Driven Far Off

The latest on the indie, alternative, and rock music scene including news, music, contest, interviews, and more. Best described as your favorite place to find new bands.

Yellowcard Acoustic Tour Review

By 1 Comment

Photobucket

Yellowcard…and Four Other Bands: An Observation

by Trace William Cowen

Photo by Seth Cowen

After being completely stuck in traffic and ending up mildly lost, though still only about a mile from the venue (Ironically, I’ve been to this place three times; so toss this one up to God’s good sense of humor), my brother and I arrived at the Masquerade in Atlanta, Georgia about ten minutes after doors opened. Following a quick bask in the rush of joy and deep relief that we were finally here and not there, we gathered ourselves and took the stairs to “Heaven,” the top floor. Though I’m far from being what some might consider a cynic, I did come to this show loaded with the opinion that ““ yes ““ I was about to see five bands; four of whom, at best, would wave their mediocrity flag quite high for about thirty minutes each, and of course, Yellowcard ““ a band I’ve enjoyed for the past five or so years. My opinion was proven very right.

Treaty of Paris

No one wants the flu or any of its ugly cousins, but timing was especially bad for singer Mike Chorvat. His apparent lean on the “nasal-ness” of his voice was stretched thin thanks to his admitted combination of a cold/flu/something of that nature. The songs seemed to be decently crafted, but were weighed down from the fact that, well, the singer sounded really terrible”¦and really sick. Some grace is due here, so an open bashing will not be included in my review. However, even if Chorvat had not been under the weather, the songs still weren’t strong enough to hold my attention. Overall, relatively boring.

PlayRadioPlay

Epic, electronically tweaked intros and instrumental interludes can certainly be intriguing. However, the intrigue is destroyed if the blips and crescendos don’t ultimately build up to something worth the wait; such is the case with PlayRadioPlay. The initial opening synths and computer fun had me interested, but I lost it all as soon as the singer opened his mouth. I’m open to being proven wrong, but this only further solidified my increasing disgust with these types of bands. Exponentially mind-numbing.

Secondhand Serenade

I remember hearing about Secondhand Serenade sometime last year, followed shortly by catching one of SS’s videos on MTV (at 5am in the morning, when videos are still played). My initial impression was “Hey, this is a guy trying to be like Dashboard Confessional”¦only with much weaker lyrics.” Sadly, this still holds true. However, John Vesely (and his band, respectively) did a nice job of infusing his trite words and borrowed inflections with some real energy, something tonight had been lacking thus far. He sang within his range, and proved to be a strong frontman. Of course, the dichotomy of being a good performer of not-so-good songs eventually collides into itself, again leaving me largely disinterested.

The Spill Canvas

The surprisingly “older” audience (I’m guessing an average age of 18 or 19) seemed to be excited for these guys. I’ve heard a bit about them over the past couple years, but remained unimpressed by their output. After three bands that left me longing even more for a band I actually cared about, The Spill Canvas only worsened my condition. Once again, the band performed well enough, but the songs just weren’t there. Wildly boring.

Yellowcard

I lifted onto my tiptoes and leaned around to see if the crowd had grown/diminished any since Treaty of Paris passed some flu around and, not surprisingly, Heaven appeared to be nearly full. After a grueling setup, singer Ryan Key appeared from the darkness, waved, and picked up an acoustic guitar. Wasting little time, he plunged into “Rough Draft,” a little known favorite from Yellowcard’s 2001 release One for the Kids. The song’s sentiments of being “gone before you knew that I was there” were fitting for the evening, and we all seemed to take note quickly, singing along to each word with as much conviction, or more, than Ryan Key himself. Sean Mackin (violin), Ryan Mendez(guitar), and a guy on cello soon joined Ryan onstage, to much applause. Thanks to the acoustic setting, familiar Yellowcard songs were able to breathe and grow organically with our participation, sometimes changing the tempo or flow altogether, giving old songs some very new life. The real attraction to Yellowcard is their genuine care for their fans and songs alike, and tonight was no different. Each song, no matter how old or immature they may seem now that Ryan Key and the band have aged a bit since their inception, obviously hold a special place in Key’s heart. Any band would be forgiven for being blatantly bored with playing their biggest hit, but Yellowcard played “Ocean Avenue”(from the multi-platinum album of the same name) almost as if it was their first time. Ryan Key dropped the guitar, quickly asked the audience to “split in half”, and directed us like a choir, allowing us to sing backup to his lead, and vise versa. Those who took the time to buy tickets and drive to the show weren’t merely “fans,” but friends of the band”¦or, as my brother told me as we descended from Heaven, “they make you feel like you’re a part of it.” We’re not listening, we’re participating ““ this is how you should feel at every concert, regardless of how many opening bands miss this point completely.

Sleeping With Giants Tour – 10/24/07

By Leave a Comment

October 24th, 2007—The 9:30 Club, Washington, D.C. A high-ceilinged, cavernous room, equipped with the relatively small stage, ample floor space, and spacious balcony seating well-suited for the intimate big band shows the 9:30 Club is known for are all part of the setting visible to the plethora of young rock fans awaiting the headliners of the Sleeping with Giants Tour. It’s approximately 9:00, and after enjoying, and inevitably singing and dancing with and moshing to, the four other bands in the diverse lineup offered to fans on this tour (The Rocket Summer, Sherwood, Armor for Sleep, and the recently added Cobra Starship), the audience is restless, some migrating to the close by merch tables and others even daring to venture to the club’s sports bar.

