Growing up in Massachusetts, it was impossible to ignore the tenacity of A Loss for Words. From sharing bills with hardcore bands in VFW halls to landing high-profile pop-punk tours, these boys from the South Shore spent 15 years as one of the hardest working bands in the scene. Their passion is palpable regardless of the size of the crowd, and it doesn't hurt that vocalist Matty Arsenault can sing circles around most vocalists in the genre.
Like when a local team wins a big game, A Loss for Words' signing to Velocity/Rise Records in 2011 felt like a victory for all of us who had been championing them for so long. The band seemed destined to take the scene by storm, as their virtually non-stop schedule of touring and releasing music never relented. But, like so many before them, they were never quite able to break through to the mainstream.
That said, the group has accomplished more than most bands ever dream of, developing a sizable fanbase, going on multiple worldwide tours and influencing several younger acts. The announcement of their imminent breakup in 2014 came as bittersweet; it was sad to see them go, but the guys graciously gave fans a year of advance notice. Their final show took place on December 27, 2015 at Worcester, MA's The Palladium.
A Loss for Words had played this particular venue countless times throughout their career, but this night was different. Ever the earnest frontman, Arsenault explained to the audience - which he repeatedly referred to as his friends - that it had been his dream when he was 15 to sell out The Palladium. Now, at age 31, he had done just that. The 2,100+ people in attendance roared with applause.
The main line-up consisted of Arsenault, bassist Mike Adams, guitarists Marc Dangora and Nevada Smith, and drummer Christian Mullen, but they were joined by various friends throughout the night, including several former members. Other guest appearances included Pvris' Lynn Gunnulfsen on "Distance," saxophonist John James Ryan for their cover of The Temptations' "My Girl," and Sweet Pete of In My Eyes doing his part on "Stamp of Approval."
The band's 80-minute set was appropriately career-spanning, including fan favorites like "Honeymoon Eyes," "Hold Your Breath," "Pirouette," "Half Step Down" and an ancient song, "Say Goodbye," from when they were known as Last Ride. The members left the stage after a huge singalong for "Wrightsville Beach," only to return moments later for an encore. They played the somber, acoustic number "Mt. St. Joseph" before powering through the ferocious "Stamp of Approval" to say goodbye for good.
The bill featured many longtime friends and fellow hometown heroes. Direct support was provided by Pvris, a group managed by Arsenault on the cusp of a breakthrough. For this performance, vocalist Lyndsey Gunnulfsen was accompanied only by guitarist Alex Babinski. The pseudo-acoustic (Babinski was playing electric, but acoustic would have been more fitting) environment showcased Gunnulfsen's impressive vocal abilities. I'm certainly not the first one to point it out, but this band is poised to do big things. Despite the rare quiet set, several enthusiastic girls crowd surfed during closer "My House."
Although they played their final show in 2010, local legends Therefore I Am reunited to play with their longtime friends one last time. Guitarist Brian Marquis was unable to make it for the show, unfortunately, but his brother, Greg Marquis (of Actor|Observer), did a fine job filling in; everyone else was accounted for. They only played three songs - "I Am Only an Island," "45 Miles" and "I Get Nervous in Cars" - but the crowd response was unreal. The band members appeared to be having just as much fun as the enthused audience. Hopefully this isn't the last we see of them. Before their final song, vocalist Alex Correia teased: "This is it. Might be a long time. Who knows?"
Prior to Therefore I Am taking the stage, the crowd was treated to a surprise reunion from Junction 18. Many people seemed confused, as the set was unannounced, but those who were familiar with the band (mostly fellow South Shore locals) were unbelievably excited. It was their first show in almost a decade, and their first time playing as that particular four-piece in twice as long, but they showed little rust. They did three songs, kicking off with "Granite Street Knife Fight." By the end of their set, Adams and Dangora couldn't resist getting onstage to sing along.
Vanna beat the odds by putting on the most energetic set in a night full of high-energy performances. They always put on a strong show, but you would have thought this was a headliner based on the fervent crowd reaction. Frontman Davey Muise sang closer "Digging" from the audience, the result of which was pure chaos. Earlier in the set, Muise revealed that Vanna will have a new record in the summer and strongly hinted that they'll be playing Warped Tour as well. It was also announced that it was drummer Eric Gross' last show with the group. Most poignant, however, was when Muise shared a story about how Vanna and A Loss for Words had given him a home when he didn't have one.
I was hoping for some old material from Transit, given the nostalgic occasion, but instead they pulled only from their three most recent albums. It's hard to fault the band when they only had 30 minutes, and the performance was solid nonetheless. Their live show simply isn't the same in the absence of founding guitarist/vocalist Tim Landers, but Torre Cioffi did an admirable job picking up the slack left in his wake.
Lions Lions, another group with a longstanding and incestuous history with A Loss for Words, is such a fun band to watch. Its members are absolutely reckless when it comes to the well-being of themselves and their belongings, carelessly tossing around their instruments without giving it a second thought. During their closer, "The Undertow," guitarist Isaac Vigil hopped in the audience and continued to play while crowd surfing.
Despite not being from the area, the crowd greeted openers Handguns and Major League - both former A Loss for Words tourmates - with warm responses. With eight bands playing brief (15-30 minute) sets before the main event, the evening felt like a mini Warped Tour. In the six and a half hours in which the show took place, the lively crowd never lost momentum; they may have even set a crowd surfing record for the venue.
Success comes in many forms, particularly from the perspective of a band. A Loss For Words never got that major record deal, mainstream radio play or platinum sales. But they had a profound impact on the microcosm that is the New England music scene, to listeners and musicians alike. From a group of small-town high school friends to revered torchbearers, A Loss for Words paved the way for many kids just starting out to take a shot at pursuing their dreams.
In "Finite," Arsenault sings: "I won't let tonight pass me by / I won't see with paralyzed eyes / No I won't, no I won't because / Time is so precious for us all." Those lyrics rang especially true as A Loss for Words laid down their instruments for the final time. Running the gamut from punks and hardcore kids to hipsters and preppy bros, the diverse audience came together to sing along with a longtime stable of our local scene for the one last time. 15 years of blood, sweat and tears had led to this moment, and the band members received the grand send-off they deserved.
What's better than a night of free music from some of the most exciting names in alternative music? One that also supports a good cause. That's exactly what Mix 104.1's Not So Silent Night provided: a free concert that encourages its attendees to bring donations for Toys for Tots.
This year's event, held at the House of Blues in Boston, MA on December 9th, boasted quite an impressive line-up: Fall Out Boy, Elle King, Andrew McMahon in the Wilderness and Jamie Lawson.
With a 2,200 capacity, the House of Blues is a relatively small venue for Fall Out Boy, whose spent the summer touring amphitheaters across the country. Regardless of size, the band always seems to give it their all. Vocalist/guitarist Patrick Stump particularly impressed, nailing every note with ease.
Confined to about 45 minutes, the group abridged their typical setlist to rely heavily on singles and material from their latest effort, American Beauty/American Psycho. Debut album Take This to Your Grave was noticeably absent; this is particularly odd, as "Saturday" has been their closer for about a decade.
Still, the set was full of hits. After taking the stage to the seasonal sounds of the Trans-Siberian Orchestra, the band set the pace by opening with their breakthrough song, "Sugar, We're Goin Down." They went on to perform choice cuts like "Dance, Dance," "My Songs Know What You Did in the Dark" and "Thnks fr th Mmrs" before closing with "Centuries."
