the mad joy of people screaming out the lyrics. This was absolutely fabulous surprise act (clearly the cat was out of the bag on Saturday when it turned out that mysterious Y3K was in fact Busted). Slam Dunk did slam.

Then I've had a bit of a change of the scenery with As It Is on the main stage (Monster Energy Stage). I understand the appeal, 'cause it was truly engaging performance. Powerful speeches, truly humble spirit and very positive attitude (they even turned smashing an acoustic guitar into a good deed; after the hardcore version of the song, instead of acoustic one as they teased before guitar was obliterated, Patty [Walters, singer] explained that they'd donate the pieces for a charitable cause). Oh, and show worth a slot at the main stage – emotional, catchy, monumental at times, intimate.

Waterparks brought the green (backdrop, Awsten's hair, security outerwear) and crazy (emanating from both band and extremely devoted fans). Crazy in the best kind of way, the one you lose yourself in the music, the one that makes you happy, the one that courses through every inch of your body. Add funny banters and Awsten's cheeky charisma. The response from green clothed fans was overwhelming to say the least. Strong unison singing every word, mad screams and constant wave of crowdsurfers. What a show.

Simple Plan took over the refreshing and pop rock vibe taking the crowd to the beach and sunny holidays with their beach balls flying over the crowd and summer hits' tunes. Canadian rockers made people jump, yell shamelessly 'dick', sing along. Nostalgic mood mixed with excited screams, they wouldn't be themselves if they didn't joke around (basically rock and comedy show in a price of one). Their youthful approach was and is always something that moves mountains and brings fans to them.

Neck Deep didn't waste a second to establish their rule over the Monster Energy Stage after Simple Plan. Faster, louder, reach to the punk rock roots, start that mosh pit, oh but hold that thought here's Natalia Imbruglia's 'Torn' cover for you, let's feel like it's 90s again and if you don't know it, you lived under a rock. But basically keep the energy flowing, keep it up, keep in coming.

But rock music has so many names, so Hellogoodbye (back in Marshall Stage) was a interesting change of gear, leaning towards indie, electropop and all the weird and beautiful things between them. Oh, how I danced, danced like no one was watching, my face with stupidly wide grin from the sparkling, positive energy I was coated in. Audience was advised to drink pure distilled water, distilled from potatoes (wink, wink). Basically it was a party. Or maybe the party? Well, I was glad I stumbled upon it and stayed.

Touché Amore on Dickies Stage tore the air with growl which seemed to be an appropriate reaction for heavy rain that came down. But their music must have had some magic in it, 'cause soon clouds separated and sun started lurking through them. Or maybe they just had the sunshine with them all this time and brought some from L.A.. Heavy was the music, hardcore stage presence and singer's presence, front barrier seemed to be more appropriate place to scream words than small stage that frankly couldn't contain their energy.

I wasn't even close and I could hear Lights' powerful voice echoing through The Club Key Stage. Tiny figure with flame coloured hair was ruling the stage, voice clear, loud and soulful. Her music taking the best bits from rock, pop and electronic genres was a catchy blend to dance. Her vocals are phenomenal.

One of the band's I was really looking forward to see was Plain White T's (yes, yes, they played 'Hey There Delilah', 'course the did) and I loved every minute of their show [on Marshall Stage]. Indie pop/ indie rock with bits of samples was exactly what I needed, it was my kind of show no matter the time of the day. I could enjoy the music and not worry about being hit by half empty cup with beer (although it was funny to hear the story of crowd starting the biggest moshpit to 'Hey There Delilah', 'cause the band was on stage before Metallica, to be honest it's no the first time when I hear or experience the audience going absolutely bananas to the slowest song, so the story is even funnier), move to the beat. New staff had these nice, not too much electronic touch and was pulsing with energy. But of course the older goodies hit people's hearts harder.

I've managed to catch half of the set of IDKHow on The Key Club Stage Left I'm glad I did, 'cause boys sassiness must be legendary by now. The cheek, the charisma, the silliness acted out with serious faces, the instant bond with adoring crowd makes it all so special. Rhythm section and samples, bit of 80s synth tone, bit of 90s pop and sharp lyrics make their show something to talk about. Just like the acoustic set they played on the top of The Fearless Arms (bar), I'd assume sometime around their time in signing tent and because why not. Got to enjoy that one from the distance, the kind of surprise you could compare to sugar rush every kid gets when eating a candy floss.

From sweet tunes I switched to heavy metal brought by Bullet for My Valentine. Jägermeister Stage's tent was coming off the seams with gathered crowd, when it seemed it was loaded to its ends more people were getting in and immersing in roaring guitars and drums going faster and faster. Crowd gathered there was in for a wild ride.

NOFX headlining on Punk in Drublic Stage and bringing whole bunch of punk rock bands that they’re on tour with) were the living proof that punk's not dead and it's not going anywhere. Talking about snots, cum, walking on the thin line and reigniting the punk rock spirit with each song they were hosting a celebration, party mood was lit up. Punk and ska and a setting sun.

Big surprise, very good surprise was All Time Low's show to me (Monster Energy Stage). There were these jokes, on the borderline of pervert (oh, I've heard so many stories them boys were so inappropriate, but to be fair they never said they were playing songs for children), but the vibe - oh it was magnificent. It was great pop punk, pop rock show and people were literally invited, so it became a dance off onstage. The band was grateful for their fans, entertaining, connecting with their fans and gave fantastic show. Also, brand new song had its debut at Slam Dunk's stage – 'Getaway Green'. What a night.

[yoosmekihyun]

BTS Concert Observations

The concert was so amazing and I feel incredibly grateful and lucky that I was able to go. The Fort Worth Convention Center had their shit TOGETHER. I saw the Wings Tour in LA at the Honda Center last year and the organization was a joke in comparison to Fort Worth. Serious kudos goes to the staff working. I also felt much better with all the cops in the venue too. They looked like they were not fucking around and I appreciated that considering the death threat Jimin received after the announcement of the concert. All the security made me feel certain that nothing was going to happen. 

I cried three different times during the show but for different songs so I’ll get into that below. I want to break down the show by members like I did for the Monsta X show. I’m going to put a cut for anyone who would rather move past this post. If that’s you, then you’re missing out! (But I do understand.)

When I talk about them with other fans I usually use their given names, but for those who may just be casual fans or BTS isn’t their cup of tea, I’m putting their given names and stage name (if applicable) to avoid confusion. 

Namjoon/RM - Our fearless leader looked FLAWLESS. I see why he says his best physical feature is his skin because he is seriously so gorgeous and he glows! I don’t believe the glowing is just due to his skincare though; I think a lot of it is coming to his own self love and acceptance. You could just tell that he was living his best life up on the stage and was having a blast the whole time.  When he came out and did his solo stage of “Love” I was such a proud ARMY. He just danced along that stage (alone!) and was totally jamming and exuding sheer joy. Considering his solo stage for Wings was “Reflection” and the lyrics were about wanting to love himself, this stage is a fully circle where he clearly is so happy and loving himself and his life. That energy was so satisfying and I got emotional later thinking about it all. His English has continued to improve and I love hearing him speak. I can’t even talk about the hip thrust to the camera during Baepsae. It happened and I’m still not over it. He made a little pun on both nights, from what I understand, and said that we were his “First Worth.” Then he laughed at himself while he apologized (but we know he’s really proud of that! Jin is rubbing off on him!). By the way, Nams, I saw those red converse. Miss Pearl approves. 

Seokjin/Jin - Jin looked like he was having so much fun on that stage, being silly and interacting with the fans. He got some of the loudest cheers and he shamelessly threw kisses at us throughout the show (and I would expect nothing less). One of the times I cried was during “Epiphany.” His voice has improved SO MUCH since debut and he hits me in the feels ever. single. time. The song already is very important to me for personal reasons and I resonate with it to a deep level. That aside, Jin’s interpretation of it takes it to a whole new level for me and I cried some ugly tears during his song. Jin was one I couldn’t stop looking at during “The Truth Untold.” I thought I was going to cry during it but I must have shed all my tears by that point or I was expecting to cry so I didn’t. It was still incredible, he’s incredible, and I love him. 

Yoongi/Suga - My ultimate of ultimates, my true unicorn, the untouchable standard no other man can reach, completely solidified his top spot for me. Not just as my bias in BTS but also the top spot among all my other group biases. The man is SO GORGEOUS and has the cutest smile and I don’t know if I’ve ever screamed so hard or so loud as I did for him during their introduction when he took his ear piece out to hear us. He made me clutch my heart SO MANY TIMES throughout the show. The second time I cried during the show was during Seesaw. During Seesaw, Pearl? Why did that make you cry? Let me tell you, dear reader, because it was an emotional journey to this point. It’s a given that he looked incredible (I mean, red is seriously that man’s color) and his stage presence is off the charts but I was completely moved by the growth I saw on that stage. Just like with Namjoon, seeing him where he is now to where he was during debut is INCREDIBLE and I couldn’t be more proud of him. I remember watching when he shouted his grievance to Bang PD about how he was told when he signed on that he wouldn’t have to dance but then they ended up always dancing. Seeing him dancing, in the middle, and with props during his solo stage had me shocked. On top of that he was SO GOOD. I got all proud and emotional to see how far he has come during all of this. Remember when he would pretend to sing and then screech the song at whoever he was trolling? His singing voice is just...I could listen to that deep sultry voice all day, every day, and never tire of it. I could continue to wax poetic about how amazing Yoongi sounds, looks, performs (you know, everything about him) but I’ll spare you, precious reader, since you’ve made it this far and I still have four other members to go.

