The trio who are currently recording the follow up to their sixth album Battle For The Sun, will play a special one off show at the O2 Indigo on April 28 next year. The show will be part of the 2012 Sundance Music and Film festival, taking place at the O2 between 26-29 April.
Frontman Brian Molko spoke of the bands reasons for playing the show, "As a band, we follow our own philosophy of making the music we want to make, putting faith in our songs and records. The Sundance Film Festival has been championing similarly like-minded people for over 30 years and encouraging them to put faith in their own talent"
The band released a live dvd We Come in Pieces earlier this year, filmed at Brixton Academy, you can view a snippet from that below.
The Dogs D'Amour, Silverjet and Against The Grain - Sheffield Corporation, 26.11.11
The first band of the night were Against The Grain, added at short notice by the venue. Their songs were of a very modern hard rock variety and although they were enthusiastic and played well, they failed to win the majority of the audience over. I suppose they were quite an odd choice of an opener at a Dogs D’Amour gig!
Next up were Silverjet, a local and very popular band. And why shouldn’t they be so popular? They played for an hour or so of self-declared “sexy rock’n’roll”, including a few songs from their yet-to-be-released third album such as "Valentine"and "Top Side". The new songs went down well alongside a bunch of crowd favourites (a lot of people there had obviously seen Silverjet live before - they play many gigs at the Corporation): "Crazy", "Cold Love" and the ‘newly returned’ "Hell Yeah". The highlight of their set was a cover of Billy Idol’s classic "Rebel Yell"which had the crowd lively and singing along. Any chance of that getting recorded I wonder? All in all, it was probably the best gig I’ve been lucky enough to see them play. Highly recommended, as Silverjet are consistently good and that’s pretty hard to find in a band these days!
And onto The Dogs D’Amour. I have had mixed emotions about this show for weeks, some doubt over the use of the Dogs D’Amour moniker (is it just another Tyla and The Dogs situation?), but mostly excitement - Tyla hasn’t played around here in a couple of years. And then there’s the line-up. What a line-up. Dave Tregunna (of the legendary Lords of the New Church) on bass, Timo Kaltio (of Cheap and Nasty/Cherry Bombz/Transystem V and song writer of Izzy Stradlin) on lead guitars, Danny Fury (of The Lords of the New Church/Vain/Kill City Dragons) on drums, and Gary Pennick on additional guitars. The band kicked off the set with one of Tyla’s latest solo songs, "Supreme Creator", full of energy and perhaps glad to play to such a sizeable crowd on this first night of the tour, Kaltio happily jumping around and pouting on his side of the stage.
The set was a mixture of Dogs D’Amour classics and favourites with a good helping of Tyla’s solo work thrown in for good measure: plenty from 1988’s “In The Dynamite Jet Saloon” such as "How Come it Never Rains", "Billy Two Rivers" and"Sometimes"; "Another Love Song" and "Story of Our Lives" were included from Tyla’s solo albums; and the setlist also featured some great singalongs like "Errol Flynn", "How Do You Fall in Love Again?" and "Satellite Kid", which all had the crowd belting out with the best of them.
Being the band’s first gig together, there was bound to be ‘hiccups’, and tonight there were plenty. Odd timing, makeshift guitar solos, riffs played in circles, vocals in choruses gone AWOL. Certain band members began to look concerned for someone, another looked just pure annoyed. Tyla left the stage with a mumbled “See you later - and we’ll play better next time” - maybe the most he’d said for an hour - taking his half pint of Jagermeister with him; rock’n’roll through and through, rolling with the punches. I wouldn’t let it put you off too much if you’re planning to see The Dogs D’Amour in the coming week or so, as they will have had more time to practise and hopefully iron out the creases (although at some points it was a wonder they’d even practised at all). Despite the ‘hiccups’ tonight, the band remained professional throughout and soldiered on, taking care to pay extra attention to each other so that they wouldn’t get lost again. You can’t deny them their professionalism, in this case.