Fresh off of two Grammy nominations, Elle King performed an eclectic set that moved seamlessly from country to rock to blues. Despite her recent acclaim, the singer's casual stage presence and between-song banter showed that she's remaining humble.
Backed by a full band, King switched between acoustic guitar and banjo as needed. Along with her hit singles "Ex's & Oh's" and "Under the Influence," the half-hour set also included a rousing cover of The Beatles' "Oh! Darling."
As a longtime fan, I'm so happy that Andrew McMahon is gaining radio traction with his latest project, Andrew McMahon in the Wilderness. His 30-minute set was mostly culled from his solo material, but he made time for a song from each of his prior bands, Jack's Mannequin ("Dark Blue") and Something Corporate ("I Woke Up in a Car").
Watching McMahon perform, you might think his piano seat was electrified the way he was constantly hopping up to sing, alternating between two microphones. For the closer, "Synesthesia," he blanketed the audience with a huge parachute, as if it were third grade gym class. He then joined the crowd under it to sing part of the song. By the end of it, he wound up atop his piano, singing with the parachute draped around him like a cloak.
The evening kicked off with a performance from Jamie Lawson. The British singer-songwriter was the first signee to Ed Sheeran Gingerbread Man Records, and his self-titled album recently hit #1 in the UK. (Sheeran was #2, as Lawson noted with a smile.) Now he's making waves in the US as well.
The set served as warm-up for Lawson's appearance on The Tonight Show Starring Jimmy Fallon, where he performed the following night. His somber hit single, "Wasn't Expecting That," resonated with the audience, but "Ahead of Myself" ended the set on a more uplifting note.
The acts were diverse, and there wasn't a weak spot among them. Most importantly, Not So Silent Night succeeded in its charitable efforts. As the Mix 104.1 DJs who emceed the event announced, they raised a whopping 9,578 toys for children in need. In a night filled with crowd-pleasing music, it was the Toys for Tots results that received the warmest reaction.
The 12th annual Rock and Shock horror convention/concert series featured a lot of notable names - from influential filmmaker George A. Romero (Night of the Living Dead, Dawn of the Dead) to Saw franchise star Tobin Bell to American Horror Story regular Naomi Grossman - but perhaps none as big as Glenn Daznig. The former Misfits frontman lead his band through an electrifying set at The Palladium in Worcester, MA on October 17.
At 60, Danzig shows no sign of slowing down. Halfway through a month-long tour, his voice sounded a bit hoarse - but that didn't stop him from pulling off his signature croon. The 75-minute set spanned over 25 years worth of Danzig material, ranging from "Mother" to "How the Gods Kil" to "Hammer of the Gods." He also played three tracks from his upcoming covers album, Skeletons: Elvis Presley's "Let Yourself Go," Davie Allan & The Arrows' "Devil's Angels" and Black Sabbath's "N.I.B." Each take put a heavy spin on the original.
Since ex-Misfits guitarist Doyle was also on the bill, there was speculation that he may join Danzig to play some classic Misfits songs together (as they did on the Danzig 25th Anniversary Tour two years ago), but that unfortunately did not happen. It’s impossible to be too disappointed, though, as the show was great as it was.
Danzig wasn't the only big name to grace the stage that night. He was preceded by former Pantera vocalist Phil Anselmo, leading the charge with the recently-reunited Superjoint Ritual. Anselmo came out with a bottle of booze in hand and took a swig before addressing the crowd: "We're Superjoint Ritual from New Orleans, Louisiana. Fuck the world." What followed was 40 minutes of heavy, sludgy mayhem. It felt like the kind of show you’d catch in a grimy basement; one that leaves you speechless but also feeling a little dirty - and I mean that in the best way possible.
Anselmo encouraged the audience to make the security guards earn their pay for catching crowd surfers, a request that was happily met. Anselmo did his best to high five everyone who made it over the barricade, and he later shook the staff members’ hands for a job well done. The biggest takeaway from Superjoint’s performance was how genuine Anselmo and the gang came off. It felt real; no frills, no big stage production, no superiority complex. Everyone was equal, and everyone had a good time.
Danzig and Superjoint's sets provided an interesting dichotomy. Danzig felt more like a concert experience. There was ominous lighting, big statues adorning the stage, a sizable drum riser and a very strict no photography policy. A stark contrast, Superjoint's bare-bones set offered a raw portrayal of the musicians. That’s not to say one is better than the other; in fact, it was exciting to see each style work so well back-to-back.
Earlier in the evening, The Rocking Dead took the stage after being introduced by Derek Mears, who played Jason Voorhees in the Friday the 13th remake. Specifically formed for Rock and Shock last year, the supergroup made a triumphant return with some different members and a more varied repertoire. The revolving line-up included Doyle, Wednesday 13, Acey Slade (Joan Jett & The Blackhearts), Ace Von Johnson (Faster Pussycat), Ash Costello (New Years Day) and more. The eclectic group played a bunch of crowd-pleasing covers, ranging from Misfits to White Zombie to Alice Cooper.
Doyle - the eponymous band of former Misfits guitarist Doyle Wolfgang von Frankenstein - played the venue's smaller upstairs room. They definitely deserved a spot on the main stage, as it was packed from wall-to-wall for the duration, but it was exciting to see such a legend in that intimate setting. Doyle towered over the tiny stage, ferociously wailing on his guitar, while vocalist Alex Story (also of Cancerslug) barked macabre melodies.
Wednesday 13 was also part of the event. His horror movie-inspired songs were a perfect fit for Rock and Shock. You may recognize Wednesday as the former frontman of the Murderdolls, and his solo material is very similar. The half-hour set included such songs as “I Want You… Dead,” the Texas Chainsaw Massacre-inspired “All American Massacre,” and closer “Bad Things.”
Rock and Shock also featured performances from Veil of Maya, Prong, New Years Day, Get Scared and Eyes Set to Kill, among others. Next door at the DCU Center was a full-blown horror convention, complete with a long list of celebrity guests, dozens of vendors, Q&A sessions, film screenings and other activities. You can read more about the horror side of the event in my report for Broke Horror Fan.
Mayhem Festival co-founder Kevin Lyman recently made headlines for his comment about how metal has aged, getting "gray, bald and fat." This remark angered a lot of people in the metal community, not only because it's disparaging, but because the blanket statement is simply not true.
While Mayhem Fest may have struggled to maintain its status this year, Slipknot's Summer's Last Stand Tour has done anything but. Accompanied by Lamb of God, Bullet for My Valentine and Motionless in White, Slipknot proved that metal bands can still draw large and diverse crowds when they came through the Xfinity Center in Mansfield, MA on August 4, 2015.
Slipknot entered the stage to "XIX," the (relatively) slow and melodic opener from their latest effort, .5: The Gray Chapter. As it does on the album, the intro led right into the pummeling "Sarcastrophe." The next 100 minutes (expanding slightly from the 90 minutes they typically perform) were a blur of bodies, instruments and fire.
The stage set-up was the same as it was for last year's Prepare for Hell Tour - with a huge, demonic goat head (looking similar to a Terror Dog from Ghostbusters) overlooking the pandemonium onstage - but thankfully the setlist was altered. Most of the stables were present ("Wait and Bleed," "Spit It Out," "People = Shit," "The Heretic Anthem," "Duality," and the constant closer, "Surfacing"), though several other favorites ("My Plague," "Left Behind") were left out in favor of more new material from .5. But there was still room for a few surprises, like "Disasterpiece."