Hoseok/Hobi/J-Hope -  His smile...Hobi really is pure sunshine and joy. He’s a true pleasure to watch on that stage and you can see that performance is his passion. His solo song was amazing (dancing on an elevated stage?! why you gotta stress me out like that, Hobi?!) and it was fun and such good energy, which is exactly how Hobi is. I was expecting to feel completely attacked by Hobi going into the show. I think I had my defenses up so I walk away pretty unscathed from his rudeness. Don’t get me wrong, he was VERY rude with all those hip thrusts and all the damn charisma but I was the most prepared for him going into the show so the others did so much more damage to my heart. I love hearing him speak in English - he’s gotten really good and his enunciation is fantastic. You can tell he’s been studying and you know this girl loves a man who cares enough to put forth that kind of effort. Hobi, you’re a darling and so precious and we really don’t deserve you. Thank you for loving us. <3

Taehyung/Tae/V - When I first got into the fandom, @jeonjagiya and I had several discussions about how Tae was going to be a serious problem as he got older and started filling out. That day has come my friends because Tae is LETHAL now. He looks amazing with that blonde hair, and yes I will admit, the mullet as well (I still prefer no mullet but if he’s happy, I’m happy). How can a man look so good in black leather and powder blue slacks? He makes every outfit look incredible and I just don’t understand that superpower. His dancing is really great and if he hadn’t been part of the dance line before, he would have earned it with his performance during this tour. THAT EYE GAME THOUGH. That’s the true panty melting power - it’s 100% unadulterated seduction and that is how he is climbing up my list.  When he looks into the camera like he’s seeing you with x-ray vision and then his sweet, adorable smile breaks through...I just....it shouldn’t be LEGAL. And his vocals! Ugh! He sent a shiver through my heart and into my loins and I know that’s what he was trying to do! I see you Kim Taehyung...I see you.

Jimin - Four words: I WAS NOT PREPARED. Let me just say, I love Jimin and I’ve always loved Jimin. He’s a precious sweetheart and I want to take care of him. Before the concert, I saw him as kind of like a sweet younger brother or cousin. After the concert, Park Jimin is officially my number 2 and I definitely don’t have the same kind of caretaker vibes after that. More like he’s the hot neighbor next door with FREAKING ABS THAT HE TRIES TO HIDE... but he accidentally on purpose makes sure you can get a good look at them from time to time. I can’t...I don’t even fully understand how this happened. I think he got me with the feels and then hit me with the sex appeal. The first time I cried during the show was during “Serendipity.” That song always gets me misty and watching him perform the extended version pushed me over the edge. But the choreography for it was so much sexier than I was expecting and he was in tight black pants and this sexy black button up with sparkles so he was shining like the star he is. Then, during “The Truth Untold” I couldn’t stop watching him with all the emotion on his face. They put him in this ugly pink sweater thing with a scarf and I didn’t even care because his face told the story and he made it feel like he had felt the events of the song and lived it. Well done, Jimin, well done. I officially will never underestimate your abilities to win me over again. 

Jungkook - Jungkook sounded and looked incredible. He was stable and all of his dancing is so on point. I found myself wondering about some of the events that were shown during Burn the Stage and thinking about the pressures he must feel as the main vocalist and center. He seemed happy and like he was having a lot of fun during the show and that’s what makes him so fun for me to watch. His English has improved DRAMATICALLY. He may have improved more than anyone else. He spoke to us only in English and he took his time to pull together his thoughts into very clear sentences. He spoke quite a bit and I felt very proud of him after everything was said and done. “Euphoria” (his solo stage) was great - I get so amazed at the ability of singing well and clearly while dancing so hard. I know there’s lots of practice involved but Jungkook always impresses me when it comes to performance. This show was no exception.

To wrap it all up: If you ever get a chance to see BTS, it’s well worth the money (and I feel this way about all the groups I’ve seen thus far). The energy of the group with fellow ARMY is truly amazing. The fandom is diverse and it’s wonderful to see all ages, genders, and nationalities at the show. Watching and listening to native English speakers sing along in Korean always blows me away and the larger cultural significance of BTS and kpop in general is not lost on me, especially in those moments. I will be forever grateful to Iris for introducing me to BTS and kpop because the joy I’ve gotten from it is immeasurable. 

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#190-181)

#190: Kaliopi -- Crno i Belo (North Macedonia 2012)

“Отвори душа признај ми, Што сме сега јас и ти, Пола мое во тебе, А пола твое спие во мене,”

“Open your soul and admit to me, What we are now, you and me Half of me is in you And half of you is sleeping in me”

Kaliopi was supposed to be (North) Macedonia's first entrant in the 1996 with the song Samo Ti, but an audio-only pre-qualifying round ended up preventing her from doing so. Whereas Samo ti is a calming, R&B influenced song, Crno i belo is an alternative rock song which takes a number of twists.

Crno I Belo starts slowly, but it really picks up from the second verse onwards as it transforms into a rock song. There’s a sense of confrontation with the lyrics, which the music also tries to convey. And I don’t need to say much about Kaliopi’s vocals—a bit harsh, but awesome. And that scream is nothing but penetrating.

Personal ranking: 4th/42 Actual ranking: 13th/26 GF in Baku

#189: Måns Zelmerlöw - Heroes (Sweden 2015)

"Now go sing it like a hummingbird The greatest anthem ever heard"

I know there was a bit of flack of Sweden's most recent win, because they won primarily because of the jury (they were third in the televote). Compared to "Grand Amore", which comfortably won the televote but only gotten sixth with the juries, which was a pretty bad mismatch.

In addition, compared to the other fan-favorites of the class of 2015, Heroes is a more mainstream-sounding pop song, with influences from "Lovers from the Sun" and the highly produced Swedish-pop scene. But when I listen to it, it's very engaging and surprisingly danceable, with a great message of strength and togetherness. And the staging was quite slick and creative (with a bunch of influence on some of those from the following year)

So while Heroes is not my personal favorite of 2015, it's still a compelling and awesome pop song. Six years later, it's holds up fantastically.

Personal ranking: 7th/40 Actual ranking: 1st/27 GF in Vienna

#188: Elitsa Todorova & Stoyan Yankoulov -- Water (Bulgaria 2007)

"Море, Митра пее на реката Митре ле, ий… Митре ле"

"Lo, Mitra sings by the river Oh Mitra, eeh.. oh Mitra"

I have the strange impression that Bulgaria has a trance music scene we don't know of. From Elitsa and Stoyan's two appearances to the lyrics of Stanga being taken from a Bulgarian folk song, it's something that was not in focus in the rest of the world.

That said, Bulgaria's only qualifying song prior to 2016 is an experience to behold. While the lyrics are simply about Mitra meeting a lad riding a horse, the soundscape feels like you're in the surreal place yourself. You are in a rush against time, but you're also on a journey towards...somewhere.

Both the music and drumming really amplify the experience; seeing Elitsa and Stoyan drum together was a highlight for me. And while there are questions about Elitsa's vocals, including a point where she goes off-key, she still provides the necessary tone for this intriguing song.

Personal ranking: 4th/42 Actual ranking: 5th/24 GF in Helsinki

#187: Tose Proeski -- Life (North Macedonia 2004)

“Life is a book and you gotta read it Life is a story and you gotta tell it Life is a song and you gotta sing it You've got to know how to live it.”

For some curious reason, I prefer the English-version of this song to the Macedonian language one. Whereas this one, performed from Eurovision, focuses on the angst of existence and the importance of making the most of it, "Angel si ti" is an ode towards a lover who lines his streets with roses and even turns back time.

That's one of the things which work here that really shouldn’t. The mid-2000s sound, the lyrics, and the sheer angst of it. But for some reason, I really enjoy it. Tose (RIP) sings this really well, and it feels like a song out of a musical, in a scene where the protagonist cannot decide what they want to do with their life. It's awesome and I love this lots (and please, put this in a hypothetical Eurovision jukebox musical--there's so much plot potential!)

Personal ranking: 6th/36 Actual ranking: 14th/24 GF in Istanbul

#186: Lisa Andreas -- Stronger Every Minute (Cyprus 2004)

“My love grows stronger every minute And it won’t ever die You must believe I’ll always be there For you, all my life”

Greece and Cyprus are basically sisters in the contest--you can almost always expect them to give votes to each other considering the circumstances. However, their combined quality frequently varies, as well as results. 2004 was their best results year, though not necessarily their best in terms of songs (you'll get that later, towards the end)

At fifth place, Stronger Every Minute shared the best Cypriot entry ever with two other entries (one of which is #239, another coming soon) until 2018. This time, it comes in the form of a delicate love song, performed so tenderly and serenely by Lisa. Despite her looks making her look older than sixteen, she conveys a sense of innocence, helped by the glockenspiel and the acoustic guitar throughout.

I love how sincere she sings this “love letter”, as one blogger put it--I hope everyone can feel a love like this! A pure oasis in the flash and chaos of the 100% televote era.