Ginger and Friends start their tour with Hawk Eyes and Exit_International soon! One not to miss, so get to a gig or two if you can (and especially the Manchester gig as I’m street teaming for it!), and expect a good mixture of songs. Tickets are £12.50 (before booking fees, etc). Please spread the word, share this poster around, whatever you can even if you can’t go - someone you know might like to go!
Wednesday 13, Michael Monroe and Crashdiet - Manchester Ritz, 25.11.2011
Earlier this year it was announced that Murderdolls frontman Wednesday 13 would be going on tour to support the release of his new album Calling All Corpses and joining him would be the Michael Monroe Band and Swede glam rockers Crashdiet. At first glance it seems like a strange mixture to have in one evening, but nevertheless we headed down to see them at the Ritz in Manchester, and what a night of carnage it was.
First up (and early) this evening was Crashdiet. They have been a popular band in their home country of Sweden for many years now but it has been 2011 that has seen them really break in the UK. This is their 3rd tour as support, and they have previously played over here with Hardcore Superstar, 69 Eyes and Houston. It is evident before the band even take to the stage that they must have some die hard fans in attendance, due to the amount of leopard print, leather jackets and big hair around. They emerge to a warm reception and rip through songs from their latest album including Generation Wild, Down with the Dust and their classicBreakin’ the Chainz. Those who are unfamiliar with the band seem to enjoy the set and the Crashdiet boys proved once again won around the crowd. Hopefully next time they return will be for a headlining spot.
Next to take to the stage of the Ritz was the legendary Michael Monroe and his band. Always full of energy and pure rock and roll spirit they storm through a set of hits, including material from their ‘album of the year’ Sensory Overdrive and Hanoi Rocks classics like Motorvatin and Malibu Beach Nightmare. This is the band’s first tour in the UK featuring Dregen on guitar duties, and he has fit right in perfectly. Full of bounce and vigour he can keep up with the others no problem and looks happy to be doing so. Tonight was also a special night as the band was joined onstage by very special guest Ginger Wildheart. He left the band earlier this year but as Monroe says ‘He always will be a part of this band’ and he jams with them for Superpowered Superfly and ’78. It was a great moment, and it sent the crowd into frenzy. Also joining the band onstage this evening for their last song was Honest John Plain from renowned UK punk band The Boys.
It was evident during the bands set that the crowd was divided. The Wednesday 13 fans towards the back of the venue and the Monroe fans going nuts near the front. But overall the reception they received was amazing, totally proving they are one of the best live bands of 2011.
Lastly, it was time for Wednesday 13 to bring his horror show to the masses. Opening with the title track of his latest album Calling All Corpses, the crowd erupted and the mood most definitely changed. Working his way through material old and new, he thanked Manchester for all the love and support they have given him over the years, and how it has always been one of his favourite cities to play. Highlights of the set include I Walked with a Zombie, From Here to the Hearse (which included snippets of Bowies Suffragette City and Alice Cooper’s Under My Wheels) and encore of Till Death Do Us Party, Bad Things and Something Wicked This Way Comes.Wednesday looked and sounded great, as did the rest of the band and it was clear Manchester appreciated having him back, some creating a mass pit in the middle of the ballroom floor, the place was definitely bouncing!
As much as tonight felt like 2 separate gigs, it kind of worked. Even though each band attracted different sets of fans, they all stuck around and partied throughout which is always a great thing, people coming together to show their appreciation for live music. All round brilliant night!
After only forming last year, it’s been a crazy journey for Vintage Trouble here in the UK! Their debut album earned them the Classic Rock award for best new band this year and opening spots for Brian May and Bon Jovi! We headed to the Leeds gig earlier this week (review here) and caught up with the group:
First off, congratulations on winning at the Classic Rock awards? How did that feel? Voted for by the fans aswell!
Richard: It sucked (laughs). It meant we had to get out there infront of all those people.