But at the soft strum of a guitar, and the appearance of the five young men comprising band The Academy Is…,the crowd focused full attention on the stage, drawn to the rock’n’roll-rooted band like flies to a strong light.

Although only five years in the making, indie label Fueled By Ramen The Academy Is… has already made huge strides towards success in the alternative rock genre. Since switching labels in 2004 (after impressing FBR with self-titled EP “The Academy”), TAI has produced two well-received studio albums, in addition to touring with a slew of successful bands, including renowned pop punk band Fall Out Boy. TAI’s soft alternative sound is defined by frontman William Beckett’s serene, feminine vocals. The Sleeping With Giants tour marked their first headlining tour after revealing sophomore album “Santi”, and thus far, has been as successful as the band itself.
Needless to say, TAI’s rousing live performance and lively band members were more than enough to get fans yet again moving. Frontman William Beckett seemed to recognize the effectiveness of focusing more on performing for the audience than speaking to them. Generally quiet though he may have been, he had a very strong connection to the crowd, who he entertained with his constant movement and uniquely soft singing voice.

Beckett’s singing combined with the raw talent of band members Andy Mrotek, Mike Carden, Adam Siska, and recently recruited guitarist Michael Guy Chislett created a great live performance that matched if not trumped the sounds on their studio albums. Their wide-ranged set list contributed to the quality of their set. TAI played hits both off of debut full-length album, “Almost Here” and April 2007 release, “Santi”, many tracks of which hadn’t been performed live prior to the Sleeping With Giants tour. Starting with song “Same Blood” and wrapping up with “Everything We Had”, The Academy Is… put on a very worthwhile show that, along with the quality of the other four bands’ performances, produced a top notch show experience.

These “other four band’s performances” can hardly go without mention, as each contributed to the high quality of the show.

First to perform, and most recently added to the tour, was up and coming techno-incorporated band Cobra Starship. Having had their own sophomore album “¡Viva La Cobra!” released the prior day, Cobra Starship was on top of their game. Cobra completed captivated the audience throughout their notably brief performance, something probably attributed to frontman Gabe Saporta’s larger than life stage presence.

Sherwood, the most obscure band in the lineup, performed second, delivering a good quality though nondescript performance. Their alternative rock sound transferred well from the studio to the stage, Sherwood’s only hindering factor being their lack of strong connection with the audience.

Rather than continuing with Sherwood’s trend of slight indistinctness, The Rocket Summer put on a show comparable to that of Cobra Starship. The Rocket Summer’s performance was optimistic, fresh, and rejuvenating, administering a crowd-pleasing sound and completely rousing the audience with their guitar and piano-integrated sound.

Prior to The Academy Is… was Armor for Sleep, providing the darkest sound and lyrics of all of the artists in the lineup. Band members donned ironically in clothing that made them appear as though they were schoolboys, Armor For Sleep gave a very interesting performance, their set list including a wide range of songs off of all three of their albums.

Needless to say, what with its diverse and wholly positive lineup, The Academy Is…’s Sleeping With Giants tour is one to watch as it continues into November.

Honda Civic Tour – June 4th, 2007

By 1 Comment

At the beginning of the month at the renowned venue Merriweather Post Pavilion one of the most highly anticipated musical events in the DC area so far this year occurred. On June 4th, 2007, the artists featured in this year’s Honda Civic Tour, an annual tour generally featuring rock-genre bands, performed in Columbia, Maryland. This year’s lineup featured The Academy Is…, Cobra Starship, +44, and Paul Wall, with the headlining act of the recently famed band Fall Out Boy: a diverse artist selection that certainly attracted a diverse, not to mention large, crowd.

As would be expected, an incredible amount of fans and concert attendees arrived early, greatly anticipating that evening’s show. This excitement was somewhat forgotten when the tour buses pulled up, and gaggles of fans also predictably rushed to the gates to screech at those exiting the vans. Mark Hoppus of +44 attracted a lot of screaming and swooning as he appeared from the highly noticeable, cartoon-covered +44 tour bus, although he seemed not to notice, and ignored the excited fans. Paul Wall, however, chose not to ignore the fans as he, a few hours before the show, left the venue, being driven in a car presumably to the hotel the bands were staying at. As fans (mainly girls) surrounded his ride, he waved and, of course, flashed his “grillz” at those squealing to him. To the fans that were waiting expectantly at the gates where the tour buses were in view, it was a disappointment that no members of Fall Out Boy appeared, although Victoria Asher from Cobra Starship was spotted briefly. Others remained at their places in line, clearly hoping to, when the gates were to open at five, manage to snag the places with the best view. Many a fan was not only sporting band merch, but also maybe a sign or a homemade T-shirt conveying individual messages to Pete Wentz: a tribute to his birthday the following day.

Although perhaps an hour before the show, heavy rain began to soak those waiting for the show who hadn’t brought umbrellas and jackets, and Cobra Starship, who were going to see the fans before the show weren’t able to appear, no one’s spirits were dampened. Maybe that was because around this time, wristbands for the pit and seating were being handed out, and excitement was definitely building.