Personal ranking: 5th/36 Actual ranking: =5th/24 GF (with Sweden) in Istanbul

#185: Paloma San Basilio -- La fiesta terminó (Spain 1985)

“La fiesta terminó Ya no hay más que niebla entre tú y yo ¿Para qué echar más leña arder Si el fuego se ha apagado ya?”

“The party’s over There’s only a fog between you and me Why throwing more wood to burn When the fire is already dull?"

Juan Carlos Calderon and Paloma San Basilio are really well known in their fields --the former is a noted songwriter who already wrote one of the biggest hits in Latin America, whereas the latter is a noted singer and theater actress who would win a Latin Grammy and play Evita.

Together, they have this really nice power ballad, albeit one with a bit of melancholy in it. The lyrics are the strong part of this piece, telling of a relationship that has come to an end using the party as a metaphor for it. It works very well, especially with Paloma's warm voice and the way she emotes the song through her hand gestures.

The resulting package is quite sad, yet very, very beautiful. Unfortunately, it didn't get the result it deserved (which maybe because of that backing vocalist picking at his nose...).

Personal ranking: 2nd/19 Actual ranking: 14th/19 in Gothenburg

#184: Sakis Rouvas -- Shake It (Greece 2004)

“I would trade my life for a night with you Driven by desire”

(Yes, this is already the third song from 2004 to appear in this section. haha. The first two that appeared here are fighting for my fifth, whereas the top four here is the exact same top four of that year.)

The first of the Greek Golden Era, we get Sakis Rouvas in all his glory. This was a hit when it was first released, and it at one point was the highest selling single of all-time in Greece. And as of 2021, it's still the highest-scoring Greek entry, despite them winning the following year.

While his regular discography doesn’t usually feature Greek elements, as he's better known for popularizing pop and rock influences in Greek music, I still think the bouzouki riffs do a good job here adding to this bop (the composer is Nikos Terzis--remember this name).

It's a dancefloor banger which I keep on repeat, and it seems that people across the continent have done so too! Especially those from Turkey. The performance is also quite fun, albeit with some...curious choreography (e.g. 1:42-1:46). That said, we also get some of Sakis' athleticism, thanks to him doing track when he was younger.

Personal ranking: 4th/36 Actual ranking: 3rd/24 GF in Istanbul

#183: Claude Lombard -- Quand tu Reviendras (Belgium 1968)

"Passent les semaines, se traînent les jours Et moi, j’attends ton retour En filant la laine dans mes beaux atours En bordant ma peine de doux fils d’amour"

"Weeks passing by, the days are lingering And I’m waiting for your return Spinning the wool in my beautiful finery Embroidering my pain in soft threads of love"

A couple of commenters compared to a Kate Bush song, and I think it comes down to Claude’s voice, which is very ethereal. However, Claude's voice has some depth, which, in comparison to Kate Bush's earlier work, is a bit more mature.

As for the song, it’s very folkloric but tragic, in which she yearns for the day her lover comes back. The use of strings helps in that it establishes a medieval ambience to it, but the overall feeling is still timeless. It’s almost as if one is caught into the story and wept along with her.

I especially love this because it stood out amongst the class of 1968--while most of the other songs has a happy-go-lucky vibe, Quand tu Reviendras goes in the opposite direction. Same with my runner-up.

Personal ranking: 1st/17 Actual ranking: =7th/17 (with Monaco and Yugoslavia) in London

#182: Doris Dragović - Marija Magdalena (Croatia 1999)

Maria Magdalena, gib mir deine Macht Für immer und nicht nur für eine Nacht

“Svjedok mi Bog, srca mi mog, Ova žena zna, da ti pripada sva...”

“As God is my witness, I swear by my heart, That this woman knows, she belongs to you entirely...”

(The first few lyrics were from the first Maria Magdalena from Austria, haha. Just wanted to mess with you. :) )

The second Marija Magdalena is a beloved entry in the fandom, and for good reason! It hasn’t aged since 1999, which shone amongst the relatively dull field with its mix of ethnic and dance music. Lyrically, it focuses on a love that redeems the narrator, hence the imagery related to Marija Magdalena (yay, religious imagery and redemption!). I think it works efficiently, and Doris performs well on stage with her powerful vocals and diva-like presence. Arguably, it's argued that it was the best song of 1999.

The only problem I have is with the backing vocals on the instrumental. The delegation cheated, and that’s the end of it. I’m still wondering why people would put this as their favorite of 1999 otherwise; even with the new rule about allowing them on the track. It puts me on edge on what would've happened had they won.

Beautiful song, but cheaters don't prosper in my book.

Personal ranking: 3rd/23 Actual ranking: 4th/23 in Jerusalem

#181: Evelin Samuel & Camille - Diamond of Night (Estonia 1999)

“Diamond of night, burning so bright Guide me my silvery new sign”

The last Eurovision song of the twentieth century is filled with mystical imagery, atmospheric instrumentation, and a beautiful violin solo. The whole thing reminds me of a fairytale, with a cool soundscape, though sometimes I feel like something is lacking in it (especially because it resembles some entries from the 1996 contest; I was thinking of I evighet when writing this)

The lyrics are especially pertinent for Evelin Samuel (the singer), who tried to get to Eurovision throughout the entire 1990s. She was about to go as one half of the Estonian duo from 1996, when she suddenly got a tour in Japan, which was then canceled. She managed to become a backing vocalist in 1997, and finally got her chance here. Seeing her sing "now i can say it's my time" is very touching, even if her eyes seem to be bulging out!

In the end, it's a peaceful and serene song, with hope for the new millenium. However, considering what the first song of Eurovision 2000 would be, little did one know it won't always start on the right foot...

Personal ranking: 2nd/23 Actual ranking: 6th/23 in Jerusalem

[thebandcampdiaries]

Charming to the Last - Burn Bright (From the Upcoming studio album, “It’s the Little Things.”

A pop-punk anthem with a positive edge and a catchy twist.

April 2020 - Charming to the Last is a band with a passion for creating music that sets the bar higher in terms of genre definitions and sonic aesthetics. Their sound combines the edge of alternative music with the grit of alternative rock, and pretty much everything in between. What’s special about their sound is that it is gritty and hands-on, yet incredibly melodic, with passionate lyrics that are easy to relate to. Recently, the band completed an album titled “It’s the little things.” While waiting on the full-length album to be released to streaming services, you can actually check out the band’s lead single, “Burn Bright,” which is now available already! This is actually a really good indication of what the band is capable of! The song has an amazing approach to production, which makes me think of artists as diverse as Blink-182, The Ataris, or Taking Back Sunday, only to mention but a few. The track has a  very optimistic vibe, which immediately managed to put a smile on my face. The track kicks off with a very beautiful vocal melody and a haunting atmospheric intro, before eventually dropping into a very energetic rock verse, in the vein of Something Corporate or Jimmy Eat World. The pre-chorus takes a step back again, only to give the chorus a fantastic hook that soars to the sky. The chorus has a very positive and emotional approach to the lyrics, and in these crazy times we live in, it’s amazing to finally hear a song that feels like a hopeful anthem. Besides the song’s excellence performance and songwriting, I really love the production. Everything about this song hits the mark. The drums are big and powerful, and the vocals are always present. The singing stands out among the instrumental elements, cutting through big stadium drums and walls of guitar, but without ever feeling overpowered by the music or getting to harsh. It’s not easy to achieve such a balance, but Charming to the Last definitely managed to accomplish that. The song also has a quieter melodic backdrop, where the drums go for a more roomy, laid-back sound, letting the vocals and a sparse piano melody come through before the final hook comes in. In addition to the beautiful drum patterns, the guitar work is outstanding as well.

If this song is any indication of what we can expect from this band’s forthcoming album, I am definitely all the way in, and I look forward to hearing more! There is something quite special about being able to accomplish so much with a seamless and deceptively simple arrangement, but the best songwriters are able to create pure magic with only a handful of chords, and a lot of heart. This definitely appears to be the case here, and Charming to the Last is a promising act that’s keeping the fire of pop-punk alive and well. They don’t necessarily abide to the genre’s strict “rules” either, for lack of a better word, because they are open to bringing different influences to their sound - At times, the synth parts and piano melodies, not to mention the vocal hooks on “Burn Bright” really make me think of acts like Copeland or Circa Survive, who challenged the usual cliches of the genre in order to create something that’s truly quite special. At times impactful, at times introspective, this song is a rollercoaster, in all the right ways.

Burn Bright Lyric Video - https://www.youtube.com/watch?v=I-ai3qf46jc

Facebook - https://www.facebook.com/charmingtothelastmusic

Instagram - https://www.instagram.com/charmingtothelastmusic/

Website - https://charmingtothelastmusic.com

Find out more about Charming to the Last and do not miss out on “Burn Bright” as well as the band’s new album, “It’s the Little Things.” The release is currently available on Spotify, as well as other music streaming platforms on the web. You can also listen to “Burn Bright” in our Indie: Fresh Picks playlist on Spotify, along with other indie-pop, rock, and underground bangers!

We also had the chance to ask the artist a few questions: here it is!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: For me, the melody always comes first. I have two young boys so I’ll often have melodies and lyrics come to me while I’m driving alone (my only quiet time). I’ll usually record that into my phone and try to figure out a workable riff on guitar when I have some time.

