Photos | The Audio Perv - Part 2
Archive for the ‘Photos’ Category
12 Oct
2012

Deftones will be releasing their new album KOI NO YOKAN on Warner Bros. Records on November 13th. You can take a listen to the new single “Tempest” here. The band kicked off their fall tour on Tuesday night at the Majestic Ventura Theatre. Our photographer Marcello Ambriz was there to get some great shots of the band. Check them out below and pre-order the album here.

Remaining Deftones Tour Dates
10/12/2012 – Portland, OR – Roseland Ballroom
10/13/2012 – Seattle, WA – Showbox SODO
10/14/2012 – Vancouver, BC – Commodore
10/16/2012 – Boise, ID – Knitting Factory
10/17/2012 – Salt Lake City, UT – In The Venue
10/19/2012 – Denver, CO – Fillmore Auditorium
10/20/2012 – Kansas City, MO – Harrah’s
10/21/2012 – Columbia, MO – Blue Note
10/23/2012 – Chicago, IL – Aragon Ballroom
10/24/2012 – Royal Oak, MI – Royal Oak Music Theatre
10/26/2012 – Baltimore, MD – Rams Head Live
10/28/2012 -Philadelphia, PA – The Electric Factory
10/29/2012 – Boston, MA – HOB Boston
10/30/2012 – New York, NY – Terminal 5
11/14/2012 – Dallas, TX – Palladium Ballroom*
11/15/2012 – San Antonio, TX – Sunken Gardens*
11/17/2012 – Tempe, AZ – The Marquee*
11/18/2012 – Las Vegas, NV – House of Blues*

02 Oct
2012

This past weekend, the Black Keys played the Global Citizen Festival in New York City’s Central Park. Despite playing for less than an hour, the band was excellent. Our photographer Marcello Ambriz had a pretty nifty all access pass and provided us with some superb photos of the band backstage before their set as well as of their performance. Check out the photos below:

24 Sep
2012

By Michel Dussack

Rock bands don’t play Radio City Music Hall very often, but when they do, it’s almost always a show that’s memorable forever. Canadian indie rockers Metric’s show at the historic New York venue on September 23rd was no exception, and while being confined to an area in front of a seat may have stifled the crowd a little, the band was firing on all cylinders. The band’s 18 song set was based heavily upon their 2012 release ‘Synthetica’ and 2009’s ‘Fantasies’, though a few older songs and a very special cover would wind up in the set as well.

Backed by an array of cubes of blue light Metric, led by vocalist Emily Haines, kicked off the night by performing the first three songs of ‘Synthetica’ in order, with single ‘Youth Without Youth’ receiving the best crowd reaction of the three. A couple of tracks later, fan favorites ‘Empty’ and ‘Help I’m Alive’ set the crowd into cheers and many finally realized that indeed it is possible to dance and jump up and down in the space between your seat and the seat in front of you. Metric followed with another trio of new material including the phenomenal title track from their latest album before kicking into another miniature set of older material.

Of particular note was ‘Dead Disco’ extended to about seven minutes thanks to some added instrumentals and guitar solos courtesy of James Shaw, and the show closer ‘Stadium Love’ during which the entire venue seemed to be vibrating with bass. As the band walked off stage, a giant countdown clock appeared to mark their return. Now, don’t get me wrong, everyone always knows encores are coming at concerts, but to me, this seemed to cheapen the effect even more. Long gone are the days where encores were a spontaneous occurrence for a crowd that desired it, replaced with shows planned to the minute.

After performing ‘Black Sheep’ (from the Scott Pilgrim soundtrack) and the classic track ‘Monster Hospital’ came something that nearly no one expected. As Emily began to talk about her brother’s influence on the music she would listen to at a younger age, crew members began to set up a second microphone for the next song. Emily quickly introduced none other than the legendary Lou Reed to the stage to perform ‘The Wanderlust’ with the band, however it didn’t stop there. Next the band and Reed performed a cover of The Velvet Underground’s ‘Pale Blue Eyes’, something that I doubt a single person in attendance of the show will forget.