Finally, at approximately five (the show started early presumably because of the amount of opening artists), the gates opened, and, ignoring the mud and heavy rain, concert attendees streamed inside, racing each other for the most elite spaces. Members of Fall Out Boy’s fan club were allowed in five minutes early, so many front row spaces in the large, maximum-packed pit were already consumed when the majority of the crowd rushed in. Pushing and shoving, after the first few minutes when everyone got settled in the crowd, was not at all a problem; mostly everyone seemed to be practicing concert courtesy, and few moshed throughout the performances (those who caused a fuss being lifted out by concert security). However, crowd surfing, once the performances began, was a definite trend, and few were dropped until they reached the barrier.

It took some time, however, for the first performers to begin, due to the rainwater streaming off the canvas shielding the pit down into the pit and in front of the barrier. Cords and equipment had to be relocated, obviously so the water wouldn’t damage anything or electrocute anyone. Soon enough the rain settled, as did those located on the lawn, and the show began, each artist or band throughout the show being well received.

Opening the show was Cobra Starship, the up and coming band whose musical style has been described by frontman Gabe Saporta as “punk-rock Justin Timberlake”. Whatever their genre was, the performance of the unique-sounding Cobra Starship was incredibly well liked by the crowd, many of who had never heard the band prior to that evening. Gabe Saporta had great stage presence. His gift for singing and lyric-writing meshes with the unique sound of the very talented instrumentalists (Alex Suarez on bass, Victoria Asher on keytar, Ryland Blackinton on guitar, and Nate Novarro on drums) to create music that, when performed, if this show was any example, triggers a lot of excitement and an equal amount of dancing and singing. The best received and most well known song that Cobra Starship performed was “(Bring It) Snakes on a Plane”. Something that may have and probably contributed to this was the fact that, during this song, both frontman of The Academy IS… William Beckett (who does vocals for the chorus in this song) and Paul Wall (who filled in for Travie of Gym Class Heroes, who typically does the rapping in “(Bring It) Snakes on a Plane”) made appearances.

Next in the lineup was rapper Paul Wall, accompanied by another rapper and keyboarder. His performance was probably the least well-received, but that is not in any manner a strike against him, since he was performing in front of an audience with, based on the styles of the majority of the artists they chose to see this evening, more of a rock-genre taste in music. He, like Gabe Saporta, had good stage presence. Members of the audience were certainly pleased when he distributed a number of free grillz.

Paul Wall’s grillz were not the only free merchandise to be distributed. Between performances, various activities occurred onstage, including free clothing and other merchandise being shot at the audience through a large gun-like contraption.

Following Paul Wall was an uprising band from Chicago known as The Academy Is… . William Beckett followed his first brief performance with an equally crowd-satisfying one, his one of a kind voice as pleasing as the sound of the generally mellow instrumentals produced by his equally talented fellow band members. The crowd was especially interested in TAI’s performance of “Slow Down”, “We’ve Got A Big Mess on Our Hands”, and “The Phrase that Pays”—three popular singles of theirs.

By the time +44 got onstage, the crowd, perhaps growing weary of standing, was beginning to get antsy in anticipation of Fall Out Boy’s performance. However, +44 successfully recaptured the audience’s attention for the time in which they were onstage, playing a number of songs that the crowd both knew and enjoyed. Some numbers that were particularly crowd-pleasing including “Your Heart Stops Beating”, “Baby Come On”, and “Dammit”. That particular song was not in fact by +44, but by Blink 182, the renowned former band including two of +44’s band members, drummer Travis Barker and frontman Mark Hoppus. Victoria Asher of Cobra Starship made a surprise appearance for the song “Make You Smile”, a popular +44 song including female vocalist Carol Heller, which Asher carried out fantastically.

Although all of the acts prior to the headlining act were very much so enjoyed, many in the audience were in huge anticipation of the appearance and performance of Fall Out Boy. Fans grew impatient at the long stretch of time between +44 and Fall Out Boy’s performances, during which a large structure was being assembled. This mystery structure detailed a tall platform on which Andy Hurley’s drum set was located, and plenty of room for the other band members to stand at different points in the show, with a ramp-like addition stretching down from the platform to the stage (used most often by frontman Patrick Stump). On either side of the construction were two opaque capsule-like structures comprised of what appeared to be a glass-like material. Audience members looked for any visible sign of the band with no luck, and when they finally did appear, their entrance was to everyone’s surprise—as, instead of simply walking onstage as one might think they would, Joe Trohman and Pete Wentz literally popped onstage. Patrick Stump and Andy Hurley appeared suddenly as well, although not with as big of a bang as Trohman and Wentz—who burst out of the two capsules and onto the platform, Trohman on the left side of the stage and Wentz on the right.

It is probably needless to say that Fall Out Boy’s performance was a huge hit with the audience, as it can be assumed that a lot of those comprising the audience came to Merriweather Post Pavilion mainly for their performance. Stump’s voice matched the sound conveyed on their three full-length albums—a unique voice that, while it rarely enunciates words clearly, is nonpareil in tone quality. Surprisingly, Fall Out Boy’s lead singer was not the band member that spoke and encouraged the audience, as seems to be the norm, but instead Pete Wentz tackled this role, to the enjoyment of some huge Pete Wentz fans in the crowd. If this weren’t enough to please the audience, Joe Trohman certainly contributed to captivating the audience by never failing to jump, spin, or a combination of the two, something that would be, as one might think, difficult to do while playing a guitar. Not only this, but the screen behind the stage, which, up until Fall Out Boy’s performance, had remained blank, was constantly filled, whether by FOB music videos or other clever visuals.