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: I play live music in other venues (church), but we don’t perform as a band currently. I definitely feel more comfortable in a studio and would love to just record full time.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: Good question. We released a couple singles ahead of the album release on June 8th, but I think we’re saving our best songs for the album. “Burn Bright” would be a good first impression as it’s light and catchy, but my personal favorite on the album is “These Moments”. It’s a unique punk-ballad in 3/4 time that I can’t wait to get out there!

What does it take to be “innovative” in music?

Answer: In my opinion, honesty needs to take precedence over musical innovation. Before we tackled this album, I was so focused on creating songs outside of the standard structure that I had bits and pieces of songs I couldn’t fit together. Instead, I decided to write from my heart and pump the breaks on the intellectual nonsense I was aiming for. The songs just kept pouring out and we had more than enough to fill an album. Most songs fit within that structure, but the innovation comes from the down-to-earth honesty of the lyrics.

Any upcoming release or tour your way?

Answer: Yes! Our debut album “It’s the Little Things” will release on June 8th, 2020 and we can hardly wait to share it!

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: Of course! As I mentioned, we have two singles out from the upcoming album, which can be found here:

Take the Shot: lnk.to/jU4apCFX

Burn Bright: lnk.to/1DboIS8N

You can also visit our website (https://charmingtothelastmusic.com) or our Facebook page (www.facebook.com/charmingtothelastmusic) or Instagram (www.instagram.com/charmingtothelastmusic).

We’re just starting to build our online presence and we’re learning as we go, but join us as we get this journey started!

[devilishdewitt]

Haunted Cathouse in Moscow, December 2019

Hoorah, the “most rock��n’roll Burlesque party” in the land made its way to Moscow, uniting Haunted Cathouse belles with Sugar Factory debutants.

Read before blocking, darling! ~The Eternal Manifesto~ It is hereby declared that this little nook of the world wide web shall be devoted to the praise & critique of the art of burlesque, specifically in Russia.

Let it also be known that I am first and foremost a benevolent force, and every single criticism is documented solely for the purpose of evolution, growth and inspiration, darling.

Never forget - it is fantastic that the burlesque scene in Russia has grown so much in the last few years. Brava, ladies! As a fact and a statement, it is absolutely fabulous.

However, I volunteer to wear the heavy crown of expertise, having seen many a show in many a place, and having a keen eye for detail and a heart hungry for that wow factor. 

I always come with an open heart, am quite easily entertained, and know how hard the craft is - I can overlook many a fault when there’s stage presence, charisma and that fire of passion.

 Oh, and self-irony.All is sickly without self-irony.

Now, onwards! To fabulousness!

Short summary: I do it because I love you all and want you to excel. The Venue

Set in a deeply industrial part of the city, this craft beer pub called FRAKCIA didn’t scream “burlesque”, but it did aid with the rock’n’roll.

People were encouraged to come in full fabulous costumes, but most of the crowd had to sit on the floor. But again, the spirit was fun and no one came over-dressed, so the party vibes were uninterrupted.

Rocky Zombie’s hosting was lovely - she made everyone feel at home. Friendly, funny, fierce! She has a beautiful talent of balancing self-irony and confidence that makes her instantly likeable as a host.

Jeva Noir dancing to Би-2 is a combination I didn’t know I needed. Would be fantastic to see some emotion in the performance - I couldn’t tell if her seemingly detached coldness was a choice or a given. It felt like she was going through the motions, ticking checkboxes in her head with every move…You marvel at the beauty of her costumes, at the word “MUSE” splashed against her in sequins, but her attitude might seem quite arrogant. awaiting in anticipation for the moment she truly busks in the sunshine of her stunning talent.

Okani Mills! Move over, Gia Genevieve! Classic bombshell, sultry, playful - but perhaps a different kind of stocking would be more alluring. This act definitely has a lot of growing space - the world of Bond holds many treasures…

Victoria Semmybird, the lyrical heroine with Gershwin at her aid. She looked like a fairy, even though we could tell that there was a bit of struggle with the heels. The iridescent costume was the most memorable part of the act.

Хатуль , a Sugar Factory gradute,  as the Little Mermaid. This act tells a tale of a tail  - and the audience lived for it. Curious, playful, refreshing! The use of the net as a prop is gloriously inventive, and the twerking added a dash of pepper to the mix.

Mary Shokoladova, Slytherin queen, mesmerising sense of rhythm. She entranced the audience with precise movement - and her stage presence is delicious.

The precious Lana Summerwine, who caught my heart at the Russian Burlesque Festival with her gentle gypsy act (aka tambourine queen). What makes this act so beautiful? Perfect harmony. The second she appears on stage, the room is transformed - we feel her freedom, her stubbornness, her character - and each movement tells a story. That’s raw talent right there.

Sabina Moon, Snow Queen turned Space Spy! Why not? Fantastic audience connection, pure fun, the lights are brilliant - especially the rhythmically perfect moment of them turning on. Entertaining!

Stacey Brume (Parker?) Be still, my heart! What a brilliant idea! Lily pads, an arrow, charming hues of green and blue…a Frog Princess!

Not quite sure the second chance was really needed, as the first time was not that bad at all - but  takes guts to start over, and this girl clearly has them guts, darling!

Oh my, Miss Tea! Gosling, satanism and humour? Brava! Perhaps the most entertaining act of the evening - great story, hilarious approach, delightful costume. I wish there was a tad bit more eye contact and she didn’t hurry quite so much, but surely that’ll come in time. Shame about the technical difficulty at the end, but it did not take away from her marvellous act!

Victoria Semmybird, Minnie the Moocher! The audience were kept guessing if she was truly tipsy - there was one particularly convincing misstep in the audience that even made a few people gasp. Tiny bottles in the bosom are a classic that never fails to entertain. Semmybird knows how to entertain - and you can feel how much she loves being on stage…and that feeling is contagious!

Саша Редкая - Amen, rock’n’roll! This twerking witch set the house on fire - even though the number itself was quite basic and at times hurried, the energy was undeniably fierce. I wonder why she needed the socks though…and boy, she was really angry at that broom!

Rockie Zombie, rock’n’roll mama! Showed ‘em how it’s done with her classic Cowgirl act. A last dash of fire for the grand finale, the ultimate essence of the mood of the night - bold, bright, rockin’, confident.

The Verdict

Overall, we only had about 2 acts that could be called pure rock’n’roll. Even Muse’s “Newborn” (hello, Frog Princess) was cut right before the most driven part started.

Even if occasionally some acts came close to the vulgar side of things, they were still very entertaining, vivacious and passionate!

It was pure fun - and isn’t that really all that matters, darling?

Extremely excited to see so much fresh talent emerging on the scene.

The most precious thing about the whole evening was the camaraderie. From Jeva running on stage to help Stacey with a stuck corset to Tamasinushka and Sahara in the audience, this is exactly what the world of Burlesque needs. There is never any need to be toxic, am I right, darling?

Long live Russian Burlesque!

[furederiko]

After a brief detour through Shanghai, London, and Berlin, it's time to land on Dai Teikoku Gekijou once again. The stage is set for our main cast to take the spotlight! Furthermore, these 5 songs (Track 7 to 11), are representative of each character's personality, traits, or even backstory (so... SPOILER alert?). Basically, the meat of this album. You'll likely hear these tunes in full once you've successfully secured their solo endings, right? And throughout, the BGM version usually accompanies them during the playthrough. Let the song show begins!

Otome Nandesu yo (I'm a Maiden) by. Sakura Amamiya (Ayane Sakura)

First on the lineup, is the leading lady herself, Sakura. And, I'm not sure how to put it, but from a purely subjective viewpoint, it's my LEAST favorite of this set. Elise left a big shoe to fill following her one-woman Opera. And Sakura just couldn't keep it together, that we had to step down into an idol-mode or some sort. Sorry, no offense to idol fans out there! Different people, different tastes, and my idol phase had gone over the rainbow. If I have to be honest, I only heard the short MV I posted above (first one released) only a few times, before forgetting about it completely. I can't really understand why. Perhaps, it sounded generic? Sakura Shinguuji's image songs weren't a stand out in "Sakura Taisen" and "Sakura Taisen 2" either. Nevertheless, I enjoyed both "Sakura" and "Haru ga Kuru". I have even recorded my own covers for those two songs! They told the tale of naivety and sincerity, of a country girl who went to the big city and burdened with the fate to be a hero. Comparing those to New Sakura's solo is unnecessarily unfair, but it also can't be helped. What is the message of this song? It's about a girl who reunites with her childhood friend (Captain Seijuurou, who else). But she's no longer fond of the idea of him seeing her as a younger sister figure. But she couldn't say it, because *drumrolls*, she's now a maiden. My memory is fuzzy, but I believe Kouhei Tanaka-sensei had already confirmed that this is, in fact, an "Imouto" song. Hence the reason why my interest is not that high. Fortunately, the song took a delightful tone the moment that harmonica came along (which was after the first chorus, on the 1:30 mark). I actually DID enjoy it more because of it. I also liked the bridge part, and how the final result sounded less like a pop song. But that final line? Why did it feel needy and/or desperate? *sigh* Oh well, at least Sakura already did wonders with "Shin GEKITEI". I admit Part 3 doesn't really start off on the right foot. But worry not! It definitely gets better...