Had you already written your speech or did you have to think of it on the spot?
Ty: Oh, on the spot. Well I mean it’s one of those kind of things like y’know, we don’t do setlists for our shows and stuff so we kind of live off the spontaneity and danger and edge. So I mean it would’ve been silly to write something. I mean it’s kinda of a philosophy that has to do with if you write something, if you have a setlist, then you’re not being in the moment, you’re actually setting it up as you go. So it’s the same kind of thing, lets do our sets so that nothing feels like oh we know what this is leading to. Same thing with the speech, I mean if we were to fuck up then we just fuck up! But at least it’s gonna feel honest and it’s not gonna feel ‘for all the amazing ventures,’ coz that could be all those words that no one ever uses in real life!
Always keeps your show fresh then too if it’s different every night. Must make it more fun for you too?
Ty: It’s a little nervy at the awards, I mean when it’s done you’re like ‘oh god I hope what I said made sense!’
So do you change the setlist every night or do you keep the same outline?
Ty: We start out the same usually. Y’know music that’s gonna be at the beginning and the end and then in the middle, it’s really about what the audience is giving us. We kinda really allow ourselves to dictate that. It’s funny, we were in this interview the other day and this guy says ‘Yeah I read somewhere that you’re shows have led to sexual encounters. So if I come is that a guarantee?’ I said no it’s not a guarantee because at our shows it’s not just about us, it’s us and the audience, so it’s a communal thing. So if you come to the show and allow yourself to be uninhibited and you act wild and give your authentic self and are really sexy, of course you’re probably gonna leave with someone! But it’s not just us that has to do the participation!
Richard: We’re good but we’re not that good!
Ty: In the end, the audience really dictates most of our set.
You’ve played with a lot of big names this year, you supported Bon Jovi, played with Brian May, how was that?
Nalle: Amazing! Brian was definitely the first to kind of take us under the wing over here so it was amazing to get an opportunity to be a completely unknown band and play for his audience. He was really supportive and so was Bon Jovi.
So how do you approach support slots? How do you approach them differently to your own headline shows?
Nalle: It’s just shorter, but it’s the same really! We try to do the same thing.
Ty: We have to be a little more humble about it because you have to realise, not once you’re on stage, inside, you feel humble because you know these people haven’t come here to see you. And so, you’ve really got to start in a place that is a genesis that says, even more so than our regular shows, where are these people, we’ve got to take them from where they are and then bring them to where we want to go. Because you can’t by bashing people in the face sometimes unless you want to start out that way, I mean we do that sometimes. We were in theatres with Brian May, so in that case, you have to treat as, people are sitting down, how do we get them up to dance or dance while they’re sitting? And the stages are wider than the ones we’re used to in clubs! All of a sudden there’s balconies!
Richard: We come from playing crazy clubs and when we come into the theatre it’s completely quiet. It was crazy! It was like (starts tip-toeing and shyly waving)
You also got to pay on Jools Holland, that must’ve been exciting! I imagine you gained a lot of new fans too?
Rick: That was actually before the Brian May stuff, so it was great because it sort of kick started this whole thing over here in the UK for us. And then to go play with Brian May, a lot of people may have heard the name or it was kicking around in their sub-conscious and then to see us and put it together, kind of help connect the dots. Everyday we get people like ‘I first saw you on Jools Holland’ and one of the greatest was a fan of ours, or ‘trouble makers’ as we call them, Tim said to us ‘I saw you guys on Jools Holland and I thought, there’s no way that band can be that fucking good, so I thought I’ve gotta go see them live.’ And he said he came out and saw us live and said he thought we were better! So in so many ways it opened the doors for us.
Ty: And it’s really nice for us, because we go out and sign stuff after every show, and everytime we’re signing and 30/40 people are saying ‘Oh we saw you opening for Brian May/we saw you with Bon Jovi and we’re glad you guys came back around,’ so as a band, trying to sell or share anything, to have people see you one time and then come back for more, that’s huge! Especially as when they came the first time, it wasn’t to see us, then you feel that what you’re doing is not about whether it’s perfect or not, it’s affecting people, so that’s cool.