Despite eight other masked madman bouncing around the stage, bassist Alex Venturella was noticeably absent from the fray. Frontman Corey Taylor addressed the incident that occurred two nights prior, when Venturella passed out during the band's show due to dehydration. He was "very, very happy" to inform the crowd that, although he was unable to join the band onstage, Venturella was playing from the back.
Slipknot is no stranger to overcoming adversity, including the death of founding bassist Paul Gray in 2010 and the exit of longtime drummer Joey Jordison in 2013. While these events have undoubtedly impacted the band internally, their live show has gone unphased; it remains a spectacle of chaos, both sonically and visually.
Not too long ago, the idea of Lamb of God providing direct support for Slipknot would have seemed foreign. These days, however, it makes perfect sense. With a brand new album - VII: Sturm und Drang - debuting at #3 on the Billboard 200 a week prior, Lamb of God are another prime example of modern metal's longevity.
This is one of the band's first major U.S. tours since vocalist Randy Blythe's highly-publicized arrest and detention in the Czech Republic stemming from an unfortunate incident in which a fan died at a show in Prague. As such, their performance seemed to hold a little more weight than usual - particularly when the large video screens on either side of the stage flashed with footage of political and social unrest.
Confined to a 50-minute performance, only two songs from the new album - the ferocious "Still Echoes" and "512" - made their way into the set. They blending well with the existing repertoire, including staples such as "Walk with Me in Hell," "Laid to Rest" and closer "Redneck." "Black Label" - and the wall of death that infamously ensues from it - was sadly missed, although it makes sense not to play it on a tour like this.
Blythe dedicated old favorite "Ruin" to their many friends in bands from Massachusetts. Lamb of God may be from Virginia, but they're an honorary New England band in many locals' eyes, having played in the area countless times since early in their career (including many stops at the New England Metal and Hardcore Festival). Blythe has always been able to command a crowd, and it was great to see that skill expand to such a large audience.
UK exports Bullet for My Valentine warmed up the crowd with 40 minutes of Metallica-influenced thrash metal. "Tears Don't Fall" got them singing along, and "Waking the Demon" ended their set with a circle pit.
Gothic metallers Motionless in White opened the show. A far cry from last summer - when they were bringing throngs of fans to the main stage at Warped Tour - the band played to a tepid crowd that was still filtering in. Benefiting from the larger venue, the group's crunching breakdowns sounded massive through the amphitheater's sound system and elicited some headbanging from the audience.
With this being the final year of Mayhem Festival, there will be a sizable gap in the metal scene next summer. Who better than Slipknot to curate an annual tour to replace it? As if their unparallelled performance isn't enough, the Summer's Last Stand Tour (much like their annual Knot Fest) proves they know how to build a well-rounded line-up.
The 17th annual New England Metal & Hardcore Festival kicked off on Friday, April 17th at The Palladium in Worcester, MA. Although I was only able to attend that day, the rest of the weekend included performances from Testament, Exodus, Motionless In White, The Color Morale, Vanna, Turnstile, Rotting Out and many more. Needless to say, it was yet another successful New England Metal & Hardcore Festival in the books.
I arrived just in time to see Jasta, the solo project of Hatebreed frontman Jamey Jasta. Jasta's material is a bit more metal-oriented and occasionally melodic, but overall it's not a far cry from Hatebreed's crushing hardcore. They even played Hatebreed's "Last Breath." I thought he might play later on the second stage, but instead he took the main stage in the early evening. Regardless of setting, Jasta constantly shows that he's one of the hardest working guys in heavy music.
As soon as Jasta ended, I ran upstairs to the second stage to catch the very end of On Broken Wings, who closed with the mosh-inducing "Like Starscream." The band seems to only come out of hiding for Metal Fest, so I was glad to see them.
Up next was Massachusetts' own metalcore royalty, Overcast. The influential band includes Shadows Fall vocalist Brain Fair (whose dreadlocks are now nearly at his ankles) and Killswitch Engage bassist Mike D'Antonio. They reunited several years ago and have been playing sporadically since. Their set not only proved that they've still got it, but songs like "Seven Foot Grin" and "Grifter" showcased how timeless their material is.
Code Orange headlined the second stage, and with good reason: it would be virtually impossible for any act to follow up their intensity. The set was an absolutely aural assault - and I mean that in the best way possible. (It could also be a physical assault if you were in the pit.) It'll be interesting to see how their pummeling performance translates when they have to play to drunk metal dads in the blazing afternoon sun at the Mayhem Festival this summer, but they were in their element at Metal Fest.
Back downstairs, Death Angel took the main stage. I was only vaguely familiar with the Bay Area thrash titans, but they definitely made a fan out of me. These guys started playing together before most of the people in attendance (myself included) were even born, so it's no surprise their live show is so tight. They packed a full shows's worth of headbanging into an abridged 30-minute set.
Sepultura were a bit before my time, but I appreciated seeing brothers Max Cavalera (vocalist/guitarist) and Igor Cavalera (drummer) tear it up in Cavalera Conspiracy. The audience was into it, happily obliging whenever Max asked for a circle pit through his thick Brazilian accent. Along with their new material, they also threw in a few Sepultura favorites, including "Refuse/Resist" and closer "Roots."
I was surprised to see The Red Chord so high on the bill, particularly since they're not very active these days. The Massachusetts-based act certainly had plenty of fans in attendance, but going by overall crowd reaction, they probably should have gone on before Death Angel. Regardless, they crushed the set. With Jon "The Charn" Rice (ex-Job for a Cowboy) behind the kit knocking out blast beats like a machine, the band making their technical death metal look easy.
Speaking of making it look easy, Between the Buried and Me proved once again how insanely talented they are with their headlining set. They have the rare ability to flawlessly recreate the album experience in a live setting through phenomenal musicianship. This is doubly impressive when you consider how diverse their music is; running the gamut of metal subgenres while incorporating elements of progressive rock, jazz fusion and even pop.
Between the Buried and Me played for nearly an hour and a half straight. Their songs are long (new single "Memory Palace," which they played, clocks in at 10 minutes), but it's impossible to get bored due to the ever-changing soundscape, time signature shifts and subtle intricacies. They closed with a cover of Queen's "Bohemian Rhapsody." It's a risky one, but BTBAM is one of the few groups that can pull it off with ease. Everyone sang along at the top of their lungs and left Metal Fest with a smile on their face.
Mae embarked on what was said to be their final tour back in 2010, but they simply couldn't stay apart for long. The band has reunited several times in the years since for various occasions, and now it seems they're finally back for good. The impetus for the latest return is the 10th anniversary of their fan favorite concept album, The Everglow.
The band's classic line-up - vocalist/guitarist Dave Elkins, keyboardist Rob Sweitzer, guitarist Zach Gehring, bassist Mark Padgett and drummer Jacob Marshall - recently completed a northeast trek in which they performed the record in its entirety. Rather than a tour package, they allowed local bands to open each show. The final stop on the first leg took place at The Palladium in Worcester, MA on January 9th.