Fall Out Boy played a refreshing variety of all of their biggest hits and best sounding songs from all three of their albums, even their first and least well-known album, “Take this to Your Grave”. Their performance was very unpredictable, as they proved throughout their encore, during which Joe Trohman and Pete Wentz left the main stage (through those mysterious capsules) and reappeared at the back of the audience, by the lawn (to the happiness of those further back). Andy Hurley was also relocated, but only to the front of the stage, where he continued playing the drums. In addition to these surprise relocations, pyrotechnics was part of Fall Out Boy’s show, and the appearance of fire made their encore’s quality superb.

All in all, each of the artists performed incredibly well, and each of the performances were a pleasure to watch. Those who share my opinion of the quality of those on the Honda Civic Tour will be pleased to know about some upcoming tours announced that evening. In August, The Academy Is… and Cobra Starship will be touring together in Australia and Japan, for those of you willing to travel! The Academy Is… will be following their Australian/Japanese tour with a fall tour with Armor for Sleep. And finally, Fall Out Boy has announced their own fall tour with Gym Class Heroes. I recommend that if given the chance, you attend one (or all) of these shows!

Ari Hest and The Damnwells @ The Troubadour (Los Angeles)

By Leave a Comment

I had been anxiously awaiting May 14th for weeks. I could not have
been more excited about seeing the Damnwells team up with Ari Hest at
the Troubadour in Los Angeles. I have been a long time fan of the
Damnwells and just recently within the past few months have become
very intrigued by Ari Hest, who is not at all new to the folk rock world and
has been releasing albums for a few years now. His latest release
Break In on Columbia was released on May 1st of this year (you need a copy!) and has been quickly gaining the attention of many.

The troubadour is quite possibly one of the most intimate places for
a show in Los Angeles, which made it the perfect setting for this show.
I spoke above about Ari Hest gaining the attention of many and that
could not have been more the case during his performance.

Among the already quite diverse fans – the young and the old(er) that were in
attendance was Ms. Scarlett Johansson lovingly attached to Ryan
Reynolds. Also in attendance were members of the band Ingram  Hill (13
going on 30 soundtrack). Although Ari and The Damnwells were not
playing in front of a sold out crowd they had done their fair share
filling the room with many eager listeners.

Ari Hest’s had a sincerity in his live performance that really captured the attention of the audience. At times it did seem that the band behind him was almost awkward in their appearance and the way they engaged with one another. That awkwardness moved my attention off of the music here and there. Ari Hest put on a genuine performance and musically was very tight. Towards the end of his set he played an incredible cover of Peter Gabriel’s “Mercy Street”.

 

The Damnwells followed Ari Hest and put on an excellent show as well. Singer Alex Dezen gave a heartfelt performance and engaged with the crowd with a comfortable honesty. They played many songs off of their new album Air Stereo — which I also recommend to everyone! The Damnwells have an originality that sets them above par within their genre. I was quite impressed by their performance and am eagerly awaiting the next show.

When either of these artists make it through your town – be sure to check out the show. If  you don’t own either of their albums make sure to check them out!


Bamboozle 2007 Review

By 1 Comment

This review of The Bamboozle 2007 was conducted by Andrea Hubbell for Driven Far Off.

On Saturday, May 5th, 2007, a plethora of people from all over the East Coast and possibly US gathered at The Meadowlands Sport Complex in East Rutherford, New Jersey. However, this particular event wasn’t sports-related. All of these people traveled from however far to see an annual two day New Jersey, rain-or-shine gathering of various bands and performers known as The Bamboozle.

The lines began at 8:30 AM, and the doors opened another three hours later at 11 AM, to the relief of the expectant public. Although at first entering the event, when an attendee would present his ticket for authenticity and then be checked by security, it would seem that the Bamboozle was chaotic-and it was! However, the chaos was controlled by security and induced by the enthusiasm of those attending the event. Diehard fans donned band tees and distributed promotional material. Posters could be found strewn all around the stadium, most notably advertising the upcoming releases of Amber Pacific, Silverstein, Linkin Park, and The Used’s new albums. Band merchandise and other clothing items could be found all throughout the stadium, as could stands selling somewhat overpriced refreshments. Seven stages were set up as to have as many bands, comedy acts, and artists perform as possible. Within a structure deemed “The Bubble”, attendees could enjoy artists being recorded on Bamboozle TV while sitting down. However, many, chose to enjoy the sunshine and remain at an outdoor stage.

The main stage, to no one’s surprise, had attracted the largest audience. By the beginning of Silverstein’s performance, the cramped crowd spanned back yards and yards and yards and surrounded a mosh pit located amidst all of the fans. Drink and food containers and even the odd shoe were thrown throughout the day and crowd-surfing became the trend-many crowd surfers were lifted over the barrier and many more crowd surfers were simply dropped in the mosh pit.

However, those not within the mosh pit and disinterested in tossing random items or crowd-surfing remained relatively calm, those who had the opportunity to listen to Silverstein prior to the event singing along, with the occasionally cluster of fans jumping and head-banging. The most attention-grabbing song the post-hardcore performed seemed to have been “Smile in Your Sleep”, during which the crowd was at its wildest and happiest.