It feels really good, especially because both Brian May, because of Queen, and Bon Jovi are inspiration to us both for song writing and the longevity of their careers, every couple of years Bon Jovi still has hits! We don’t really have much in common with them musically, as far as what their sound is like and what Vintage Trouble’s sound is like, so it’s even more of honour to us when people come back because they weren’t even coming to see soul music.
You describe yourselves as soul and rock, who are your main influences?
Ty: Brian May, Bon Jovi (everyone laughs).
Nalle: Jools Holland! Love his piano work!
Ty: Anything from the 1950/60’s basically, that has undefined lines. We’re rock n roll and soul kind of melded into each other. You have a black artist like Etta James singing soul, but with a rock n roll edge, and you can have the Stones who are a rock n roll band singing soul! I mean any of those bands in there; Wilson Pickett, Zeppelin, y’know Zeppelin’s a blues band really, and all of a sudden they’re rock n roll but they’re really a blues band, and that’s cool! They cross the line, they made blues feel like rock n roll to people, that’s pretty amazing!
Nalle: And because people become attached to them, they find out what they listened to, to get inspired. For some reason, we just found something in the late 50’s and early 60’s music, there was just something in the sound that was so simple.
Ty: There’s a rawness and sort of a purity to it before it got all fucked up! It was still discovering itself.
You want to bring a past sound but bring a modern edge to it, how do you bring that modern edge to your music?
Richard: We live life everyday.
Nalle: Yeah, I think we are, in the way of, the music gets put together by 4 different personalities. We still hear modern music, we’re around it everyday and you’re around life, you can’t avoid it.
Richard: We’re modern kids ourselves, we still grew up in the modern age. The music that we are inspired and influenced by, was actually before our time. So we can’t help but to be products of our generation, so I think that that kind of sneaks in, that edginess creeps in because we all grew up in a rock n roll era. We just bring ourselves and what we did as children to it. I think that’s where a lot of the edginess comes from, it’s just who we are as people.
So for people who haven’t ever seen you before, what can they expect?
Nalle: Hopefully to be part of it. Instead of just playing for people, get everybody kind of connected together.
Ty: The trouble makers that come are bringing a party! Before we even get on stage, waiting back stage and we can just hear ‘yap yap yap!’ All these conversations, it’s like, do they even want us to come out! We say that people aren’t coming to a show, they’re coming to a party. So people should expect: moisture, expect to dance; we demand of our audience like they do of us. It’s not because we play them like they’re paying to see our show, but instead, we feel it’s our job, our mission. We’re public servants basically and what we want to do is kind of arouse people and get people to a level higher than what they thought they were going to have that night. Because then if they get to that place, we will perform at a level higher than we expected to give that night.
The gigs where the bands involved the audience are always the most fun and the ones that stick in your mind.
Rick: That’s another reason for us non-scripting. We change what songs we’re gonna come out with and what we’re gonna close with. It’s a testament to being in touch with the circular energy that’s there in the room. For example, when we start getting a different vibe, where the audience transforms, we start having a circular line of communication going. Once that happens, we really are partying and living in the moment and we react that way, that’s why you can’t script a set. You can’t put a setlist together and expect that to happen, every room is going to be different, the night going to be different, we really try and get in tune with that.
Richard: On that part, I think it’s contagious. I mean a lot of people go to shows and they want to be involved and they want to get in their body but their just a little more reserved about it. When they see everyone else doing it it’s ok. We get comments off people who say ‘I haven’t danced like that ever!’ It’s just a contagious energy and it’s really what we’re trying to create.
Ty: We get a lot of Facebook posts from women saying that they’ve never seen their husband dance before they’d been to our show, that’s cool!
How have you been finding UK audiences? Everyone always comments on how great the crowds are over here!