A raucous performance of ‘Gold Guns Girls’ was next and after it was over drummer Joules Scott-Key and bassist Joshua Winstead departed from the stage. Emily and Josh performed an acoustic version of ‘Gimme Sympathy’, and as the crowd joined in and harmonized on the song with Emily, it was obvious that this nigh was just as special for Metric as it was for their loyal fans.

Metric’s setlist
1. Artificial Nocturne
2. Youth Without Youth
3. Speed the Collapse
4. Dreams So Real
5. Empty
6. Help I’m Alive
7. Synthetica
8. Clone
9. Breathing Underwater
10. Sick Muse
11. Dead Disco
12. Stadium Love
Encore
13. Black Sheep
14. Monster Hospital
15. The Wanderlust (with Lou Reed)
16. Pale Blue Eyes (The Velvet Underground cover with Lou Reed)
17. Gold Guns Girls
18. Gimme Sympathy (acoustic)


10 Sep
2012

By Matt Arena

It’s always interesting to see indie bands get big. It happens at least once every year. In 2011, it was Foster the People and Young the Giant, bands who over the course of a couple months went from relative anonymity to becoming household names on the alt rock scene. 2012 is shaping up in a similar way and Imagine Dragons seem poised to be one of the breakout stars. To say they’ve blown up this summer is a massive understatement. They first appeared on many people’s radar last winter with the release of their EP, Continued Silence. Choosing ‘It’s Time’ as their first single, the song began making the rounds almost immediately. Charting quickly and picked up by seemingly every MTV affiliate, it wasn’t long before people started to take notice. But somewhere between spring and the end of summer, they jumped to a whole new level of popularity. It’s hard to pinpoint exactly when this happened, though no doubt slots on some of the major US festivals helped, but it seemed as if suddenly everybody loved Imagine Dragons. The first shock came when they booked the intimate Santos Party House in NYC for their album release show, and then promptly sold it out in less than 15 minutes. Moving the show to the much larger Irving Plaza may have seemed like a pipedream, but they proved their headlining status by selling that show out as well. Soon the release of their first full-length album, Night Visions, shocked many by becoming the number one selling album on iTunes on its very first day. Suddenly everybody knew, and was really into, Imagine Dragons. This was no more evident than at Irving Plaza during their sold out album release show.

First up as support was local indie rock band Ghost Beach, who received a surprising amount of love from the crowd. Whether this was due to it being a hometown show or that Imagine Dragons fans previously were acquainted with the band’s music was hard to tell. But it didn’t matter much. After every song they were privy to deafening applause and screams from the audience. At times sounding like a very familiar mix of Reptar and Foster the People, their groovy indie rock sound definitely found a home with the incredibly receptive audience.

Even before Imagine Dragons took the stage there were screams of joy as a band member or two was seen fiddling with their instruments, and when they actually came out it was an overpowering wall of noise from the crowd. It was very surprising to see the type of audience they were able to pull so quickly. There are pros and cons to having a screaming audience of girls (the cons being the non-stop screaming part), but it still remains baffling as to how they managed to build such a strong audience in what seemed like a month. And with songs like ‘Radioactive,’ ‘On Top of the World,’ and ‘Its Time,’ it really isn’t all that mystifying as to how the band got so big. Incorporating parts of electronic, alternative, and even pop rock gives them a large musical net that clearly catches all kinds of ears. Fans from the barrier all the way to the stragglers in the back were dancing and singing along to every word. That’s pretty damn rare at a band’s debut album release show. Having just seen Imagine Dragons earlier at Firefly Festival, they seemed to lack the punch they had previously, whether this was due to the venue itself or the recent vocal problems lead singer Dan Reynolds has endured is still unclear. Even without the punch-in-the-face volume of sound, they still were stellar. At times it was hard to hear Dan’s vocals as the mass of people were more than happy to shout the lyrics out at almost every occasion.