Between each band, there were breaks during which thorough sound checks would be conducted by the hardworking sound and instrument techs. Sometimes the sound checks consumed what, to the audience, seemed like a long span of time. Throughout these breaks, some in the crowd would leave to see another band’s performance or to return with some refreshments. Others, however, continued their habits of tossing items around and shouting at the sound techs for amusement.

Following Silverstein was a more mainstream band by the name of Cartel. Their music was not the type to entail moshing, so the crowd belted out lyrics and danced accordingly instead-and, of course, continued crowd surfing. Fanatics sang all of the pop punk band’s lyrics, whereas those not as interested in Cartel’s music simply sang along to their biggest hit, “Honestly”. The Atlanta, Georgia band generally received a good response from the audience.

Next in the line-up was Say Anything-the least well-known band performing on the main stage. The audience was very responsive to this indie band as well, those unfamiliar with their music seeming to enjoy its generally upbeat sound. The audience especially seemed to appreciate one of their final songs in the set, a somewhat racy number titled, “Wow, I Can Get Sexual Too”. Their keyboard-incorporated music was overall just as enjoyed as that of the more mainstream Cartel by this audience.

After the performance of Say Anything was the pop punk, longtime band New Found Glory. Diehard fans got especially excited throughout this performance as the band performed both some new and old hits; the audience was especially reactive to those songs played off of Sticks and Stones. The band’s somewhat pop sound was appreciated by many, as was their very natural appearance, one of their members appearing without a shirt on. The audience appreciated the way in which lead singer Jordan Pundik moved constantly across the stage, and in doing so, included all of the audience.

As the last band before the headlining act that evening, My Chemical Romance, prepared for their performance, the skies were growing darker and the crowd was growing restless. Many diehard MCR fans had been awaiting the moment in which My Chemical Romance would perform the entire day, remaining in the audience for hours on end. These fans were especially anxious due to the fact that the band had missed their past five shows that week due to many in the band and crew getting sick with Salmonella.

Hellogoodbye’s sound check consumed the longest amount of time that a sound check had so far at the main stage. So when the band finally approached the stage with their instruments, mikes, and a series of flashing, colorful lights that ensued throughout the entirety of their performance, the crowd was ecstatic. The powerpop/synthop band had a very unique style both in music and in clothing. Their music was very modern, upbeat, contained a lot of unexpected keyboard, and was overall unusual in comparison to many of the other bands performing at the festival. Not only this but they were deeply enjoyed and accepted by the audience for their likeable eccentricity. Lead vocalist and guitarist Forrest Kline donned himself in an outfit whose uniqueness nearly trumped that of the music he produced-wearing large glasses, the schoolboy look continued with his tie, sweater, and button-up. Similar to Jordan Pundik, Kline related very well to the audience, receiving a lot of applause and positive attention. He didn’t seem to be in support of moshing or wild performances, which seemed to be fine with the crowd, which seemed to especially enjoy the performance of the songs “Bonnie Taylor Shakedown”, “Shimmy Shimmy Quarter Turn”, and “Here in Your Arms”-three of their most renowned singles.

Now the crowd was in high anticipation of the highlight of the evening-the performance of the highly renowned and high fan-base band My Chemical Romance, branded post hardcore, punk pop, and alternative by various sources. The security tightened, seeking out troublemakers and those in trouble. At various times, a few water bottles were distributed to those in the first few rows, to the happiness of those that had waited long enough to reach this highly sought out area within the crowd.

When My Chemical Romance finally approached the stage, the crowd was incredibly ecstatic, enthusiastic, and rambunctious. The band did not enter in their usual unique manner of having the lead vocalist Gerard Way wheeled out on a hospital bed to represent the character “The Patient” most recent October 2006-released album, a concept album titled “The Black Parade”. This was probably due to the complete dearth of space. For whatever reason, the band simply walked onstage-although simply probably cannot describe the reaction of the crowd as the headlining act approached the stage, donned in black marching band uniforms and with layers of white makeup caked on their faces.

“Come one, come all to this tragic affair…” With the beginning of the renowned line of the song “The End” of “The Black Parade”, a completely new reaction overcame the audience. Diehard fans belted out the words along with the distinct, sweet, and strong voice of Gerard Way’s. Gerard Way proved not only to be a nonpareil singer but also to have excessive stage presence. As he spoke between songs, the audience listened to and absorbed his every charismatic word, detailing difficult subjects such as youth violence, suicide, and cancer and including deeply appreciated jokes involving the band members themselves. His eyes seemed to sweep over every audience member as he, like Pundik, moved all about the stage so to include the entirety of the massive audience. His most significant statement of the evening seemed to be the one detailing the bands sickness, claiming that they [the band] could be harmed in any way or even “poisoned”, as he said in response to their recent food poisoning incident, but that they would not be beat down. He sent a message through this and various lyrics (ex: “I am not afraid to keep on living” or “We’ll carry on”) that those in the audience should never take the easy way out and should continue on despite hardships.

Amazingly enough, lead guitarist and back-up vocalist Ray Toro, drummer Bob Bryar, and replacement bassist for Mikey Way, Matt Cortez all performed at the show despite their continuing sickness as an aftermath of their salmonella poisoning. (Mikey Way, younger brother of Gerard Way, recently left the tour for his honeymoon with bassist and new wife Alicia Simmons.) Ray Toro, who is usually very lively at shows, certainly seemed more subdued than typically, as did the other two, although all of the members didn’t fail to perform exceptionally even exempting their sickness. However, rhythm guitarist and back-up vocalist Frank Iero made up for any understandable and excusable lack of energy from these three clearly tolerant performers.