Nalle: You guys are just open to new music and America is more reserved, they need to be told it’s good! They can’t just listen to it, they need somebody else to tell them.
Richard: If we good just get you on the 2 & the 4! (Starts clapping and dancing) I should give a dance lesson before each show!
What does the future hold?
Richard: It’s tough because we’ve been here quite a while this year riding on this record, but we haven’t really released a record. We’re going to Australia and Japan, we’re gonna release the record in America.
Rick: We haven’t even released it in America yet!
Nalle: The records been done 1 year and 3 months and we were barely a band when this record got big.
Yeah, you only formed last year, must’ve been a whirlwind!
Nalle: It’s been a whirlwind since day 1! We’ve been on your for nearly 8 months.
Ty: It’s funny when people are like ‘and last year when you were on Jools Holland… wait!’
Richard: That was this year?!
Rick: We really meant The Bomb Shelter Sessions as a demo back in 2010, so there’s a lot still to do. Touring everywhere next year.
Ty: We’ll be back here for summer festivals again.
Nalle: You have the best festivals over here. That’s exciting for us! Something to look forward to.
Rick: I’m sure we’ll have a new EP and new videos and stuff by the time we come back.
Richard: There’s a lot of new songs in the set!
Thanks for your time guys, we’re really looking forward to the show!
Vintage Trouble are one of the best new bands of the year, and have an award to prove it! Already a fan of the band, and hearing such great live reviews, I headed down to the Leeds show.
Its fair to say that the majority of the crowd were middle aged with a few younger fans scattered around the room. Kill It Kid, a quartet from Bath, were the chosen support. They had a retro foundation, but a very modern edge. A mix of heavy and country based songs, they were an enjoyable opener.
Excitement filled the room as the time drew closer for Vintage Trouble to take to the stage. Suited and booted, they calmly walked on before exploding into life with ample amounts of energy. Audience participation was a big part of the set from the very beginning, always eager to get the crowd involved. The affectionately named ‘Trouble makers,’ were keen to oblige; clapping and singing their way through the whole performance. The groove of Vintage Trouble had everyone dancing along, every band member had their own signature moves too! Fan favourites such as Nancy Lee and Jezzebella went down extremely well, and vocalist Ty Taylor even ventured into the crowd. His voice is incredibly powerful and he has shrieks in the same vane as Mr James Brown. The group describe their shows as a party, rather than a gig. They just want people to come down and enjoy themselves, loosen up and bust some moves! They are extremely successful at it! The cheers are deafeningly loud and smiles are plastered on everyones face. Returning for the encore, Taylor ensures the crowd know how thankful they are for fans support before breaking into Hand Me Down Blues. A beautiful cover of A Little Help From My Friends ends a fantastic evening.
Vintage Trouble really are an exciting, fresh band. Their soulful sound mixed with a rock n roll twist, is enticing and addictive. We highly recommended them!
We have an interview with the guys which will appear soon!
It’s been a long road for Alter Bridge, with plenty of struggles along the way, but the band have finally arrived at the top and are playing their first ever arena tour. There is an air of excitement, not just for them, but for the support acts.
First up were Theory Of A Deadman, appearing onstage to South Park’sBlame Canada, I am pleased to say that they have a lot more charisma than their latest album suggests and were fun to watch. Their half an hour set gives an opportunity for the crowd to sing along with some old songs thrown into the mix. Huge cheers erupt for Kentucky quartet Black Stone Cherry, having them on the same bill is really something special. They burst into Change and it is clear they are going to provide a high energy, entertaining set. Vocalist Chris Robertson is sure to thank the fans and let them know how grateful they are for their support. He gives is raw, powerful vocal a chance to shine in Things My Father Said, a heartfelt moment for all present. Once again their cover of Adele’sRolling In The Deep makes an appearance, before a string of fan favourites, ending on their biggest hit, Lonely Train.