‘Radioactive’ is a master work of modern indie rock, and with hints of electronic, it’s one of the best songs of the year thus far. When played live, it’s even better. Slamming on a bass drum bigger than himself, lead singer Dan Reynolds helps bring the song new life. With a chorus so catchy it’s almost impossible not to scream along, the crowd at Irving Plaza definitely felt the same. Of course that can be said of nearly every song they played, as the crowd didn’t seem to relent even for a minute. The band always comes across as incredibly appreciative, which was evident by the smiles and disbelief on their face as they were playing a sold out show in one of New York City’s legendary venues. It’s been less than a week since the album came out and they’ve already surpassed 100,000 likes on facebook and been nominated for a MTV VMA for Best Rock Video of 2012. They’ve come on strong the second half of the year and are going to be hard to deny as the breakout artist of 2012 by the time December rolls around. But this is just the beginning as it seems the sky is almost literally the limit for this Vegas alt rock quartet.

10 Sep
2012

Slash with Myles Kennedy and The Conspirators is currently on a coast to coast US tour in support of his second solo album Apocalyptic Love (iTunes). Foxy Shazam is providing support for the tour playing songs off of their album The Church of Rock and Roll (iTunes) released earlier this year. Friday night, the tour came to Stubb’s in Austin. Our photographer Phil DeSimone was there to get some great shots of both artists. Check them out below and catch the tour at one of the following remaining stops:

Sept. 11 New Orleans, La. House Of Blues
Sept. 12 Atlanta, Ga. The Tabernacle
Sept. 14 Ferndale, Michigan DIY Street Fair, Nine Mile Rd & Woodward Ave.
Sept. 18 New York, N.Y. Hammerstein Ballroom
Sept. 19 Cleveland, Ohio House Of Blues
Sept. 21 Cincinnati, Ohio Bogart’s
Sept. 22 Detroit, Mich. The Fillmore Detroit
Sept. 23 Toronto, Ontario Sound Academy
Sept. 25 Indianapolis, Ind. Egyptian Room
Sept. 28 Chicago, Ill. Riviera Theatre
Sept. 29 Springfield, Mo. O’Reilly Family Event Center
Oct. 2 Oakland, Calif. Fox Theater
Oct. 3 Los Angeles, Calif. The Wiltern

10 Sep
2012

Matisyahu and The Dirty Heads are in the middle of a national late summer/early fall co-headlining tour. Last week, the tour came to Stubb’s in Austin. Our photographer Phil DeSimone was there to get some great shots of both artists. Check them out and catch the tour when it comes to your town (dates below)

9/5 -Tulsa, OK -Cain’s Ballroom
9/6 – Council Bluffs, IA – Harrah’s Casino at Stir Cove
9/8- Denver, CO- Fillmore Auditorium
9/9 – Aspen, CO – The Belly Up
9/10- Salt Lake City, UT- The Rail
9/11 – Albuquerque, NM – The Sunshine Theatre
9/12 – Phoenix, AZ – The Marquee
9/15 – Las Vegas, NV – Hard Rock Hotel Pool Stage
9/18- Hollywood, CA- Palladium
9/19- San Diego, CA- Humphrey’s
9/20- Anaheim, CA City National Grove of Anaheim
9/22 – Portland, OR – Crystal Ballroom
9/23- Seattle, WA- The Moore Theatre
9/24- Vancouver, CA- Vogue Theatre
9/26 – Boise, ID – Knitting Factory
9/27 – Lake Tahoe, CA – Montbleu


03 Sep
2012

By Malvina Rincón

FYF Fest took place over Labor Day weekend in Los Angeles. It was two days of eclectic music in the sun in one of the most musically gifted cities in the country. Despite ironic clothing choices (i.e. Hawaiian shirts) paired with equally ironic dance moves (i.e. The Running Man) from some hipsters, the audience was diverse and as warm as the weather. The DYI spirit of the festival, which has been running since 2004, did not go unnoticed as the line-up reflected how non-mainstream bands are still capable of forming interest for their music and creating legitimate fanbases. There was something for everybody and room for discovery as the following shows a sampling of what the weekend had to offer.

Day 1


(photo credit: Marcello Ambriz)

Cloud Nothings

Playing on one of the smaller stages at the festival, Cleveland-based Cloud Nothings gave the audience a dose of grunge-infused punk. Main singer, Dylan Baldi’s vocals draw on a lazy and dark tone that is reminiscent of Black Francis of the legendary Pixies. Perhaps that is too much of an accolade. As the set continues, the band does little to inspire any real interest from the audience and the band’s track “No Future/No Past” seems all too telling.