Onna!! Matsuri no Kokoro Iki (Woman!! The Spirit of the Festival) by. Hatsuho Shinonome (Maaya Uchida)

Time to get fired up again! And seriously, I dare you not to shake your body or smile as soon as this song begins. Because you certainly would! On a glance, this sounded and showed the traces of being the Kanna Kirishima's style of the new generation. But with one obvious twist: It's... AWESOME!!! Kanna is a good character, but her solo numbers rarely appealed to my taste. Suffice to say, this song took the best parts of her numbers and blended it into one spot. I've always loved this song ever since the MV came out. And this full, almost-5-minutes, version with extra arrangements just sounded... MINDBLOWING. One would argue that a bulk of this song was instrumental, with Maaya Uchida as the Matsuri's (Festival) Miko shouting her commanding cues. That is undeniably true. But listen closely, and you'll get why I or anyone would dig this. If you have been keeping up with me, you'll know that traditional tunes from various countries fascinate me. So it should come natural that I'm a sucker to festival songs like this. Especially with that mix of heavy metal rock guitar building up towards the dynamic duo of the energizing Taiko beat and an iconic whistling of Shakuhachi that added the authenticity of things. Wagakki Band, anyone? Aaaaaahhhhh... and Kouhei-sensei just HAD to slip in that speedy CRAZY-sounding piano bit! *applause* Just like Lancelot's song, this made me feel like I was being transported to Tokyo or Kyoto, attending and witnessing an actual Summer celebration. Uchida, a good singer, didn't perform this in her smooth vocal style. But she shouldn't! This is something you sing at ease while plainly having fun. Being all out and letting loose is basically the key! For the first time in Sakura Taisen's music history, I've bumped into a song that I simply don't want to sing along. Instead, I would DIE for the chance to participate in that Taiko play. Oh my, I need to see this in a live performance. You TOTALLY need to hear this! And dance along if you will... PS: If there's any gripe about this, it's when Hatsuho and the background voices are yelling "Oisa!" (literally means "Hey!"?). It tends to sound "Oisa, Osa, Usa, USO, USO, USO!". "Uso" means "Lies", and ends up giving it a misogynist feel by accident. The message of this song is that a woman is the spirit of the festival. Girl power! Feminism! But then there's these choir of ALL MALE that seemingly shouts "Lies, Lies, Lies!". That's pretty contradictory, eh? I know I'm totally making too much of a big deal out of this, but it honestly bugs me out...

Ninja Azami (Azami the Ninja) by. Azami Mochizuki (Hibiku Yamamura)

We haven't left Japan, as indicated by another tune of Shakuhachi and Koto, preparing us for the next performer. It's a familiar tune that many have heard in "Naruto", "Ninpuu Sentai Hurricaneger", or other feudal Japan-themed series. And the title had already said it all. This is the biographical description of Azami, as Shin Hanagumi's resident ninja-in-training. But as soon as it entered the verse (as you could hear in the MV), the sensation changed pretty significantly. No longer a serious Shinobi song, it morphed into the franchise's usual playful little girl song. Yes, even though Azami is technically older than Iris Chateaubriand, Coquelicot or Rikaritta Aries! She mentioned her hobby on practicing the various ninja scrolls, and even her love to eat snacks like Manjuu during breaks. Yare yare... With just 3:28 minutes, this is the second shortest song after "Shin GEKITEI". Obviously, the tempo does play a role in that. Hibiku Yamamura is a Sakura Taisen fan, yet she had the shortest solo number in the album. Somewhat ironic, isn't it? Nonetheless, she did a fantastic job. In fact, her unique voice remains consistent throughout the album, and that's worthy to be praised. I liked the traditional Japanese feel in this, but it also had too many speaking lines for my taste. Still, I'll gladly take this bouncy and head-bopping fun tune over Sakura's anytime. PS: Both Yamamura and Ana's VA made guests appearances more than once during the monthly Teigeki Report, which apparently will still going next year (probably until the TV series airs?). So you can hear them sharing personal experiences and stories on those videos. It's insightful, that's for sure!

Kaereru Basho (A Place to Return to) by. Anastasia Palma (Ayaka Fukuhara)

Goodness! I've been itching to arrive to this song. A good song is one that tells a story. Just like the previous songs, this one does the same, but with a deeper meaning and values. Ana is most definitely the "sexy Onee-san" archetype of this game, complete with having a curvaceous figure (reminds me of Rangiku in "BLEACH", wait a sec...). But personality-wise, the Greek lady gave off this mysterious, unpredictable vibe. She's like a mix of mature Maria Tachibana, with a vibe of Glycine Bleumer and Soletta Orihime's European presence, but with a cloudy past of Hanabi Kitaouji, and the hidden sides of Reni Milchstrasse or Subaru Kujou. If I had to describe it in one word, she's puzzling. However, there's one trait that she's been constantly identified with: she's an actress. It thoroughly commanded the message of the lyrics. But I digress. Was the whole song really all about Ana's passion for acting? There seemed to be more than meet the eye. From what I gather, there's an underlying hint of a journey of sadness, past events or eras that had emerged and faded, beloved people that had come and gone. In short, she basically acted her way through the ups and downs of her life. A coping mechanism, perhaps? Laughing away loneliness, a facade of her true emotions. And what did she mean by "A Place to Return to"? Was it the stage, or acting, or just like many of previous Sakura Taisen's heroine: someone to go home to? Or someone who can finally discover and understand her real self? I need to either play the game or watch the TV series to confirm that. Now that I'm older (and wiser? Naaaah), this is my idea of a good song. It asks you to listen, pay attention, and also feel challenged to try to figure it out. This was the longest Shin Hanagumi and solo song of the album. You'll understand why it needed to be that long to be good. The moment that alluring piano intro kicked in, and the violin started to seep in, it's classy and elegant as hell. Ayaka Fukuhara stated that this was a challenge to sing, and indeed it is. It should be. Even though the vocal range wasn't as demanding as Elise's opera, the pitch work was exceptional! She gradually went from a lower tone to higher and higher. It sounded like the aura of the room changed every time another verse began (due to the modulation, as well as the flow of passion and emotions), seemingly depicting Ana's many masks. And those sharp notes? Oh my, oh my, OH MY!!! No wonder Subaru's VA, Mie Sonozaki (who is a prolific singer herself) congratulated Fukuhara on doing such a fine job. This is another highlight of the album for me and my favorite Shin Hanagumi character song by far. Now, where can I get the off-vocal version? Because I totally want to try singing this song... PS: Similar to Elise, voice-wise, Ana is one of my favorites due to her range and distinct pronunciation style. She can go mezzo-soprano and heavy, but also high and soprano. I strongly enjoyed that versatility is utilized wonderfully in this song.

Rondo (Round Dance) by. Clarissa Snowflake (Saori Hayami)

You're watching a European-based fairy tale romance. What happens at the end, when the one true love has been found and all evil that stands in the way has perished? They hold a gala, where everyone waltzes into a happily ever after... That is the core of this whole song, a composition that Kouhei-sensei described it as feeling "like a movie". As a character, Claris fancies herself reading books (nerd alert! Hahaha), and I think many of her scenes in the game takes place in the library. But she also writes stories and loves to fantasize about a paradise filled with mermaids and magical elements. Perhaps because she alone wields a magic book. And her dream is to dance with someone while surrounded by those things. Those are the essence of the simple but poetic lyrics. I admit, when I first heard it, I was taken aback by the decision to putting this track as the final Hanagumi song. But now it makes perfect sense. It easily serves as a calm and astonishingly perfect capper to a series of solo songs, a grand celebration to conclude a colorful parade. My knowledge of reed or woodwind instruments is poor, so I couldn't tell if it was an Ocarina or another type that played in the intro. I'm not sure if that's native to Luxembourg too. One thing for sure, the medieval melody would naturally pierce through your soul, until that graceful combo of Lute or acoustic guitar (again, sorry if I'm bad at names) and harp soothed you into a more familiar space. Then suddenly, the song changed tone halfway through and turned into full folk song mode. Yes, the Kouhei-sensei style I told you before. Someone on Youtube mentioned that this reminded him/her of Disney's "Tangled". Well, I can attest that the catchy interlude was very true to that notion. To think that this song arrived while "Frozen 2" is still playing. Such a great coincidence! Saori Hayami is a great singer, known for her gorgeous legato siren-like vocals. Just like Ana (oh hey, fellow non-Japanese Shin Hanagumi), I'm beyond happy that this song fully made use of her unique charm. Especially once it got into that royal ballroom dance chorus, reminiscent of Orihime's image song. It didn't take long for me to imagine Claris as the protagonist, dancing with her prince (or princess, if that's her thing. Right, Hallmark?) in a grand finale of her fictional story. Speaking of which, I'm still confused as to why Hayami's name is always placed at the end. Even though the promotions clearly showed that Claris is one of the first members of the team. Could it be that she's a "special cast member" type, like in Hollywood movies? That would make sense... Another highlight of the album, another personal favorite (that I've been humming and singing unconsciously on repeat), this clocked as the second-longest solo of the album. But just like the previous number, I doubt anyone would complain. You only need to close your eyes and just start swaying left to right, back, and front. Take your beloved person's hand, embrace him/her tightly, and just follow the musical flow. Dance the day or night away, with much joy and passion! PS: The official MV wrote the title as "RONDE". I still go with "RONDO" because pretty sure that's a typo, considering even the French (one of Luxembourg's official language) equivalent is "RONDEAU". Rondo itself is a musical form that refers to a theme that keeps coming back around. But in Japanese, the kanji can also be read as "RINBU" which means "Round Dance".