Sipping from steaming mug of tea, Elkins told the audience that he could barely speak before stepping on stage. He sounded a little strained at times, but otherwise you'd never know he was losing his voice. (I've heard plenty of singers sound much worse with no excuse.) He went on to sing for close to 2 straight hours, and the admirably-sized crowd was happy to help him out when needed.
The group opened with three tracks from other efforts: "I Just Needed You to Know," "Embers and Envelopes" and "Reflections." Then "The Prologue" welcomed the audience to The Everglow. The band embraced a fuller sound in the live setting, turning a mellow album in a full-on rock show. This was made evident when the piano-driven opener, "We're So Far Away," became a full-band affair, and it carried on throughout the hour-plus album.
Following the extended jam to end "The Sun and the Moon" and The Everglow's "Epilogue," the band returned for an encore made up of "Tisbury Lane," "Summertime" and "A Melody, the Memory." The latter struck me as a strange choice for closer, considering the fans' delight in hearing the other two tracks would have made either one a higher note to end on, but everyone went home happy either way.
The Everglow 10th anniversary tour seems to be have rejuvenated Mae. While they have always been open to playing together again, they're officially working on new material now. Elkins told the audience that they would be taking the anniversary tour around the country later in the year and hope to have new music out before 2015 is over.
A Slipknot/Korn double bill would be a dream tour circa 1999, but even 15 years later it's still an exciting pairing. Slipknot just put out their best work in a decade, .5: The Gray Chapter, and Korn impressed me on the Mayhem Festival this summer. The December 7th show at the Tsongas Center in Lowell, MA was the last date of their "Prepare for Hell" tour, but neither band showed any wear after more than a month on the road.
Slipknot took the stage - equipped with new masks to accompany the new album - with "XIX" as their entrance music. Next came the desolate opening notes of "Sarcastrophe," and when the song kicked in, so did the 9 members of Iowa's finest export. The stage was set-up like a satanic circus big top; apropos for the wild, pyro-filled environment. At any given moment, a stray member of the band could fly by you - even in the stands. You might expect the chaos unfolding on stage to cause a sacrifice in musicianship, but the band comes together in unison like a nine-headed monster.
They made no mention of the new members, nor their late bassist Paul Gray. (I was expecting to hear "Skeptic" in tribute to him.) The secret is out that drummer Jay Weinberg (ex-Against Me!) and bassist Alessandro Venturella (Krokodil) have joined the fold as unofficial members. Former drummer Joey Jordison is one of the genre's best, but Weinberg held his own on the old material. Venturella seemed designated to stay toward the back of the stage, but he served his purpose.
Slipknot could fill their entire 90-minute entire set with singles, but instead they forwent some of them in favor of deep cuts like "Eeyore" and "Purity." They even skipped their first single, "Wait and Bleed," which has previously been a staple. They still delivered the rest of the hits, including "Spit It Out," "Left Behind," "Duality" and the recently Grammy-nominated "The Negative One." Their encore was made up of three of their hardest-hitting - both in terms of heaviness and fan reaction - cuts: "(sic)," "People = Shit" and "Surfacing."
Korn's debut album turned 20 this year, and the band still rocks it like they did in '94. Although their music may be dated, they sound as good as ever. Their setlist was similar to the one they played at Mayhem Festival. It was heavy on older material, which went over well with the crowd, including such hits as "Freak on a Leash," "Here to Stay" and "Got the Life." Per usual, vocalist Jonathan Davis came out with his bagpipes for "Shoots and Ladders," but at the end of the song, the band segued into a brief section of Metallica's "One.' They closed with their first single, "Blind."
Slipknot's Roadrunner Records labelmates King 810 were selected as openers for the tour. The band was founded by former Chiodos guitarist Jason Hale, but he has since parted ways. They wear their hometown of Flint, MI - dubbed Murdertown - with pride. Their tough guy gimmick is tired, their music is unappealing, the stage was so dark you could barely see them, and the crowd was tepid - but I will say they had decent energy. It's not for me, but they probably made a lot of new fans on this tour.
Slipknot frontman Corey Taylor didn't hesitate to call "Prepare for Hell" one of the best tours of the band's career. It says a lot that both Slipknot and Korn are still going strong, releasing interesting material and putting on such strong performances 15+ years later. The thousands of fans in attendance clearly loved it, and the late Gray would be proud to see his brothers carrying on his legacy with such reverence.
With the popularity of full album tours, it was only a matter of time until bands started teaming up for such outings. But I never expected the first one to be such a 1-2 knockout as Say Anything and Saves the Day. The former is celebrating the 10th anniversary of their landmark album, ...Is a Real Boy, while the latter commemorates 15 years of their influential sophomore effort, Through Being Cool. Adding Reggie and the Full Effect as support was icing on the pop-punk-ish cake.
I've had the pleasure of seeing Say Anything more than a handful of times over the past decade, but I've never seen mastermind Max Bemis so invigorated, so confident, so happy to be on stage as he was at The Palladium in Worcester, MA on November 30th. His excitement was matched only by that of the crowd, who were eager to hear his modern masterpiece in its entirety. And the set began with a song of rebellion...
Say Anything recently underwent some major line-up changes, but their performance showed no evidence of it. It should come as no surprise, considering Bemis has constructed something of a scene supergroup: longtime guitarist/keyboardist Parker Case (ex-JamisonParker), touring guitarists Kenny Bridges (Moneen) and Greg Dunn (Moving Mountains), bassist Garron DuPree (Eisley) and drummer Reed Murray (ex-Tallhart).
Bridges seems to be fitting in particularly well. He and Bemis have already developed a wonderful on-stage chemistry. Then again, I'd bet that Bridges's infectious energy and swagger could create synergism with anyone. From sliding across the stage on his knees to jumping off amplifiers, his showmanship is straight out of a larger-than-life '80s rock show - and I mean that in the most complimentary way possible.
Angst may be the cornerstone of ...Is a Real Boy, but the album also seems to have been scientifically engineered for cathartic singalongs. And that's just what the audience did (despite the fact that half of them looked like they were around 8 when the album came out). From the call-and-response of opener "Belt" to the climax of fan favorite "Admit It!!!," no song went unsung. Several times, Bemis could be seen removing his in-ear monitor to hear the capacity crowd shout back the words he wrote more than 10 years ago.
Typically, I much prefer to hear an album from front to back on these types of tours, but it was undeniably more effective for Say Anything to stop short after 10 of the effort's 11 cuts. Bemis and company transitioned into three tracks from ...Was a Real Boy ("Wow, I Can Get Sexual Too," "Little Girls," "Most Beautiful Plague") before returning to conclude with "Admit It!!!" After the music stopped, Bemis went down to the crowd to high five and hug the troopers in the front row.
Saves the Day is probably one of the hardest-working bands of their stature, so it was nice to see them reflect on their accomplishments by revisiting Through Being Cool. It's arguably one of the most influential pop-punk albums of all time (and one of my personal favorites), so it was a bit disheartening to see the younger portion of the audience largely unfamiliar with the material. The band did not let it effect them, however.
Vocalist/guitarist Chris Conley barely said a word to the crowd throughout their set, instead burning through as much material as possible. They plowed through the album in a little over a half hour, leaving them another 35 minutes to play 10 more songs. In between such classics as "At Your Funeral," "Jessie & My Whetstone" and "Anywhere with You," they found time for some jam sessions to keep things fresh.