(photo credit: Marcello Ambriz)

Future Islands

The stage seemed too small for Future Islands as the crowd swelled before their set even began. The buzz in the air was palpable and before long it wasn’t difficult to understand why. The band’s catchy beats had the audience bouncing, but Samuel Herring’s stage presence left all there entranced. An immediate comparison to Henry Rollins is expected as Herring’s intensity, at times, made it seem as if he was about to rip his (or somebody else’s) skin off.

Although his words can escape as a growl at times, during “Before the Bridge” the roughness in Herring’s voice contained a sensitivity so sincere that I found myself with a knot in my throat as he sang the refrain “Do you believe in love?” It doesn’t seem too farfetched to imagine that Herring may be in communication with some “spirits” when he looks up to the sky as he sings. The passion he pours into the performance is so true that as Future Islands were on stage, magic filled the air over Los Angeles.


(photo credit: Marcello Ambriz)

Sleigh Bells

Marshall-stacked and making no apologies for it, Sleigh Bells is what happens when you turn up the volume to 11. Looking like a heavy metal Joan Jett, Alexis Krauss took the main stage at the FYF Fest like a true front woman. Decked in tattoos, jet black hair, heavy eye make-up, and a leather jacket with studs, she is the epitome of rock ‘n’ roll. A rock star is supposed to inspire people to want to be like them. Krauss is doing that just fine with her cool, sexy rocker chick persona.

Unfortunately, looking cool and sexy isn’t going to do much for a live show if all of your songs sound the same. Maybe Sleigh Bells is an acquired taste, but a live show has the power of making a non-fan at least appreciate a band’s hard work and possibly be swayed to want to see them again. Krauss was doing all she could to sell the songs she was singing – dancing, head banging, crowd surfing. It just wasn’t going to work. The lulls in the audience when they played songs from their most recent album (Reign of Terror) were made apparent when paired next to songs like “Infinity Guitars” from their debut album (Treats), which incited a crazy amount of excitement. Maybe the audience is tired of more of the same and even an energetic live show couldn’t sway them. It’s a shame considering the true talent in Krauss as a front woman.


(photo credit: Marcello Ambriz)

M83

In many ways, M83’s set on Saturday night was an ode to Los Angeles. As the city skyline twinkled in the near distance, it provided an ideal backdrop to the band’s electronic infused tracks. The unique blend of synth-driven beats mixed with guitar and saxophone riffs inspire a vision of driving through the city’s empty streets at night. Anthony Gonzalez, leader of M83 lives in Los Angeles, so perhaps that image as inspiration is not too far off.

Of course, the audience didn’t have enough time to contemplate these possibilities as the band was ceaseless in their showering of hit after hit. With a stage set-up reminiscent of Tron, Gonzalez and company performed such tracks as “We Own the Sky”, “Reunion”, and “Steve McQueen”. The crowd embraced more ambient and instrumental tracks just as energetically as bigger, crowd pleasers. This is a true testament to the talent of the band and their ability to maintain a high level of energy without having to resort to unleashing the singles straight away.

The night came to its climax as “Midnight City” and its distinctive intro filled the beautiful, summer night. The already-dancing crowd seemed to double in size as a giant dance/sing-along party ensued. Elation hit the audience once more as Gonzalez sang the line “City is my church” and pointed to the gorgeous L.A. skyline. As he finished the verse he screamed Los Angeles! and the crowd cheered with euphoria. It didn’t matter where you traveled from to be at FYF Fest, at that moment, everybody was an Angeleno.


(photo credit: Marcello Ambriz)

Refused

Closing the first day of FYF Fest were headliners Refused. The Swedish punk band, formed and disbanded in the 1990s, had not performed in Los Angeles for 20 years, for which main singer Dennis Lyxzén apologized in his nearly unaccented English, and then suggested that the audience were the ones who kept the music alive. After having taken the stage in an explosion that sent the crowd into a wild frenzy of moshing and crowd surfing, an apology from these Swedes would immediately garner forgiveness. The audience was under the spell of Refused and Lyxzén made sure of that with his energetic performance.