The lights go down and the eerie intro to Slip To The Void rings round the room. Myles Kennedy slowly makes his way on stage to sing the opening verse. One by one the band members appear to fully kick into the track. They go straight into White Knuckles, much to the crowds delight, and even include some early audience participation with Myles splitting the crowd to see who can cheer loudest. Alter Bridge have no fancy tricks or massive displays, they’re all about the music but; seeing as this is an arena tour, they do have a web of lights covering the back of the stage. Myles has three strategically placed microphones so he is able to connect with all sides of the audience, switching between them. After a trio of songs from their first album, Myles is left alone onstage, accompanied by a stool and acoustic guitar, to play beautiful renditions of Wonderful Life and Watch Over You. This solo performance really give the audience a chance to hear just how stunning Kennedy’s voice is and the emotion he puts into these songs. The epic Blackbird follows with a flawless solo change over between Kennedy and Tremonti, before the frantic Ties That Bind. The band make an extra effort to keep the crowd involved, always engaging them in their performance. There’s also a nice little note at popping their arena virginity! Finishing on Isolation, there is plenty of chanting and stamping feet to get the guys to return. Open Your Eyes and Rise Today are the chosen songs with a guitar duel sandwiched between.
Alter Bridge truly are a fantastic live band. They sound amazing, they love to get fans involved and they are nothing but grateful to each and every person. Along with two great support acts and USB so you can take the show home, you really shouldn’t miss it!
Chris Cornell releases live acoustic album "Songbook" today!
"Songbook" is a stunning collection of acoustic performances featuring songs from throughout Chris Cornell’s career (Soundgarden, Temple of the Dog, solo work, Audioslave, etc). Recorded live on tour throughout the USA earlier this year, it showcases the breadth of Cornell’s talents as both a singer and songwriter.
The tracklisting is as follows: 1. "As Hope and Promise Fade" 2. "Scar on the Sky" 3. "Call Me a Dog" 4. "Ground Zero" 5. "Can’t Change Me" 6. "I Am the Highway" 7. "Thank You" (Led Zeppelin cover) 8. "Cleaning My Gun" 9. "Wide Awake" 10. "Fell on Black Days" 11. "All Night Thing" 12. "Doesn’t Remind Me" 13. "Like a Stone" 14. "Black Hole Sun" 15. "Imagine" (John Lennon cover) 16. "The Keeper"
Thin Lizzy - Recorded at High Voltage Festival 2011
The people at Concert Live have done it again and gone and produced a brilliant offering of live rock and roll, this time in the shape of the recently reformed Thin Lizzy, captured at this years High Voltage Festival on the 23rd July.
They provide a great service that allows gig-goers the chance to pre-order a copy of the album before the gig starts and it is ready to pick up at the end of the night, or later available on their website. Its pretty brilliant to say the least. Perfect for reliving a great night, or feeling part of one you couldn’t attend in person, pretty clever.
Anyway, like I said, this one comes in the shape of Thin Lizzy. Not so long ago it would have been hard to think of the band ever playing live again post Phil Lynott, because of his shear importance to the band. So much admiration and adoration for them from their fans, it is always goig to be a difficult task to reproduce this and bring in new members, especially when replacing such an iconic frontman.
But, when Lizzy decided to return, the job fell on former Almighty lead Ricky Warwick, and honestly, what a great choice that was. He has helped transform what could have been seen as a nostalgic tribute into a great band again, bringing them a whole new wave of success.
Unfortunately, I was not present at High Voltage this year, but this live album gave me the chance to listen back to what was undoubtedly one of the performances of the weekend. With everything from opener Are You Ready, personal favourite Rosalie to the brilliant Black Rose to finish and everything in between, it perfectly captures the spirit of a band who sound exciting again, and are doing an amazing job at keeping these songs thrilling. Also, as a bonus, ex Hanoi Rocks man Michael Monroe makes a brief appearance during Dancing In The Moonlight with his saxophone, sounds fantastic, and I’m sure it was a pretty exciting moment for the fans in the crowd also.