Throughout the performance, he seemed to be constantly moving about the cramped stage, and a smile seemed to be consistently on his face as he did so. He seemed especially responsive to the audience, specifically when fans decided to shout at him or throw various tokens of their affection at him (which seemed to be rather often). He approached the front of the stage several times, laughing when a necklace was thrown at him and placing a hat on his head when that too was tossed toward him. Iero even threw water bottles to the audience at various points.

Other than Iero forgetting to leave the stage during the ballad “Cancer”, the live performance of “The Black Parade” ran smoothly. Although confetti was not released to the audience throughout the song “Welcome to the Black Parade” as it usually is throughout the performance of this song, the audience did receive another equally anticipated part of the performance. Throughout the song “Mama” flames shot up from the stage, and the crowd became, if possible, more enthusiastic.

Then the band left the stage for a brief time, while a recording of “Blood” was played and fans sung happily along. When they appeared back onstage for an encore, including songs from their second album, “Three Cheers for Sweet Revenge”, they were donned in different, more simple but equally dark outfits and the backdrop had changed to a series of guns circling the initials “MCR”. When the band approached the song for the second time, they performed their hyperactive, lyrically vengeful but instrumentally upbeat single, “I’m Not Okay”. This happily received hit was followed by performances of the songs “Cemetery Drive”, “You Know What They Do to Guys Like Us in Prison”, “Give ‘Em Hell, Kid”, and, finally, “Helena.” “Helena”, a lyrically mournful and musically breathtaking song was also well-received with the audience. Despite the audience’s satisfaction with the song, pleasant feelings mingled with disappointed ones that the band was leaving the stage. In regards to their disappointment, fans need not fret; My Chemical Romance will be returning to new Jersey for Link Park’s Projekt Revolution tour this summer, when an equally promising performance will hopefully occur.

Switchfoot at the Avalon – March 30th, 2007

By Leave a Comment

Switchfoot at the Avalon Theatre
March 30th, 2007
Hollywood, CA

The Foreman brothers, Jon and Tim, and good friend Chad Butler started the band Switchfoot in 1996 in San Diego. Now six albums and countless world tours later, the band has been nominated for a grammy, and won several Dove awards. With the release of Oh! Gravity, the band has begun to regain the commercial success that was somewhat lost with the harsh reception of their last album, Nothing Is Sound.

Performing at the Avalon Theatre, with the bill boasting only two acts and a $25 ticket, one would expect a good show from both artists. Unfortunately, I missed most of Copeland, but upon entering and hearing the poor mix and Aaron being under the weather, I wasn’t too disappointed with my miscalculation of time.

Switchfoot took the stage, now as a five-piece with additional musicians Jerome Fontamillas (keys) and Drew Shirley (guitar), the band dove straight into their blend of edgy pop-rock. Jon Foreman’s voice was at the best I’ve ever heard it. Pulling songs from as far back as Learning To Breathe, the band also featured a three-piece string section on certain songs.

It’s with great regret that two albums ago is when I last heard new music from Switchfoot that I truly loved. When I used to feel the same about The Beautiful Letdown, the live performance totally turned my perspective upside down and the album put itself in the same league as their prior work. In all honesty, Nothing Is Sound and Oh! Gravity just don’t cut it for me. With tracks like “Happy Is a Yuppy Word” and “American Dream,” while the lyrics are decent, the melodies and choruses border the land of outright obnoxious. Since I’m sure they appeal to some, I will choose to disregard these few songs from my opinion of the show as a whole.

As I said earlier, Jon Foreman has never sounded better than he did at this show. His stage presence incarcerated the audience’s attention as he ventured into the crowd and scaled the right balcony. I completely forgot there was still four others playing on the stage. However, it was the band as a whole that created such an appealing live show. Tim and Jerome’s background vocals filled up any empty space, and Drew’s guitar work allowed Jon to put down the guitar and focus primarily on his vocal work. Chad’s drumming was just as solid as it has always been. Switchfoot impressed me far more than I had ever imagined, and after two years without, they have again won my praise.

Photos by Michael Schneider

Anberlin and Bayside Show Review – March 07

By Leave a Comment

Anberlin, Bayside, Meg & Dia, Jonezetta
March 10th & 17th, 2007
Pomona, CA at the Glasshouse & Seattle, WA at El Corazon

As you can tell by the above information, I got to do something not many people get to do with this tour. Due a pre-arranged trip, I discovered I would have the opportunity to check out this tour a second time while at home in Seattle. So this review is from two different shows.

Venue dynamics played a huge role in my opinion of the two shows. Pomona supposedly caps at about 900 people, a large room with a decent sized stage, barrier, and about 15-20 security guards. El Corazon has a posted capacity of 807. However, since I’ve been going to shows there since I was 13, I know from experience that anything over 500 is ridiculous. This tiny room where the farthest you can be from the stage is about 60 feet, there is no barrier and crowd surfers take out the lead singer’s microphone cause there is no where else to go.