In acrobatic, Mick Jagger fashion, Lyxzén strutted onto the stage wielding and swinging the microphone before abusing it with his powerful voice on songs such as “The Refused Party Program” and a slew of others, primarily from the band’s seminal album, The Shape of Punk to Come. Despite the bravado, Lyxzén offered heartfelt insight throughout the set as he repeated the theme of “Music means something”. Connecting his insight, he gave the obligatory “Free Pussy Riot” speech that many musicians have been giving in support of the fellow artists. Refused went one up as the kick drum shows “Free Pussy Riot” in large writing and Lyxzén goes on to dedicate the explosive and poignant “Rather Be Dead” to the Russian band as a sign of camaraderie.

By the time of the encore, as “New Noise” and its distinctive intro began, the crowd seemed to be following Lyxzén’s insights as the music took over the crowd. Several bodies floated above a sea of arms and clouds of dirt were kicked up into the air. Before the last song, Lyxzén offered his last inspirational thoughts of the day as he advised the attentive audience to “Never let anyone tell you how to live your life! Live f***ing wild! Stay hungry!” The crowd cheered in agreement and Lynxzén didn’t seem too want to let go of the night as he suggested that the audience should go back to his house and play awesome records. He further enticed by offering to whisper dirty secrets in Swedish and quickly added “It could happen!” as the crowd giggled at his joke. After realizing the limited amount of time left in the set, Lynxzén exclaimed “30 seconds!” and as a last energy booster to the audience, the band did a 30 second reworking of “Tannhäuser / Derivè” before bowing out to an audience that will definitely stay hungry.

31 Aug
2012

By Phil DeSimone

On a typical hot and humid day in Houston, the Honda Civic tour feat MuteMath, Incubus and Linkin Park came rolling through and heated things up a bit more. This shorter than average summer tour had been the talk of the town amongst the locals and critics alike.

MuteMath kicked things off with a short 30 minute set. Despite the heat, the band came out decked in business-casual attire and got the crowd a lil more sweaty. For a 30 minute set, MuteMath did a great mix of songs off all 3 of their albums, ending their set with the infamous “Reset”.

Incubus, the touring kings, were up next and this was such a special treat, because the band is planning on taking a break for a little bit after this tour. These guys have toured for many years non-stop and are some of the most seasoned performers I’ve seen to date.

About halfway during their set, Brandon Boyd said “Hello Dallas”, which is where they played the previous night. Though there were some immediate boos, Brandon quickly realized his mistake and apologized. Lead guitarist Mike Einziger then stated an interesting fact. “Wow, after 21 years of being a band, that has never happened”. Immediately boos turned into applause.

Towards the end of the set, Incubus added their own renditions of “Hello” by Lionel Ritchie and “I Need You Tonight” by INXS, which sounded unexpectedly awesome and received an immediate positive response from those in attendance.

Linkin Park took the stage right on time and opened up with “A Place For My Head”. These guys thrive off the live show and the response the crowd gives them. Mike Shinoda said multiple times how much he loved the response Houston was giving. All members were in great form and Chester’s voice was impressively young sounding as if all those years of touring and screaming every night have had no effect on his voice.

Lights and sound effects certainly complimented the show and the stage set up was shown off even more when lots of fire effects were shown off when the band performed “Burn it Down”.

What really got my blood flowing was when Chester integrated “Sabotage” by the Beastie Boys, into “Bleed it Out”. Aggressive rhymes and scratchy yells complimented this song so well and the crowd went nuts.

Performing a great mix of classics and some newer material, it was another great Honda Civic tour that should not be missed. This is only a 20 date tour which is coming quickly to an end. Make sure to catch it if it comes by your area.

31 Aug
2012

By Keeyahtay Lewis

For those of you who have been visiting this site a while, or even to my site, it has been established how much we like Circa Survive. I found out that they would be doing two record release shows in Philly and I jumped at the chance to cover it. Their new album, Violent Waves, came out this week. Like many others I pre-ordered it, so I got the advance copy and I listened to it for a week straight before the show. I couldn’t wait to see these songs live. I headed down to Union Transfer on Saturday night, and I prepared to have my mind blown by Anthony Green and the guys, once again.