The band's traverse through 15 years of music was impressively seamless. Conley's voice has noticeably changed over the years, as have the musicians surrounding him, but their set was a reminder that Saves the Day are as strong as ever. They closed with "Sell My Old Clothes, I'm Off to Heaven," which brought an army of crowd surfers to the front of the venue.
To kick off the night, Reggie and the Full Effect frontman James Dewees casually walked on stage in a full Santa costume with a PBR in hand, followed by his backing band - the members of Pentimento - dressed as elves. Reggie was billed as performing 2003's Under the Tray in its entirety, and while the majority of the setlist drew from it, they skipped around a few times. Most of the audience seemed unphased, but it was a curious change of plans.
After playing the frivolous yet undeniably catchy "F.O.O.D.," Dewees addressed the nonbelievers: "Reggie is a weird band if you a never seen us. These are all the songs I brought to The Get-Up Kids and they said no." As if the crowd needed further proof, Dewees ended the set by stripping down to an ill-fitting "sexy" cop outfit and performing "Love Reality" as his British alter-ego, Fluxuation.
Some of these anniversary shows offer little more than a shot of nostalgia, but Say Anything and Saves the Day provided much more than that. The show gave fans - and, I'd surmise, the musicians themselves - a refreshing reminder of just how profound an impact these bands have had on countless people.
Marking the 30th anniversary of GWAR, 2014 should have been a landmark year for the cult band. Instead, it will forever be remembered for its tragedy: frontman Dave Brockie - better known as his GWAR alter ego Oderus Urungus - passed away in March.
The loss of a vocalist and, even more so, the death of a member are difficult hurdles for any band to overcome, but I don't think it was ever a question if GWAR would continue without Brockie. Although he was a constant creative force behind the group, they have always acted as a collaborative effort of revolving artists. More importantly, Brockie undoubtedly would have wanted his friends to carry on in his absence.
And carry on they are. They're currently paying tribute to Brockie on the GWAR Eternal Tour, their first trek without their fallen brother. I had the pleasure of witnessing the madness at the October 18th stop at Worcester, MA's Palladium, which was held in conjunction with the Rock and Shock horror convention.
Using video footage (via a "magic mirror"), late front-thing Oderus joined the band to perform their opening number, "Fly Now." Following that, and an expectedly-convoluted story about Oderus' disappearance involving time travel, an array of monsters joined the smoke-covered, colorfully-lit stage to sing with the band.
Chief among them was Blothar, a stout, armored creature portrayed by Michael Bishop (who was the original Beefcake the Mighty dating back to '87). Blothar was joined by Vulvatron - clothing designer Kim Dylla - a busty alien from the future. She's billed as the band's co-vocalist but her duties consisted more of back-ups than leads.
Guitarist Pustulus Maximus and bassist Beefcake the Mighty each sang a song as well (Beefcake's "Hate Love Songs" is one of the most fun tracks in the band's lengthy catalog), as did the group's enemies, Bone Snapper and Sawborg Destructo.
GWAR simply isn't the same without the charismatic Oderus leading the charge. The other members are fully aware of this fact, so they're doing everything in their power to spruce up their already-legendary live show. Oderus' Cuttlefish of Cthulhu (read: giant, prosthetic penis) even made an appearance.
The are two general rules of thumb at a GWAR show. 1. Anything that can shoot blood or green bile will. 2. Anything that can't will too. The new members abide by these sandards; Blothar is equipped with blood-spraying udders, while Vulvatron spurts gore from her cartoonishly-large breasts - all much to the audience's satisfaction.
It was strange to see GWAR without hearing the anthemic "Sick of You," with which they typically end their set, but the band used their encore to hail Orderus once again. First, they played "The Road Behind" - the closest thing the band has ever come to writing a ballad. They followed it up with a cover of what they dubbed the "worst song ever," Pet Shop Boys' "West End Girls," which segued into their take on The Jim Carrol Band's "People Who Died."
Brooklyn metal mainstays Life of Agony provided direct support for the band on this particular date. They opened with the explosive "River Runs Red," the title track from their classic 1993 debut album (which you might recognize from The Office), and carried on for nearly an hour. It's no surprise how tight they are; they've been at it for more than 20 years. Despite their experience, they still manage to sound fresh. Their live show is even heavier than on record, and vocalist Mina Caputo sounds great.
This concert was part of Rock and Shock, an annual horror convention at which GWAR has performed many times. At the nearby DCU Center, fans could meet such iconic actors as Brad Dourif (Child's Play), John Ratzenberger (Cheers), Roddy Piper (They Live) and Sid Haig (The Devil’s Rejects), among many others, and attend panels, film screenings, seminars and more. All of that, plus a GWAR show? I was in heaven. You can read my full thoughts on the convention over at Broke Horror Fan.
The members of GWAR are paying tribute to Brockie the only way they know how: a killer rock show. Filled with monsters, metal and mayhem, it's exactly what he would have wanted. If you have the chance, support GWAR, the Slave Pit and Brockie's legacy by attending this tour. There's never a dull moment at a GWAR show - an understatement if there ever was one - but this one feels particularly special.
The Wonder Years could tour with anyone and their rabid fans would still flock to see them, but the band always seems have their finger on the pulse of the scene, bringing along some of their most promising peers and up-and-comers. Continuing that trend, their latest run includes support from The Story So Far and Modern Baseball. I caught the third date of the tour on October 3 at Lupo's in Providence, RI.
I've written about The Wonder Years so many times over the past 5+ years, but they never cease to amaze me. Not only are they excellent on record, but their live show takes their songs to a new level; they embody the perfect balance between high energy and strong musicianship. Vocalist Dan "Soupy" Campbell leads the group and their loyal fans on an hour-long roller coaster of a performance.
Per usual, their setlist was well-rounded enough to satisfy fans seeing them for the first time as well as longtime supporters who may have caught them six months prior on The Greatest Generation World Tour. The band pulled out a track from The Greatest Generation they had only played live once before ("We Could Die Like This") as well as an old favorite ("Won't Be Pathetic Forever").
They're also playing The Upsides B-side "Leavenhouse. 11:30" for the first time on this tour. It's always exciting to hear a rarity, but it was particularly appropriate in Providence, since the song references "Last Chance Rhode Island." Campbell commented that the band members weren't sure enough people would be familiar with the song, but the crowd happily quelled their concerns.
Of course, the performance also included plenty of hits and fan favorites. Songs like "Dismantling Summer," "Washington Square Park," "Melrose Diner" and "Came Out Swinging" got a huge response as expected. "The Devil in My Bloodstream" was another highlight; its mid-track crescendo is even more explosive in a live setting with audience accompaniment.
Unfortunately, the night ended on a scary note. With a couple of minutes left in their 8-minute encore song "I Just Want to Sell Out My Funeral," a girl in the crowd had a seizure and passed out. I must commend the Lupo's staff, the band and the audience for all responding quickly and respectfully. As soon as Campbell noticed what was going on, he stopped his bandmates and made sure the girl was escorted out safely while the crowd made room. I'm happy to hear that the girl is reportedly fine now.
The Story So Far was a perfect choice for direct support; they share a majority of fans with The Wonder Years, but they'll likely be exposed to some folks who hadn't checked them out previously. The crowd was nearly as rambunctious as they were for The Wonder Years, with an insane amount of crowd surfing throughout the 45-minute duration. Their setlist sadly lacked "Mt. Diablo" but otherwise hit all of the highlights from their two full-lengths, What You Don't See and Under Soil and Dirt, as well as "680 South" from an earlier split.