Next: the final part of the review, featuring voices old and new, and my overall impression...

Video is available on SEGA Official Youtube Channel. "Shin Sakura Taisen" is produced by SEGA, and RED Entertainment. Credits and copyrights belong to their respective owners.

[2gborbbm]

Terraforma 2019

Two weeks ago we hit up what must be the most bohemian annual gathering in Milan to spend a weekend appreciating the world’s most adventurous and talented artists in experimental electronic music. Set in the woodsy grounds of a 17th Century villa, Terraforma Festival puts sustainability and experimental music at the forefront to bring in what is definitely the best crowd we’ve ever experienced at a festival of this size. Terraforma’s lineup, which would (thankfully) not turn the heads of the new generation of Adriatic festival goers, did more than turn ours over the three days. It did so from start to finish, and what a way did it start. Caterina Barbieri was the act to open, with a magical, transient live performance that set the tone for everything that was to follow �� even the madness that was Monolake's set inside the jam-packed and strobe-light-lit labyrinth, which thanks to the organisers' (and gardeners') wonderful efforts has been carefully rebuilt to its former glory from hundreds of years ago, and is now ready to host a party. Headlining the Friday night was Sherard Ingram, otherwise known as DJ Stingray. Consistently swapping between four-on-the-floor techno and hard, dirty breaks for a solid two hours, this was hands down our favourite set of the whole event. Some 8 hours in to the 3-day festival and Terraforma had already proven to us we'd made a fantastic decision to attend. Saturday and Sunday’s daytime sets saw the likes of Mica Levi and Kelman Duran bring their beats (…and earphones) to the Villa. Whilst Mica was purely having fun, smiling and laughing throughout her performance – something we did not expect considering her no-fucks-given attitude in interviews – Kelman put on a performance which felt like an interpretation of a Dominican Republic contemporary art collection. You couldn’t decipher it, but nor were you meant to. Tempos went up and down various times throughout the set, with Mr Duran even throwing in a section of a Tupac Shakur interview for good measure. Words of wisdom and tempo changes were topped-off with some good old-fashioned dembows, para un poco de perreo. The festival came to a close on the same note at which it started (and kept at during the weekend). Local legend Donato Dozzy began what was to be its closing with a top-tier three-hour-long hypnotic techno set, amid countless cheers from the crowd in their mother-tongue, confirming their appreciation of his selection – which was alternating between three turntables. Molto benne Donato. Energy levels only went up from here. We’ve never encouraged or enjoyed selfie sticks, or similar stand-like apparatus; but that's because we’d never seen one put to such good use. RP Boo's set was fantastic from start to finish – 2 hours of good music, good vibes and a good tempo. Kavain made his presence known and ensured his set was one to remember through the many things he did so well: his DJing, his fabulous one-liners throughout, his dancing on stage, his interaction with the crowd and, last but not least, his crowd-surf to finish – which might have gone on longer than he'd foreseen thanks to a very keen crowd. Paquita Gordon did a great job of wrapping things up before ourselves and a smaller group of festival-goers seeking to see things through made our way out of the main festival area and closer towards the water to what was the afterparty with Dj Nobu, who smoothly and serenely saw Terraforma out with deep, transient techno, and beautifully brought it all to an end with Burial's Archangel. We’ve never heard such little linear progression in musical performances as we did this weekend, and this isn’t a criticism. Far from it. Terraforma lays the infrastructure for artists to come and express themselves through electronic sounds, and boy was there no lack of expression. The structure of the festival – moreso its success – is also worth mentioning, having one act on at one stage at a time really does work, and more importantly really does allow for full enjoyment of the carefully curated selection of artists and performances. Until next year. Grazie mille.

[tonguetiedmag]

concert: Midnight world tour pt 3

Shows at the Black Sheep will always hold a special place in my heart--10 minutes from my house in the town I grew up in, I went to my first GA show ever here and many more throughout my teenage years. Being a very intimate room in a moderately sized city that has almost no music scene, shows here are always a giant hit or miss; that being said--The Midnight Tour Part 3 may be the best show I’ve seen at this venue yet.

With a giant troupe of Denver-local fans who travelled to be there mixed with the familiar faces of the Colorado Springs crowd, I was surprised at the unwavering energy the crowd held throughout the night. Despite the crowd the room drew in changing pretty drastically in between sets, a new pack of passionate fans, crowd-surfers, and lyric-screamers seemed to pop up for every artist.

Shows at this venue have often been forgettable--I can’t even remember the last time I attended a show at The Black Sheep, but the pleasant shock of the energy this show brought in is something I will never forget.

Pure-Noise group Selfish Things welcomed in the evening, invoking excited shrieks from the room just 30 minutes after doors. Although I was personally unable to watch their set, I surely heard about it from fellow music fans for the rest of the night. I spoke with Denver-local live music lover Alexander Chase about their thoughts on the group’s performance, who told me, “Their set was absolutely fantastic. The mix of going from soft music to music I can beat the shit out of someone [to] was perfect and it mixed well. The best part was .. their stage presence! They got the crowd involved and their performance was amazing.” Despite not having heard of Selfish Things prior to the show, when asked if they would see the group again, Chase answered, “I sure as hell would see them again.” Much of the small talk with friends and strangers alike throughout the evening showed me that many there held similar sentiments, and I’m positive next time the four-piece rolls through the area they will not disappoint.

With an instant wave of spirited fans rushing the stage and deafening cheers filling the room, I knew that could only mean one thing: Richmond-based pop group Broadside’s set was in its beginning moments. Rocky Mountain Broadside fans were treated with being the first ears to hear the band’s new singles, “King of Nothing” and “Empty” at a live show, and fans made sure their love for the group’s new music was known via their relentless crowd surfing. Broadside also ripped fan favorites like “Coffee Talk” and “Laps Around a Picture Frame” as well as throwing in older, lesser-known tracks like “Damaged Kids”. Despite the altitude and being drenched in sweat, the musicians rose to the challenge of matching the energy the crowd was giving. As a result, the men of Broadside cultivated that intense feeling of adrenaline-fueled interconnectedness between everyone there that is one of my favorite things about going to live shows. Although the music filling the rest of the evening was equally as entertaining, Broadside without a doubt produced the most active crowd of the night and I loved every moment of it-- and I haven’t been able to stop listening to them since.

Emarosa was up next -- Emarosa is one of those bands that I’ve known about for a while, but somehow never got around to listening to before this night, so I had no idea what to expect. When I asked a friend nearby what their sound was like, I was answered with “Dance Gavin Dance, but without the screaming.” Without any prior knowledge of the band’s history, this struck me as a seemingly contradicting description, but less than a minute into the group’s set, I understood exactly what they meant. Although delivering pop-focused tracks, I could hear the influences sonically from the group’s older, heavier releases that they melded with pop and sprinkled some funk into to create their current vibe. The group gave off a light-hearted all smiles energy, spreading an infectious positivity that prompted head-bopping from audience members which turned into full-body dancing and laughter. Although at times throughout the set lead vocalist Bradley Walden’s dialogue came off as overly cocky, I can appreciate that swaggering stage personality is often an integral part of making an artist’s performance. The music and talent from the rockers spoke for itself, who are clearly no strangers to a fun time. They seamlessly strummed out an intriguing groove, producing a slightly disco-esque element that I have yet to hear from a modern rock group. The sound made it impossible not to move and kept my ears paying attention. Adding some flair to their live performance, towards the end of their set previously mentioned lead-vocalist Bradley Walden lifted the group’s guitarist onto his shoulders, working his way through the crowd and managing to deliver solid vocals while balancing his bandmate. As Emarosa’s stage time came to a close, the men had the crowd come close to a huddle, cheering out “Peach Club”, the name of the group’s latest release at the count of three. I appreciated the familial feeling the moment created as the excitement from their set came to a head, and I certainly won’t allow myself to be a stranger to what this bunch does in the future.

Stagehands worked quickly to transition all the moving parts of headline group Set it Off’s production into place amongst the chatter of tipsy moms, excited pre-teens and everyone in between. Before long the room went dark, illuminated only by the nearly-haunting blue light coming from the timer now displayed on stage, paired with a room-filling audio message that said “2 minutes until ‘Midnight’”. A cute play on words in regards to the group’s latest album, ‘Midnight’ and a smart way to build on the anticipation in the air, it quite literally set the stage for the level of production the rest of the night would hold. Set it Off provided all the fundamental aspects of a stellar performance; strong vocals, likeable stage presence, precise instrumentals--but what resonated with me most was the level of production and visuals that united with those fundamentals to create an unforgettable act.