Another favorite band of mine, Balance and Composure, were opening the show. I have seen them play a few times now and I am always impressed. Led by Jon Simmons on vocals and guitar, this 5 piece band out of the Philly area always bring passion to the stage. Opening with Void, Burden and Quake it was obvious that the audience were not strangers to this band. Bringing them along on the tour definitely is a good fit. Special guest Ned Russin of Title Fight was on the bass, and he brought a little extra energy to the band.

Most of their 9 song set came from their last album, Separation, and songs like Stonehands, I Can’t Do This Alone and Rope were huge hits with everyone in the room screaming along every word. Jon’s voice was strong and the rest of the band kept the energy high. It was nice to see them play again and I am sure that they are going to build many new fans on the upcoming tour.

I had an all access pass from Circa so I spent the time in between bands back stage talking with everyone. The new album has a guest vocal from Geoff Rickly of Thursday and he was back there as well. The energy was high from everyone, you could almost feel it tickle the back of your neck while the front of the house got everything ready. I will say again something I have said before, Circa Survive shows always feel like family. Anthony always greets me like an old friend when I see him. Various friends, kids, and band member’s parents make up the rest of the people. Soon enough though, there was the band huddle, then it was time for them to take the stage.

As soon as there is even a hint that they band is ready to come out, the packed, sold out crowd went insane. I have never been to Union Transfer before, but I knew that Saturday night would test the strength of the rafters. They opened up with a new song, the one with Geoff singing the chorus: Lottery. It was fantastic to see him on stage again, (RIP Thursday), the chemistry between him and Anthony is obvious. There is never any getting warmed up with Circa Survive, they go out there and kill it from the first note. Anthony spent a lot of time on the barricade and in the crowd, letting the kids hold his legs up and scream along every word.

Another new one, Sharp Practice, and then an older song, Holding Someone’s Hair Back were next. The new songs were treated just like the old ones, with excitement and a chorus of voices. At this point the album had not even been released yet. It was clear to see that everyone had pre-ordered it to get the instant digital download. The set list bounced around all four albums: Living Together, Imaginary Enemy, Through The Desert Alone, Bird Songs, and Strange Terrain followed. Circa shows are never just 5 guys on stage going through the motions. Confetti, inflatable balls and Anthony getting sweaty in the pit with the kids were all part of it.

A lot is said about Anthony Green, and it is understandable. He has charisma to spare, enough energy to power Philly for a week, and a voice that is unmatched. But behind him are 4 extremely talented guys who keep it all moving along. Nick Beard on bass, Steve Clifford on drums, and Colin Frangicetto and Brendan Ekstrom on guitars. The band has never sounded better. Beyond that, from my spot next to Steve, it is easy to see how much they all love playing together. I was able to hear the jokes and comments they all shared in between songs. And the smiles they passed around.

Before the show, Anthony told me he doesn’t see himself as a celebrity. The interaction he has the whole show makes it clear that he just feels like a regular guy who is lucky to do what he does.

A definite favorite was up next: The Only Difference Between Medicine and Poison Is The Dose. As soon as it started hundreds of voices sang along, “Move one inch at a time, don’t make shit rhyme…”, beautiful. After that song Anthony decided to add a song in that wasn’t on the list. He ran around and talked the guys, a couple changes were made on the spot. Then he told the audience they were going to play something that they almost never played. Always Getting What You Want from the Juturna album was that song, and people lost their damn minds. “It’s the talent, not the promotion” are some of the lyrics, and the talent was on display Saturday night.

Stop The Fucking Car, Suitcase, and Birth Of the Economic Hit Man were the last 3 songs before the encore. The latter two are from the new album, and both songs are a bit slower. Suitcase has delicate vocals which Anthony handled beautiful, with the help of every person in the room. Hit Man is the longest song Circa has in their catalog, at around 7 minutes, and for those minutes everyone just got lost in it.

The band left briefly and then came out with the one, two punch of In Fear and Faith and the ferocious Get Out. Talk about leaving everyone wanting more. Both of the songs are long time favorites of the fans, and the band left everything they had on the stage afterwards.