Much like when they opened for The Wonder Years in the spring, Modern Baseball received a sizable response from the crowd despite playing early on the bill. Their last two songs, "The Weekend" and "Your Graduation," in particular set the audience off. If they keep building on this momentum, they could be headlining venues this size in a year's time. And, frankly, they deserve it.
Tour openers Gnarwolves had trouble getting into the country from their native England, so Elder Brother filled in on the first three dates. Featuring The Story So Far guitarist Kevin Geyer and Daybreaker vocalist/guitarist Dan Rose, it's no surprise Elder Brother is good. They were noticeably more mellow than the subsequent acts, but they definitely made a lot of new fans that night. The Wonder Years tour manager John James Ryan Jr. joined them on saxophone for their closer, "Heavy Head."
Thankfully, the night's melancholy ending was handled well and therefore was not enough to deter from the otherwise excellent show. It was an evening of exponentially escalating crowd reactions, culminating with an explosive-as-always performance by The Wonder Years. Whether you've seen the band 10 times or never before, I recommend hitting up this tour when it rolls through your town.
For the last decade, Fenway Park - home of the Boston Red Sox - has hosted concerts from some of the biggest names in music. Artists such as Paul McCartney, The Rolling Stones, Aerosmith and The Police have performed inside the iconic stadium. Tom Petty and the Heartbreakers joined that esteemed list when they took the stage on August 30, 2014.
Petty told the audience that they were going to try to hit every album with an "industrial-length rock show." The band's two-hour set came pretty close to reaching that goal, ranging from 1976's self-titled debut to their brand-new effort, Hypnotic Eye. The new material melded seamlessly with the many fan favorites from their back catalog.
Petty graciously introduced his bandmates - guitarist Mike Campbell, bassist Ron Blair, keyboardist Benmont Trench, guitarist/synth player Scott Thurston and drummer Steve Ferrone - as "the closed thing I've got to family." It's an undeniably impressive collection of talented musicians, and the fact that they've stayed together for so long is even more remarkable. (Petty joking referred to Ferrone is the "new guy" as he celebrates his 20th year with the group.)
In addition to the expected hits and new tracks, Petty rewarded diehard fans with a couple of curveballs in the song selection. Right out of the gate, the band opened with a cover of The Byrds' "So You Want to Be a Rock 'n' Roll Star." Mid-set, Petty strapped on his acoustic guitar for several songs, including a track he called one of his favorites: "Angel Dream (No. 2)" from their She's the One soundtrack.
The band left the stage for several moments following a rousing rendition of "Runnin' Down a Dream," but the crowd's applause never died down. The Heartbreakers triumphantly returned for an encore consisting of "Don't Come Around Here No More," "You Wreck Me" and "American Girl." Before the closer, Petty reminisced about Boston being the first city to give their debut single radio attention back in 1976. The show ended with a bang as red, white and blue fireworks burst over the stage.
Steve Winwood opened the show with an hour-long set that drew from all of his past projects - The Spencer Davis Group, Traffic, Blind Faith and Go - along with his solo career, plus a cover of Buddy Miles' "Them Changes." Winwood is quite a talent himself, alternating between guitar, piano and organ, all while singing. He has surrounded himself with equally-talented bandmates. Guitarist Jose Neto's unique style particularly stood out, as he utilized a lot of finger picking. Multi-instrumentalist Paul Booth also drew attention when played both the saxophone and the clarinet at once.
Watching Tom Petty and the Heartbreakers perform at such a historic venue was a magical experience. Much like going to see a Red Sox game, the crowd at Fenway Park spanned multiple generations - which says a lot about Petty's longevity. The Rock and Roll Hall of Famers have aged like a fine wine.
Avenged Sevenfold's entrance to the Xfinity Center in Mansfield, MA on July 22nd could have been mistaken for something out of a Dracula film. The stage was set up like a gothic castle, complete with a giant, sword-wielding skeleton king sitting atop a throne that overlooked the entire amphitheater. The band members took the stage in low, moody light as fog lingered near the ground; several of them carried chalices.
With a loud explosion, the Huntington Beach, CA quintet kicked into the aptly-titled "Shepherd of Fire," the lead track from their latest effort, 2013's chart-topping Hail to the King. It was instantly obvious why they were chosen to headline the 2014 installment of the Rockstar Energy Drink Mayhem Festival.They know how to work a crowd, reminiscent of a larger-than-life '80s rock band in their prime.
It's hard to believe that it's already been five years since the death of the band's original drummer, James "The Rev" Sullivan. The band continues to dedicate a song to their fallen friend every night. They played the ballad "So Far Away," requesting that the audience hold their lighters and cell phones in the air in The Rev's honor. The crowd respectfully obliged.
For me, the highlight of their set was seeing them play "Eternal Rest" and the set-closing "Unholy Confessions" from 2003's Waking the Fallen. The band has changed quite a bit since then, shifting from metalcore to more accessible hard rock, so it was nice to see that they haven't forgotten their roots.
2014 marks Korn's second time co-headlining Mayhem, the first being back in 2010. I had never seen the nu metal stalwarts before, but they left me impressed with their energy considering how long they've been at it. The band's seamlessly shifting between tracks from their 1994 self-titled debut to last year's The Paradigm Shift and everything in between.
Of course, it was the classics that got the fans going. They went wild when frontman JD brought out his bagpipes, knowing the crushing "Shoots and Ladders" was imminent. Other highlights included "Freak on a Leash," "Falling Away from Me" and "Here to Stay." They closed the set with the song that started it all, "Blind," during which three of the band member's children came onto the stage and headbanged with their parents.
The main stage also boasted performances from Asking Alexandria, whose brand of metalcore was well received by the younger attendees, and Trivium, who worship Metallica with the best of them. Long before that, however, the parking lot was bustling with three other stages: the Coldcock American Herbal Whiskey Stage, the Sumerian Records/Headbang for the Highway Stage and the Victory Records Stage.
The biggest buzz came from Body Count, the rap-metal crossover group fronted by hip-hop icon Ice-T. Ice-T - these days a household name who is perhaps better known for his acting career than his music - certainly doesn't need to be doing this, but he's there for the love of it. He even brought his son, Ice Morrow, on tour to perform backing vocals. Most of the crowd seemed to go to the set purely out of curiosity, but it didn't take long for them to get roped in by Ice's showmanship.
The band closed with "Cop Killer," which stirred a huge controversy upon its initial release in 1992. It may seem more innocent all these years later, especially given Ice's well-known role on Law & Order: Special Victims Unit, but he made it clear that he stands by its message of protest against police brutality. During the song's "Fuck the police" bridge, Ice added: "I play one on TV. They can suck my dick!"
As if you needed another reason to love Ice, he and his son went directly from their set to the neighboring stage to watch legendary death metallers Cannibal Corpse perform. Ice even attempted - futile as it may have been - to keep up with vocalist's George "Corpsegrinder" Fisher's boundless headbanging. Fisher dedicated a song to him: "This song is for Ice-T. It's about shooting blood from your cock. 'I Cum Blood.'"
The award for most entertaining set of the day goes to Mushroomhead. The band crammed a whopping nine performers - including three vocalists - onto the stage, each one donning a monstrous mask more horrific than the last. With members running rampant all over the stage (and often crowd), the chaos was reminiscent of a smaller scale Slipknot show but with a stronger emphasis on theatrics. Even if their industrial metal sound isn't your style, their live show is something to behold.