Opening with the danceable and lively track, “Lonely Dance”, the group did an appreciable job incorporating deeper cuts into the setlist along with the fresh releases. Changing things up just before the mid-way point of their set, lead vocalist Cody Carson opted to hop behind the drumset, while drummer Maxx Danziger took to center-stage to the mic-stand, ukulele in hand to strum out a stripped-down version of “Bad Guy”, surprising fans with the treat of welcoming Danziger on to lead vocals for the track. Additional surprises during Set it Off’s performance included the amount of gleeful crowd surfing from fans, Carson cracking a joke in between songs about the potential for concussions in the front row and checking to make sure both barricade-bearing attendees and crowd surfers alike were all doing okay.

The quality of the performance didn’t falter for even a moment, despite all the new aspects incorporated into the set compared to previous tours the group has done for this album cycle. It was clear to me the longevity of Set it Off’s career can be attributed to the performer quality these men hold in their bones. It didn’t matter what was happening; intent was present always. In particular, drummer Maxx Danziger offered a captivating personality onstage -- incredibly animated while drumming, and still performing when he wasn’t. Everything between propping his feet up on his set paired with a sassy wink, to engaging the crowd to get excited whenever guitarist Zach DeWall ripped an impressive riff or lead vocalist Cody Carson delivered a difficult vocal.

Danziger’s true shining moment was offered during a drum solo that including a medley of current chart topping songs such as “Old Town Road” (Lil Nas x Billy Ray Cyrus) and “If I Can't Have You” (Shawn Mendes) while also incorporating current internet humor cultural aspects, drumming to the mii theme song and including fun spins on memes that have been circulating around Twitter as of late.

Guitarist Zach DeWall additionally impressed me with his focused finger-picking in one of the final songs of the set, “Midnight Thoughts” delivering a difficult riff and executing it with precision that had the crowd cheering and grooving. Lead vocalist Cody Carson offered consistent vocals and even more heightened stage presence. The power of the individual forces these three musicians hold fusing together was undeniable as the entire room bounced to the closing song of the evening, fan favorite “Wolf in Sheep’s Clothing”.

Between the deeply rooted and evidently long-practiced musicality and talent this trio holds, paired with the impeccably captivating visuals and heightened production this tour offers, I definitely walked away having been more entertained than expected. I have a feeling that’s going to be a trend with this trio -- constantly presenting an improved performance every tour, every show, every night.

I’m ecstatic that I was able to enjoy the first night of this lineup, and you won’t want to miss it if it comes near your city -- The Midnight World Tour Part 3 has something for every pair of ears, whether they’re familiar with any of the artists going into the evening or not -- you won’t be disappointed with this tour package.

Review by: Liz Holland

[happymetalgeek]

Happy Metal Geek Interviews TARA LYNCH for Metal Planet Music after she performed on stage at the Limelight Belfast supporting UFO.

Follow TARA LYNCH online

Website  |  Facebook  |  Twitter  |  YouTube  |  Instagram

About TARA LYNCH

Musicians with as many talents as Tara Lynch (nickname: “Gui-Tara”) are a rare find. The American multi-instrumentalist sings, plays the electric and the acoustic guitar, as well as the bass, drums and piano, in addition to composing her own material from an early age. At the same time, she enjoys an excellent reputation among her colleagues and not only deployed her own skills on her current album Evil Enough but was supported by international stars such as Vinny Appice (Black Sabbath/Dio), Tony MacAlpine (Planet X), Phil Soussan (Ozzy Osbourne/Billy Idol), Mark Boals (Dokken/Yngwie Malmsteen), Brent Woods (Vince Neil/Sebastian Bach), Glen Sobel (Alice Cooper) and Björn Englen (Quiet Riot/Yngwie Malmsteen) as guest musicians. “They are all my personal friends,” she explains, “so it was easy to ‘cast’ each track and their support means the world to me. They all welcomed the opportunity to play the songs I wrote and each guest put their own special vibe and feeling into each track, making them sound just perfect!”

And indeed Tara Lynch has succeeded in recording an outstanding rock album in Evil Enough, which – despite the renowned guest contributions – focuses mainly on her expressive voice, her intelligent, elegant guitar style and her mature songwriting. Says Tara: “I prefer to think of the guitar as a form of art and not just a tool to create music with, which is why there are four instrumental tracks on Evil Enough. My musical taste varies widely, and though I’m a huge fan of the instrumental guitar genre, my favourite bands have a vocalist and a guitarist that really takes advantage of melodies and not just pure shred.”

For this reason Lynch, who has studied with Steve Vai, Chad Smith (Red Hot Chili Peppers) and Derek Sherinian (Dream Theater, Black Country Communion), among others, relies primarily on inspiration and instinct, despite her accomplished technical skill: “What you hear is exactly what comes out of me without any pre-programmed ideas. I have lived quite a colourful life thus far and have lots of things to talk about, so when I write my music I just say it like it is. I do the same with my guitar playing. I’m not out there to impress anybody, just to tell my story and hope that people enjoy what they hear and can even relate.”

And that’s exactly what she’s achieved in all ten songs on Evil Enough. Care for some examples? ‘Antidote’ is the first single and official music video released from the album. Tara: “This track tells the story of an all too familiar situation for a lot of people where the one closest to them hurts them so much that they resort to welcoming the company of others as an antidote.”

March/April 2019 will see Tara Lynch & Band embark on a major UK tour alongside British rock legend UFO. Tara promises “a very exciting high energy, full of passion performance.” With that said, the tour is predestined to be a spectacular success!

Her debut album “EVIL ENOUGH” was released on 01 March 2019 through Cargo Records UK

“Tara is like discovering an unfound gem. Combining fantastic guitar playing, great songwriting and amazing vocals she is a new force to be listened to!!” – Vinny Appice

“Tara is an as yet greatly undiscovered talent. Writer, guitar player and singer she represents a powerful presence in this mainly male dominated genre. Working with her on her new record it is evident that she is destined for greatness.” – Phil Soussan

“Tara Lynch has a beautiful natural vibrato that I have only heard in the very top guitar players.” – Derek Sherinian

“Producing Tara’s album was an amazing experience. Her music, lyrics, voice and playing are melodic, aggressive, contemporary, classic and honest… It’s refreshing to hear an artist truly pissed off again!” – Brent Woods

“After knowing her as a friend for many years, I knew it would be fun, but working with Tara is like holding a Tiger by the tail, she is so full of talent and energy, knows exactly what she wants and is not afraid to go for it! It was a really great experience!!” – Mark Boals

“Tara is just a pure pleasure and honor to work with. She knows what she wants but yet so humble and grateful. And what a talent!” – Björn Englen

“Drummers like to be challenged and Tara’s music definitely fits that description. I had a blast recording these songs and it’s an honor to be featured on a record with so many other great players and friends!” – Glen Sobel

  INTERVIEW: @HappyMetalGeek Talks to @TaraLynchRocks At @LimelightNI @BjornEnglen @CargoRecords @rockngrowl ‏@MetalPlanet72 Happy Metal Geek Interviews TARA LYNCH for Metal Planet Music after she performed on stage at the…

[hutcho33-blog]

Winners & Losers of ‘Groovin The Moo’ Canberra

Over the weekend we got a chance to attend the Canberra iteration of regional music festival Groovin The Moo. With crowds entranced by a solid lineup of artists, including Dillon Francis & Violent Soho, and the usual mix of festival goodness, it was definitely a great all round event. Here’s some winners and losers from the country extravaganza.

Winner: Violent Soho

One of the toughest tasks in music is being the last act of a long festival. Many of the other acts have shredded the main stage before you grace it with your own presence. It’s something that negatively affected the closing performance of Childish Gambino at Field Day. It’s not that Gambino wasn’t amazing, rather that merely half an hour prior Chance the Rapper laid down the best performance of the day.

With this said, Violent Soho killed Sunday night, with an energetic, exciting performance that ignited a freezing crowd.

Punting footballs into the audience, smashing guitars and pounding beers all the way through the one hour set, Soho produced one of the craziest atmospheres of the night. Mosh pits were encouraged, smaller audience members were literally thrown at the Cattleyard stage and a hungry crowd begged for more music despite being the last act.

For igniting an audience at the end of a long day, Soho are the biggest winners of Groovin the Moo Canberra.

Loser: Montaigne

Montaigne is a regular fixture at Australian music festivals, with a nice following and a pretty successful career.

However, this was not a great performance from her. Hobbled by illness, Montaigne wasn’t able to produce a performance that she is usually capable of. Her music also wasn’t suited for a mainstage environment, following a strong performance by Against Me! and before another solid performance by The Smith Street Band.

It also speaks to a larger problem with Montaigne at festivals. The style of her music doesn’t suit these larger crowds, she struggles to create exciting environments and is largely ignored by those unfamiliar with her music. Other acts are better at attracting new fans because usually their music is more inviting and broadly accessible.

Unfortunately, the stage was literally too big for Montaigne in the University of Canberra.

Winner: The Darkness

Before The Wombats and Violent Soho closed out a stellar Groovin the Moo, a funky British rock band put forward the strongest performance of the festival.

Complete with crowd surfing, throwing picks intothe audience and standing on their heads, The Darkness enticed both diehard fans and casual festival goers alike.

A strong 80s British rock vibe separated them from their surrounding acts, becoming a welcoming and reinvigorating addition to the final four acts on the main stages. Even for someone who had only ever heard a select songs from the group, their set was addictively joyful, making you wish for more.