Taking my bias out of it, Circa Survive are one of the best bands doing it right now. Period. A few really great albums have came out the last few months, but with Violent Waves the band is trying to stake their claim. The album is self produced, and self released, and today is was #1 on ITunes for Alternative Rock. And they deserve it. It is definitely the best, and most easily accessible album of their 8 year career. Beyond that, I have been able to get know some of the guys on a more personal level, and they are super down to Earth and just…damn nice. All too often I see guys on stage putting on a show and going through the motions. You can see the band that doesn’t give a shit about anyone beyond the stage. Circa Survive is not that band.

They will be going out on the road for a small tour starting 9/13/-10/27/12. Just go. Seriously. Don’t think about it, go online now, and buy tickets. You won’t be sorry. And buy the album. Support a band that really gives a shit. But even if you don’t care about 5 guys trying to do it on their own, pick up the new album because it is incredible. This past weekend Circa Survive played two sold out shows in Philly. If it is any indication of what we can expect on the upcoming tour, I will be at every show I can be at. So should you.

26 Aug
2012


By Keeyahtay Lewis

Steel Panther. Mothereffing Steel Panther. Last Thursday night Steel Panther rolled back into town. Like a hyper-sexed circus, they were going to, once again, take over Starland Ballroom. I couldn’t wait. I saw them play back in December and it was one of the most fun shows I had ever seen. I knew that Thursday night would be more of the same.

Taking the stage in a wave of hair spray and spandex, a packed house erupted at once. I said it before, it is easy to forget what year it is when you are at a Steel Panther show. For much of the audience, being at a SP show is the closest they will ever get to the decadence that was the 80s. There were plenty of people at the show who were around for the real thing also. You looked around at the teased hair and tight outfits of those in attendance and you could see that everyone was there to party.

Opening with Supersonic Sex Machine, Tomorrow Night, and Fat Girl the energy was high from the first second. With lyrics like:

    It’s the party of the century that’s right
    Unfortunately it’s tomorrow night
    I’m going to a party
    Tomorrow night Tomorrow night
    I’m gonna get some pussy
    Tomorrow night Tomorrow night
    But tonight I’m gonna jerk off… Ahh feels good

It is nice to see “Rock Stars” who don’t take themselves too seriously. SP always makes sure that the people who are there to see them feel like part of the show. They spend a lot of time joking around with the audience, making lewd comments to the attractive girls, congratulating certain guys with hot girlfriends. They spend just as much time ripping into each other. Talking about plastic surgery’s, hip replacements and the fact that they haven’t showered in weeks.

Although the lyrics are jokes, the guys playing these songs have some serious chops. Led by Michael Starr, who has the look and that 80s vibrato down. Satchel on guitar, Lexxi Foxxx on bass, and Stix Zadinia on drums. If these guys had been around 30 years ago, bands like Poison and other glam metal bands would have had a serious run for their money.

Asian Hooker, Just like Tiger Woods, Gold-Digging Whore, every song is a good time. They even made time for a really, really impressive guitar solo by Satchel. He just goes off for several minutes. The really cool part is when he gets behind the drum kit. He plays guitar and the bass drum parts to many metal songs including, Breaking the Law, Master of Puppets, Crazy Train, Iron Man, all 80s classics. He even ripped into Flight of the Bumblebee. If anyone thinks that SP can’t really play, that solo alone would shut all doubters down.

Community Property, Eyes of a Panther, Weenie Ride were next. Then of course the girls. They just bring a flood of girls from the crowd on stage to make out, and flash some boobs. Just in time for the next song, Party All Day (Fuck All Night) and It Won’t Suck Itself. Classy? No. So much fun? Absolutely. That is the point with SP, they thank you for spending your hard earned money on a ticket, and then they make sure you will leave every single problem at the door.

Death to All But Metal was next, then Eatin’ Ain’t Cheatin’ and 17 Girls in a Row for the encore.

I can’t say it enough, SP are just a great time to see play. They don’t write songs to change the world, they write songs to bring a smile to your face. And they certainly do that, and then some. I am pretty sure I said this last time I wrote about them, but I will definitely go see them play any chance I get. It is just refreshing to see 4 guys on stage who love what they do, and really appreciate that others would pay good money to share that with them. They don’t act like they are better than the people on the other side of the barricade, and they bring a good many of those people on stage during the show. They do everything they can to bring a little of that 80s excess to their shows, but they also bring a lot of heart. Both leave a lasting impression.