Perfect way to pay tribute to not only Phil Lynott, but also Gary Moore, and to keep the spirit of both and the spirit of Thin Lizzy as a band alive. I would definitely recommend checking the band out when they tour next year as it is one hell of a show. But for now, check this out and listen for yourself….
Combining a gothic look with a punk sound, The Damned were revolutionary for the British punk rock movement. They were the first UK punk group to register on the charts, and to tour the States, among other milestones. 35 years later, they brought their anniversary tour to Leeds.
Viv Albertine provided the support, and interesting choice to say the least. I say this because it was a set full of duff notes, bad guitar playing and lyrics about being bitter against love. Certainly not one to warm up a Damned crowd!
The Damned’s setlist was split into 2 sections, a full run through 2 different albums; their debut Damned Damned Damned and their fourth release, The Black Album. Before they broke into first song Neat Neat Neat, Dave Vanian gave the band a big talking up, emphasizing the fact that they were the first successful UK punk rock band. Luckily for the audience, they lived up to their word with a lively performance, and the clothes to match! The Damned still have their punk rock spirit and energy which easily pleases the crowd. The encore includes Love Song, a huge fan favourite and has everyone singing along.
A lot of bands cite The Damned as a big influence, and their influence on the punk rock/goth movement is undeniable. The 35th anniversary tour was a great way to celebrate this innovative group.
The Virginmarys - Corporation, Sheffield, 17.11.11
Tipped to become huge, The Virginmarys have been working relentlessly to get their name out there through touring and releasing several EP’s. Receiving rave reviews and gaining a fans in Slash and Myles Kennedy, we headed to Sheffield to catch a headline show.
The gig took place in the small back room of the Corporation, a space that can hold no more than 200 people. Support came in the form of Lavellion, a quartet from Hull. Whilst their performance was good, it wasn’t really attention grabbing, they somewhat blend into the background.
The Virginmarys took to the stage at 9pm and presented a set of fan favourites, throwing in some new ones ready for their upcoming album. From the beginning, it’s obvious that the band are destined for a big future, their sound is much too big for this tiny room. They are a captivating group from Ally Dickaty’s raw, raspy vocals to Danny Dolan’s manic drumming, even including a gong! The new tracks prove The Virginmarys are consistently good song writers and have some riffs reminiscent to AC/DC, never a bad thing! Their biggest tracks such as Portrait Of Red and Just A Ride, go down extremely well with the crowd and after leaving the stage, fans were persistently cheering, and stamping their feet, for their return. With an encore including Bang Bang Bang, the band leave behind an extremely satisfied audience.
The talent of The Virginmarys cannot be denied and their future looks extremely bright!
Self confirmed last night, Download Festival had no choice but admit it was true. Since their last appearance at Download, headlining the second stage in 2009, the group played to 65,000 fans at Milton Keynes, their biggest concert to date. No doubt this had a key part in bumping them up to main stage headliners!
Click the above link to go and listen to the acoustic version of 1000 Songs by Swedish AOR/Melodic rock band Houston. Guaranteed to make you feel fuzzy and warm inside! I’m lovin’ this one at the moment.
And to listen to the rest of their Relaunch album, just click here to go and check it out on Spotify.
It is safe to say that when The Darkness sub headlined Download this year they surprised almost everyone with their ability to bring their brand of quirky classic rock soaring back and have hundreds of thousands of metalheads singing along to I Believe In A Thing Called Love. After the success of the aforementioned festival appearance, a tour was announced, and now they are back playing a sold out show in Manchester Academy.
The night begins with Californian rockers Crown Jewel Defense. Self confessed ‘pop-metallers,’ their sound is quite, erratic, unpredictable, and by the way they look you would not expect to hear them playing the sort of music they do. Frontman Taylor Hood has bounds of energy and the crowd seem to take to them pretty well.