The best pure performance in terms of entertainment value was undeniably laid down by The Darkness.

Loser: Anyone Wearing Shorts and/or Singlets

Usually, the festival is the perfect place for short shorts and minimal clothing. A perfect opportunity for everyone to show off their physique and live freely.

Canberra reached a cool 1 degree by the end of the day. In fact as soon as it hit around 2 o’clock, it was freezing. It was a chilly reminder that Canberra is a cold cold place. The people who aren’t from the area, or even just forgot how cold it can get in the nation’s capital, the later portion of the day must be similar to how Jon Snow felt all those months on the wall. For those who don’t watch Game of Thrones, I’m saying it was fucking cold.

So for anyone wearing only overalls, short denim shorts, skin tight morphsuits, basketball jerseys, muscle singlets, board shorts or whatever manifestation concocted with the express intent of exposing as much skin as possible unfortunately you suffer an embarrassing fate.

You suffer a huge, chilling L.

Winner: Australian Music

Despite lacking some of the best artists this country has to offer, the Australian acts on this lineup killed it across the board. Early in the day, Manu Crook$, Amy Shark, Mythel Ethel and L Fresh the Lion crushed their sets.

The Smith Street Band, Tash Sultana and The Jungle Giants continued to deliver the Aussie goodness before moving into the final four acts. PNAU was super fun and warmed up the crowd perfectly for the home stretch before the headliner and previously mentioned Violent Soho gave a killer festival a worthy send off.

All of this is fantastic news, with Australian music continuing to advance an awesome diversity of quality music.

James Tidswell, the guitarist for Violent Soho said it best during his band’s concluding set.

“How fucking good is Australian music right now!”

To answer James’ question, Australian music is really fucking good right now.

[lyndsey-parker]

‘The Voice’ Playoffs, pt. 2: Have a little faith in Team Adam

On Tuesday, Blake Shelton was declared the Sexiest Man Alive by People magazine, but he may soon be feeling like the Stupidest Coach Alive, when his longtime Voice rival (and People’s Sexiest Man of 2013), Adam Levine, wins this Voice season with ex-Team Blake country contestant Adam Cunningham. “As happy as that makes me for you, it makes me feel really stupid, because you were on my team,” Blake told Adam C. this Tuesday, when Cunningham kicked off the Team Adam episode of Voice Season 13 Playoffs with a heartfelt cover of John Hiatt’s “Have a Little Faith in Me.” Perhaps Blake should have had a little more faitch in Adam C.

Adam L.’s fellow coach Miley Cyrus might also be kicking herself with her fancy star-spangled boots in a few weeks’ time, because her former contestant, Addison Agen, also has a fantastic chance of making it to the finale. “Dang, Addison is probably gonna win this, and Adam’s gonna really shove it in my face,” Miley mused after she heard Addison’s gorgeous take on John Prine’s “Angel From Montgomery. How interesting it is that Team Adam’s two strongest singers this season — the only two singers who received standing ovations Tuesday night — are Steals. Levine really does know how to play the game.

Here’s my recap of all six Playoffs performances from Tuesday:

Adam Cunningham

Looking all beardy and Stapleton-y and serving Grizzly Adams/Marlboro Man realness, Cunningham crooned “Have a Little Faith in Me” with a ton of Southern-rock soul and true grit. Miley summed it up nicely with her side comment, “My mom is going to be loving him!” Adam C. is indeed the kind of rugged, Wakefieldian everyman that’ll easily charm every housewife in the South and Midwest.

“You blessed my spirit with that. I felt your energy,” said Jennifer Hudson. “There’s no easier and quicker way to my heart than someone who makes Blake Shelton feel stupid,” quipped a gloating Levine. Adam the L shouldn’t get too cocky, just yet, but Blake definitely should be worried. Cunningham may not be as outgoing and wacky as Team Blake’s Hee-Haw-ready Red Marlow, but this is the country dude who has my Season 13 vote.

Whitney Fenimore

Last week, Whitney simpered some treacly Train ballad and almost had to take a train back home. Wrong. Song. Choice. But thankfully, Adam picked her as his Comeback Contestant, and he must have been reading my Knockout Rounds recap from last week (hi, Adam!), because he clearly heeded my advice and gave her a much more suitable Sheryl Crow song. While a couple of the coaches thought Whitney sounded labored during the very tricky low verses of “If It Makes You Happy” (“To have a cool rocker guitar chick would be awesome… but I feel like the complete first half of the song was a struggle,” griped Blake), I enjoyed her sleepy/sexy rasp and general guitar-slinging badassedness, and everyone agreed she sounded great when she powerfully belted the chorus.

“I think the hardest part of that song was what you were doing perfectly, which was the soaring big note there. That’s almost impossible to do. That’s really, really hard. So you showed me a lot of strength and a lot of things that I didn’t know about you vocally. I’m really, really happy,” said Adam.

Emily Luther

Emily was assigned the Adele version of the Cure’s “Lovesong,” which was a triple-challenge: Adele is one of the best singers of her generation (or any generation); the Cure are the BEST BAND OF ALL TIME (this is fact); and Candice Glover created one of the BEST AMERICAN IDOL MOMENTS EVER when she did this arrangement in 2013. (Sorry for the all-caps, but this is serious business here.) Emily created another challenge for herself when she expressed her desire to conjure a cinematic, “Bond-theme” vibe during her performance. Emily may have Bassey-level pipes, but none of her stuffy performances this season have exhibited that Shirley swagger.

Emily sounded, as Blake put it, “so professional and ready and poised.” She always does. But something was missing. Her vocals on point, of course — she’s the technically finest singer of Season 13 — and Jennifer even called this “a flawless performance,” but perfection can be boring. There was no passion here. Keep in mind, Robert Smith wrote “Lovesong” as a wedding present for his wife. But Emily just sounded like a wedding singer to me.

Adam was feeling the love, however. “This is such a huge step in the right direction for you, because it’s making people understand even more the human side, the soulful side of you,” he told Emily. “I think this is a great progression for you.”

Anthony Alexander

I know I’m going to sound like Goldilocks here, but while Emily was too perfect, teenage Anthony was too raw. (Ironically, he performed an Ed Sheeran ballad titled “Perfect.” It wasn’t.) Neither were “just right.” Anthony’s vocal lines trailed off unsatisfyingly, he seemed disconnected from the loved-up lyrics, and his stage presence was lacking. He had this vacant, vaguely terrified look throughout, like Cindy Brady on a kiddie quiz show.

“I still detect a lot of nerves. I know that you’re 18, and that’s probably what it boils down to. But I hope you know that you are super-talented,” Blake said kindly. Adam, who’s always had a soft spot for Anthony similar to Jennifer’s fondness for teen Team J.Hud hopeful Shi’Ann Jones, still seemed confident in his young charge. “It’s not a matter of if you’ll be ready, it’s a matter of when,” he asserted. “You have a tremendous voice with tremendous potential. I see a lot of improvement, and I am 100 percent proud of you, man.” I just hoped Adam wouldn’t make the same mistake with Anthony that Jennifer made Monday with Shi’Ann. This show needs for ready-for-primetime players.

Jon Mero

Jon’s “Blame It on the Boogie” Knockout Rounds performance last week was montaged and kept off YouTube, which didn’t bode well for his chances. What I could see of it, however, was pure corporate-party-band cheese with a side of extra cheese, topped with more cheese. I was not  fan. But it turns out we can indeed blame it on the boogie, because when Jon dropped his Jacksons-esque dancing-machine shtick this week and simply, sentimentally crooned Adele’s bittersweet “When We Were Young,” he was so much more believable, relatable, and likable. Without all of his distracting party tricks, I finally was able to notice Jon’s impressive vocal range. The man can saaaang. Finally, he connected.

“Your voice, it seriously is like a laser; it just cuts through everything. … You’re more than ready for this,” marveled Blake. “You’re so multi-talented. You didn’t dance today, and I loved that. You sang from your heart,” said Adam.

Addison Agen

Closing the show wearing milkmaid braids and exuding rosy-cheeked, country-girl charm, Addison may have looked her age (16), but she performed the Bonnie Raitt version of “Angel From Montgomery” with incredible maturity, somehow combining the poise and grace of Emily Luther with the youthful fragility of Anthony Alexander. This wasn’t Addison’s best vocal, but her warm tone and ethereal stage presence was still a magical enough combination for Adam to call her a “unicorn” — a label he once gave Team Adam champ Jordan Smith, mind you.

“You have so much character in your voice that would normally have to come from somebody who’s been doing this for 20 years and smoking cigarettes every day and drinking whiskey, and luckily for you, you got to skip all that horrifying stuff,” said Blake. “You’re just born with this understanding of how to convey a lyric. If you don’t move forward into the Lives, I’m gonna have somebody cut Adam’s brakes.”

Thankfully, Adam didn’t need to worry about driving home from the Voice set, as he did pick Addison to move forward to the live shows, along with Adam Cunningham and Jon Mero. Jon looked utterly shocked, but I wasn’t. Though I’d been rooting for Whitney, in the end, I agreed with all of Adam’s decisions tonight.

Come back Wednesday, when Team Miley’s contestants compete, and then we will have finally our top 12.

Follow Lyndsey on Facebook, Twitter, Instagram, Google+, Amazon, Tumblr, Spotify