Opening band, Jonezetta, for me was the surprise on this tour. Only hearing the free EP that was released a long time ago, I didn’t really have much of an opinion of the band. Pomona was the first date with a new keyboardist, and I don’t know how much of a difference it made, but this band is absolutely phenomenal live. Dance-pop rock jams like “Backstabber” and “Get Ready” make it impossible to stand still. With three vocalists, their harmonies aren’t anything new or special but they’re executed perfectly, and that’s much more than I can say for a lot of bands today. Due yourself a favor and check out their new record out on Tooth & Nail.

Up next was sister duo Meg & Dia. My first experience with them was on the Daphne Loves Derby tour, and considering I’m listening to their album right now you can guess that I’ve been converted to a spot in their growing fanbase. I was impressed at these shows how many people in the audience were singing along. They played my favorite song, “Masterpiece” along with “Roses,” “Indiana,” and recent contribution to the Take Action compilation, “Monsters,” and quickly made their way up my charts of the best females in music. Next month they will be playing the Warped Tour kickoff party in Hollywood, for only $10!

Bayside, this band is surrounded with controversy, passion, and triumph between a van accident that killed their former drummer and the open, honest rebuttals their singer Anthony makes at any crude or unjust review of the band. Bayside, attitudes aside, are solid vocally and musically, live and recorded. When you add in their pure disregard for what people think of them, they get even better because you can know everything they do is genuine. Debuting songs off of their recently released, “Walking Wounded” as well as an acoustic song, and plenty of tracks off their last record, the band charged through their set and never really backed off. This being the first time I have ever seen Bayside live, I’m hooked. Pomona was an interesting experience. I severely underestimated their draw to this tour and after the band finished their set, more than 1/3 of the crowd left. In Seattle, while the percentage was not as great, a good amount of people did leave after Bayside. The bands fans seem like some of the most dedicated and passionate I have seen.

After being totally focused on Bayside, I had almost forgotten one of the major reasons I attended this tour. Jamie Tworkowski, founder of To Write Love On Her Arms, and author of the story, took the stage to speak a bit about the vision of the movement. His brief description was met with complete attention of both crowds, and for the first time in a long while I sensed the audience was giving true respect to a speaker. Jamie ended with the introduction of his long time friends and headliners- Anberlin.

Tooth & Nail Records’ band Anberlin have been touring heavily since the release of “Blueprints for the Black Market” in 2003. I first saw them that year with Further Seems Forever, Movielife and Autopilot Off- Anberlin is the only surviving act of that tour. Never really giving them a proper chance, I always held their music as good, but nothing special. When I received a copy of “Cities,” my perspective definitely changed. I immediately tackled the chance to catch their first ever headlining tour.

Normally, I’m not a fan of bands that over produce their live shows. Anberlin, was a definite exception. Carrying along their own lighting rig, group of techs, and many additional pieces of stage equipment, their production equaled almost that of a boy-band. Opening on a dark stage to “A Whisper & A Clamour,” Stephen Christian controlled the crowd as they followed his every move. Pushing through “Never Take Friendship Personal,” the lights danced to the hooks of the songs, growing dark right before the first chorus of “Hello Alone,” the show reached full speed from then on. Playing favorites from “Never Take Friendship Personal” and “Blueprints,” the band balanced out new tracks from “Cities” and even pulled out the acoustic track “Unwinding Cable Car.” One of the best parts of the evening was seeing how perfectly new guitarist Christian (formerly of Acceptance) fit in with the band. His background vocals and stage presence complemented Deon, Nate and Joey’s musicianship perfectly.

Anberlin has reached a level that very few bands will ever push for. As their album continues to climb the charts, the band will continue to tour relentlessly throughout the US, Canada, Japan and more with bands like Copeland, Daphne Loves Derby and also almost all of the entire Warped Tour. It’s doubtful that you’ll be without opportunity to catch their stunning live show.

Photos by Michael Schneider at Glasshouse in Pomona, CA
*my apologies to Bayside-Glasshouse somehow had about 10 too many people doing photo during the set*

JonezettaMeg & DiaAnberlin

Underoath Show Review – March 11th, 2007

By 3 Comments

Underoath
March 11th, 2007 at the Orange Pavilion
San Bernardino, CA

Last summer I returned home from an international trip with the expectation of attending the Warped Tour the next day and finally seeing one of my favorite bands play songs from their new album. With my best friends thinking I was joking, I solemnly read the announcement that Underoath had dropped off of the Warped Tour, and that no one was really sure of the status of the band. Devastated, I waited patiently, hoping that the band was not set for the untimely demise so many others were encountering.

As we all know, Underoath attacked their problems head on, and resolved the differences that threatened to break them apart. Now back in full force, and opening for mega-band Taking Back Sunday, it was obvious that a good portion of the thousands of fans present were there to watch them tear up the Orange Pavilion.

Borrowing sound bites from the only film appropriately proportionate to the band, 300, in darkness the six members took the stage. Expelling half a bottle of water on to the crowd, Spencer greeted the audience and thus began one of the most systematic and intense performances I’ve ever seen.
Opening with the definitive ‘In Regards To Myself,’ not one person was focused anywhere but the stage where the song was played with utmost precision. Aaron’s vocals were nothing short of excellent, and I was quickly reminded why I feel he is one of the most versatile musicians today. Tim’s guitar playing got so out of control he broke the volume knob off his guitar, and Chris looked as though he had more energy than he could exude. James and Grant exploited the right side of the stage as if they were the only ones performing and I caught myself focusing on just them for a good portion of the first few minutes.