Suicide Silence suffered the tragic death of their vocalist, Mitch Lucker, in 2012, but his replacement, Eddie Hermida (ex-All Shall Perish), is doing a fine job keeping the legacy alive. Miss May I seem to feel more at home on Mayhem than the did at Warped Tour in the past. Darkest Hour were on point as always. Islander's intense sound and stage presence brought to mind Deftones, Glassjaw and Rage Against the Machine.
While the line-up wasn't quite as strong as it has been the in pastyears, if you ask me, the 2014 Rockstar Energy Drink Mayhem Festival offers plenty of highlights. The festival is also very supportive of the troops; before Korn took the stage, a local veteran was brought on stage, honored by the crowd, and award a guitar for her service. You can't beat a day full of metal packed into one affordable ticket price.
The Vans Warped Tour celebrates its 20th anniversary this year, and a lot has changed in those two decades. One thing that has been consistent for the last several years is people complaining about the line-up. While it's undeniable that the tour's focus has shifted, the adaptation is an easy one to make. As with past years, the 2014 roster boats plenty of old favorites in addition to today's hot acts and up-and-comers.
I went the Mansfield, MA stop at the Xfinity Center on July 10, 2014, where I ended up catching only portions of many sets because where was simply too many good bands playing. Even still, I missed several acts I wanted to see - but there's always next year.
I had heard positive buzz about K.Flay from multiple artists on the tour, so I decided to check her out. Born Kristine Flaherty, K.Flay is a young, female rapper. She was accompanied by a drummer for a fuller live sound. She was among the first acts of the day, taking the Beatport stage at 11:15 in the morning. Many curious passers by couldn't help but stop as they entered the venue among the hordes of people. Like me, they did not leave disappointed.
Those "No Moshing/Crowd Surfing" signs - which made headlines when the tour began - were affixed to every stage, but the rules were not enforced. In fact, many people seemed to take it as a challenge. I first saw the mosh pits open up for The Ghost Inside, who took one of the two main stages at 11:40. (Vocalist Jonathan Vigil confessed to the crowd, "I just woke up a half hour ago.") The hardcore dancing did not stop there, as they were followed by The Devil Wears Prada on the adjacent stage.
Speaking of moshing, Every Time I Die kicked off the afternoon with an excellent set. They brought their main stage-quality material and audience to the slightly smaller Monster Stage. Similarly, UK pop-punk act Neck Deep have already built a sizable following here in the States, as evident by the crowd they brought to the Kevin Says Stage.
One of my favorite recent additions to the Warped Tour is the Acoustic Basement, which affords fans the opportunity to see intimate, acoustic performances from musicians both established and unknown. Bayside frontman Anthony Raneri packed the tent with a solo set before his band played later in the day. The guy is a workhorse; even performing twice a day for the whole tour, he never disappoints. Raneri even invited a fan on stage to propose to his girlfriend during his set.
Up next was Aaron West and the Roaring Twenties, the side project of The Wonder Years vocalist Dan "Soupy" Campbell. It was one of his first solo shows, but his years of fronting The Wonder Years have made him a natural performer. Campbell put a unique spin on the set by performing in character as his alter ego, the lonely Aaron West, introducing each song with a fictitious story behind it. His debut album, We Don't Have Each Other, was released only a couple days prior, so audience participation was minimal, but the crowd respectfully sat back and absorbed the enveloping performance.
I stuck around for a few songs from MxPx frontman Mike Herrera. MxPx recently celebrated their 22nd anniversary with an acoustic collection, so Herrera was happy to bust out the classics. I split early to see a couple of songs from Enter Shikari. Although the band's electronic-metalcore hybrid is not my cup of tea on record, I love their action-packed live show.
Regardless of how you feel about their music, Bowling For Soup has one of the most entertaining live shows you'll see on Warped Tour. They rarely tour these days, so I relished the opportunity to catch them on the main stage. Their setlist was mainly comprised of the hits along a cover of Fountains of Wayne's "Stacy's Mom," but it's their between-song banter that keeps me coming back. "We're the band that waves to people," vocalist/guitarist Jaret Reddick told the crowd. "Try to get Falling In Reverse to wave to you later." It's like getting a mini stand-up comedy show in the middle of a concert.
I caught several other classic bands in the afternoon. Yellowcard are as tight as ever. Less Than Jake proudly told the audience that they've played Warped Tour more than any other band since 1997, but they somehow have the same high level of energy. Saves the Day allowed tourmates Four Year Strong to pick that day's setlist, which was loaded with fan favorites. New drummer Dennis Wilson (ex-Every Avenue) seems to be fitting in just fine.
I was sadly only able to see a few songs from Heart To Heart, but it was perhaps the most passionate performance I witnessed all day. It was intense enough to encourage vocalist Nick Zoppo to subconsciously tear off his shirt Hulk Hogan style. ("I really liked that shirt," he confessed after the song. "I just bought it yesterday.") I strongly urge anyone attending Warped Tour to stop by their set.
Punk rock is alive and well on Warped Tour, as exemplified by Teenage Bottlerocket. The band is somewhat of a caricature of punk, flipping the audience off and calling them posers in between their infectious, bite-sized, Ramones-esque punk tunes. At the end of their set, they played a medley featuring Van Halen's "Panama" and the Ramones' "Blitzkrieg Bop" "for anyone over 30."
It must really be nice to be Four Year Strong right now. Following a panned album and a couple years off, they have regrouped and returned as strong as ever. Their homestate fans were eager to have their bearded brethren back. They displayed great intensity per usual, with co-vocalist/guitarist Alan Day making his way onto the barricade during opener "What the Hell is a Gigawatt?" to get closer to the crowd. Their set concluded with their irresistibly catchy summer anthem, "Wasting Time (Eternal Summer)."
Speaking of locals, I have to mention the Break Thru Music stage, which was exclusive to the Mansfield date. It hosted talented acts from the area all day, including Lions Lions (who carelessly toss their instruments as much as they play them), Traditions, Raindance, Actor Observer and Class of 92 (A Loss For Words vocalist Matty Arsenault's side project).
The Story So Far and Bayside both went on at 7:15, so I caught half of each band's set. The Story So Far brought a huge throng of enthusiastic fans. Singer Parker Cannon sounds great live, and thankfully there were no security issues. Bayside were in the amphitheater, but they certainly received a main stage-worthy reception from their fans. Raneri was just as impressive with his bandmates as he was solo.
I stayed in the amphitheater to watch some of Cute Is What We Aim For, an old guilty pleasure who seemingly fell off the face of the earth with Myspace. Frontman Shaant Hacikyan addressed the time away: "It's been seven years since we've been on this tour, and to be honest we didn't think this many people would show up." Much to the audience's satisfaction, they played a lot of old favorites.
As the sun was setting, I saw Close Your Eyes, who were one of the final acts of the day. It turned out to be among the most energetic performances I saw at the show, and it was a strong contender for most punk jumps during a set. I thought the cramped Ernie Ball Stage stage might collapse under the melodic hardcore band. They had a relatively small but loyal pocket of fans who waited the entire day to see them. Vocalist Sam Ryder Robinson spent closer "Song for the Broken" singing along with them from the barricade.