In eight songs, the band showed more maturity, talent and passion than many artists do in a whole tour. Contrary to what might be socially acceptable, the band dedicated their set to Jesus Christ, customary for the professed Christian band. Writing On The Walls, It’s Dangerous Business Walking Out Your Front Door, and Down, Set, Go is a small sample of what was chosen from the incredible repertoire the band has. I could watch them perform every song they have and they’d still keep my attention.

My one complaint would be the incredibly obnoxious lighting that would blind the whole crowd randomly. Besides that, I’m already counting down to the fall’s headlining tour, and you know what I mean when I say, ‘DO NOT MISS UNDEROATH’ if you have a chance to see them.

Photos by Michael Schneider

underoathunderoathunderoathunderoath

Take Action Tour 2007 – Hollywood, CA

By Leave a Comment

Take Action Tour

Take Action Tour 2007 Featuring
The Red Jumpsuit Apparatus, Emery, Scary Kids Scaring Kids, A Static Lullaby and Kaddisfly
Feb 25 @ House Of Blues – Hollywood, CA

Let me start by apologizing to Kaddisfly. I was unable to make it in time, largely in part to the stellar (sarcasm), consistently overpriced parking at HOB. Besides this, there aren’t many things to complain about when it comes to HOB venues. Seemingly always well staffed, and under control, House of Blues concerts always have the big show feel with the smaller venue intimacy.

Starting off with recently reformed A Static Lullaby, the Take Action Tour was very much the ‘scream cause it’s trendy’ lineup I expected this year. ASL is nothing special, and definitely one of the least impressive live acts I’ve seen in a while. I think the main source of my distain is their lack of energy. Yes, they move around on the stage a fair amount, but when you put them up against the other bands on this tour, they’re not worth your time.

Scary Kids Scaring Kids definitely accomplished their band name. With their keyboardist removing his shirt and practically dry-humping his keyboard to death, I think any of the audience not familiar with the band were turned off. However, as far as performance goes, they were actually quite impressive. I found their music to be well organized and vocally it was executed with precision. I’m not sure if I’d make an extensive effort to see them again, but as an opener, they were just what the show needed to really get off the ground.
Being from Seattle, it’s great to see local favorites succeed on a bigger level. While Emery originally hailed from South Carolina, I was fortunate enough to be in attendance at many of the band’s first shows. Today, Emery is easily one of the best live bands in music. Playing now as a five-piece due to the departure of their bassist last fall, they haven’t lost a bit of their live show. In-your-face screams blended with melodies that knock you off your feet, unfortunately their set was cut shorter than we all expected, and we only got to hear about six songs.

With the shorter set, came a presentation of a tour plaque to the headlining act, The Red Jumpsuit Apparatus by members of Hopeless Records, and tour beneficiaries Youth America Hotline (1.877.Youthline). This good gesture was followed by an incredible set from one of the newer artists in this vein. The Red Jumpsuit Apparatus were picked up by Virgin Records and their release “Don’t You Fake It” has already been certified gold. Playing almost the whole record, the band blended great musicianship and pure intensity and has again impressed me as a live act.

As long I can see, the Take Action! Tour will continue to be a staple to the music community. Blending the recent trend to be socially-mindful and active, with some incredible bands, you automatically have a recipe for success. No matter who is playing on this tour, you can always expect to get your money’s worth. If you don’t, why do you care? A portion of the proceeds go to suicide prevention. Take some time, and TAKE ACTION. For more information, head to takeactiontour.com.

Scary Kids Scaring KidsEmeryRed Jumpsuit Apparatus

Ernie Halter CD Release Show

By Leave a Comment

Ernie Halter

Ernie Halter
CD Release Show – February 12th, 2006
Knitting Factory – Los Angeles, CA

Let me start by expressing my excitement when I figured out where exactly the Knitting Factory is. Right in the heart of Hollywood, and being from out of state, I had probably the most fun I’ve ever had before a concert exploring the area. Beyond that, the intimate setting the venue provided was perfect for the crowd, a diverse group as far as age.
Ernier Halter has come quite a ways since beginning to perform on a consistent basis. He’s played with John Mayer, Jason Mraz, Tony Lucca, Tyrone Wells and many other famous names, but he still has the work ethic to play small coffee houses and college campus shows as much as he possibly can. When I was invited to check out his CD Release show, I made every effort to make it happen.
Ernie’s crowd neared or met the capacity of the venue, and consisted of many popular LA area performers and industry reps. The average size stage was consumed with an incredible six piece band to accompany, and the group pushed their way into the set.
Halter came out and performed flawlessly about 12 songs, including hits from older releases, and new uptempo groove tracks from the new release, Congress Hotel. His band never missed a beat and his voice never missed a note. Upon the introduction to ‘Whisper’, Ernie thanked and recognize the co-writer of the song, who happened to be standing directly in front of me. Ever appreciative of Ernie’s talents, one can further infer that he truly is one of the most genuine people in music.
More impressive than nearly ever solo act I’ve ever seen, take one of the many chances nation-wide to see one of Ernie’s performances. His new album released on Rockridge Records is now available nation wide, and nearly every show is broadcast live on Ernie’s myspace. A big thank-you to Ernie and Krista Mettler at Skye Media!

Ernie Haltern56901735_30729549_9385.jpgErnie Halter