2014 signifies 20 years of the Vans Warped Tour, but every year is a celebration for Kevin Lyman and company. As always, they have compiled an impressive line-up of bands ranging from seasoned veterans to fresh faces and everyone in between.
Fall Out Boy took the stage at the Xfinity Center in Mansfield, MA on June 22, 2014 - the third date of the Monumentour, their co-headlining run with Paramore - to the sound of Sylvester Stallone's monologue from Rocky Balboa. It was a fitting entrance; if anyone knows about getting hit and moving forward, it's Fall Out Boy. Since returning from their hiatus with a surprise album last year, the band has been rejuvenated.
Now, the Chicago quartet are playing some of the biggest shows of their career. They sounded massive in the huge amphitheater, yet their performance exhibited the same energy as when they played small clubs a decade ago - only now they're accompanied by pyrotechnics.
Since the tour is support of Save Rock and Roll, the setlist was made up of selections from the album and their past hits. I would have loved for more deep cuts, but I don't blame them going with the crowd pleasures for such a big tour. (As it was, a good portion of the audience seemed unfamiliar with the Take This To Your Grave material.)
Although the song selection was fairly predictable, the band mixed things up mid-set. First, vocalist/guitarist Patrick Stump and drummer Andy Hurley engaged in a drum off. Stump's solo showed some impressive chops for a frontman, but Hurley demonstrated while he's the one behind the kit. Meanwhile, bassist Pete Wentz and guitarist Joe Trohman made their way through the crowd, instruments and all, and up to the soundboard, where they remained to play "Dance Dance." As they made their way back to the stage, Stump kicked off "Young Volcanoes" acoustically.
The band invited Lolo (known for her guest spot on Panic! At The Disco's "Miss Jackson"), who also joined openers New Politics earlier in the night, onto the stage to accompany Stump on "Just One Yesterday." They also covered a portion of Queen's "We Are the Champions," which was "for the dads," as Wentz put it. Ultimately, group closed with "Saturday" as a shower of pyros rained down on them.
Fall Out Boy had big shoes to fill following Paramore's explosive performance. Vocalist Hayley Williams took the stage sporting a new teal hairdo as an explosion of streamers covered the eager crowd during opener "Still Into You." Williams was joined by her cohorts - guitarist Taylor York and bassist Jeremy Davis - on the stage, while longtime touring guitarists Jon Howard and Jutin York and recently recruited fill-in drummer Aaron Gillespie (of Underoath fame) sat atop a large platform above them.
"This is our tenth year as a band," Williams gushed. "I don't know how that happened." Despite the line-up changes and platinum status, Paramore is still the same band it was a decade ago. The stage may have grown exponentially, but everyone in the venue - from the pit to the cheap seats - felt like they were part of the show. A highlight of the set came when Williams picked a pair of sisters to join the band on stage to sing the bridge of "Misery Business" - and they nailed it.
While Fall Out Boy had pyro, Paramore's festive weapon of choice was confetti and streamers. During the rousing closer "Ain't It Fun," giant balloons emblazoned with the Paramore logo were batted into the audience. The band kicked them back and forth with the crowd with performing. After the song, the six musicians came together to take a bow for their adoring fans.
Danish trio New Politics opened the show. Vocalist David Boyd kicked off the set with a back flip, and his energy remained high for their half hour in the spotlight. Later in the set, he made his way on top of the crowd to sing. The group already has two hits with "Harlem" and "Yeah Yeah Yeah," along with a freshly-inked deal with Wentz' DCD2 Records, so this tour is an excellent way to expose fans to the rest of their material.
During Fall Out Boy's set, Wentz commented about how cool it is to have two rock bands with guitars that are played on the radio on tour together. Indeed, the Monumentour pairs two of our scene's biggest acts into one package. With dynamic, 75-minute sets from each band, fans of both are guaranteed to leave pleased. Maybe Save Rock and Roll was not, as naysayers purported, such a pretentious title after all.
After an exciting Saturday at the Boston Calling Music Festival anchored by Death Cab for Cutie, I returned to Boston's City Hall Plaza on Sunday just in time to watch Built to Spill. The seminal indie rockers inspired several acts on the festival's bill; Death Cab, Brand New and Modest Mouse have all cited the band as an influence. Despite this, however, much of the audience seemed unfamiliar and, in some cases, disinterested. It was a rare Built to Spill set without any covers, not to mention next to no speaking, so the band relied solely on their blistering jams.
I hadn't listened to Phosphorescent prior to the festival, but the best word I could use to describe the set is "chill." The band is a solo project by Georgia singer-songwriter Matthew Houck, but the live line-up is rounded out by five additional musicians. It didn't do anything for me, but the sound is an interesting blend of dreamy indie rock and Willie Nelson-esque country.
Tegan and Sara perked up the audience with one of the weekend's many bright spots. The talented twins alternated between vocals, guitars and keys, while a backing band of other adequate musicians filled in the gaps. It was a tight performance relying primarily on material from last year's Heartthrob, although they weren't afraid to showcase a few older tunes ("Monday Monday Monday," "Living Room"). They ended on a high note with the explosive "Closer."
I know know a couple of Bastille's hits, but their set left me interested in hearing more. One of the few acts on the bill in which the singer wasn't tied down by an instrument, vocalist Dan Smith bounced around the stage (and, at one point, down on the barricade) throughout the set. I was also impressed by his voice, hitting the notes while expending that kind of energy. Smith stated that Boston Calling is one of the coolest places the band has ever played. Watching thousands of people jump up and down during the penultimate "Of the Night" was a sight to behold, topped only by the crowd singing the "eh-oh" of "Pompeii" in unison.
The flowers affixed to Brand New frontman Jesse Lacey's microphone stand were the only delicate part of the band's hour-long set. Lacey lead the menagerie with poised intensity. Guitarist Vincent Accardi is far and away the most animated of the group, perhaps growing even more frantic since his pop punk days. Bassist Garrett Tierney and drummer Brian Lane provided the tight low end. The quartet were joined by two other musicians who provided third guitar and supplemented percussion when needed.
Despite a fan holding up a sign asking the band to play "Seventy Times 7," they didn't even touch their debut, Your Favorite Weapon. Instead, the setlist pulled from their latter three albums. The three selections from Deja Entendu were adapted to "fit" their evolved sound: more feedback, fuzzy guitars, strained vocals. The set-ending "You Won't Know" transformed into a dizzying, 10-minute opus that culminated with Accardi carelessly tossing his guitar in the air before overturning his amplifier and exiting the stage.
Prior to Modest Mouse's set, the USAF Heritage of America Band performed the "The Star-Spangled Banner" in honor of Memorial Day; a touching tribute to those who serve our country. Modest Mouse then took the stage to conclude the festival. I'm only familiar with the band's singles, but I didn't realize just how many hits they had until hearing them all in a single performance. A high note came when the band caught the crowd off guard by playing their most well-known song, "Float On," unannounced in the middle of the set. The seven musicians (many of whom swapped out different instruments as necessary) managed to rejuvenate the exhausted audience after a weekend full of music.
In my review of the Boston Calling Music Festival's inaugural event, I praised its impressive set-up. In the year since, they have only refined the experience with an adapted layout while continuing to deliver strong line-ups. It's impossible not to love the simple, two-stage set-up; when one band finishes, the next one starts 5-10 minutes later. Boston has finally found its calling with its own big-time music festival. See you in the fall!