Next up are the frankly brilliant Foxy Shazam. You will never see another band like this in your life. With too many genres of music all thrown into one it is hard to describe their sound, but they are definitely one of those bands you should have on your ‘must see’ list. With roly polys, press –ups and a piano player who plays by standing on the piano and using his feet, you just need to see it to believe it.
Now it is time for The Darkness. The stage is pitch black and Thin Lizzy’s The Boys Are Back in Town rings round Manchester Academy, followed by an instrumental of bagpipes and horns. Dan Hawkins sneaks onto the stage along with Frankie Poullain, lights come up and the black veil behind them falls to reveal drummer Ed Graham in a cage with frontman Justin Hawkins alongside him, he meanders his way through the bars and right into opener Black Shuck.
Right from the off it is clear to see just how happy the people are to see the band back together, and they fall in love with them all over again. Straight into Growing On Me, cue falsetto sing alongs all round, which is always pretty amusing when you take a look at the crowd around you.
It is the way the band act onstage that makes it so refreshing to see them together again. They know the people are here to be entertained and they do just that with great success. It is great to see Poullain back on bass duties with his enormous Thunderbird taking over the right side of the stage, Dan Hawkins looks so happy to be playing which again is lovely to see, and Justin knows exactly what to do, what to say and how to move to make the people of Manchester go nuts.
The band play a smattering of new songs in-between all their hits like Friday Night, One Way Ticket and crowd favourite Get Your Hands Off My Woman. The new stuff goes down extremely well, and all sounds very promising. Hawkins announces the new album will be out for springtime and that the band will be back and he hopes people go and see them again, I think after tonight there is no doubt this will be the case.
Holding My Own is a really beautiful moment in the evening. Justin on his own with an acoustic guitar, really showing he has a fantastic knack for writing a good ballad, and that his voice is truly wonderful. Love is Only a Feeling follows on from this, another great power ballad prompting the crowd to sway accordingly. Another highlight of the evening is one that may surprise many. Way back when, the band recorded a cover of the Radiohead classic Street Spirit, a world away from the original they play it live this evening and it is amazing. The power behind Justins voice is pretty incredible.
Now, it may still be November but this does not stop The Darkness closing their set with their Christmas single Christmas Time (Don’t Let The Bells End). Complete with confetti falling from above, reminiscent to snow, it doesn’t matter that it isn’t quite the festive season yet, it works.
With an encore consisting of instrumental Bareback, I Believe in a Thing Called Love, and Love On The Rocks With No Ice, The Darkness remind us just how brilliant a band they were, and inevitably will be again. Hawkins dons the shoulders of a security guy and proceeds to sail around the crowd playing a guiar solo. If that isn’t entertainment, I don’t know what is. First time round I think it was a case of great band, wrong time, but now is a better time than ever to have them back. Give me a D….give me an Arkness!!
The long, anticipated wait for Slash to return to his hometown finally took place on the 27th July this year. To mark this occasion, Slash played a blinding set representing his career so far and decided to film it!
The cover is eye-catching through its bold colours and sharp logo and inside contains a booklet about the band and the event. On to the show! Kicking off with Been There Lately, the sound is perfectly clear and you can hear how tight the group are from the off. From footage of the crowd, along with their cheering, you can see how much they are enjoying the gig, and it isn’t hard to see why when watching this DVD. The band are flawless, in sound and in energy. Each member’s character and personality shines through in their performance, which creates an exciting atmosphere. Slash is jumping around the stage, Myles is engaging the audience and encouraging them to participate, their enthusiasm is evident, they’re just enjoying themselves!
This DVD is an excellent watch, thoroughly enjoyable. If it’s energetic rock n roll executed perfectly you’re looking for, look no further!
After completing the US leg of their tour, and in support of their new album (review here), Evanescence headed over to the UK all guns blazing.
First up were the simply named, Me. Unfortunately, their quirky sound didn’t quite hit the right notes with the crowd, and neither did the vocals. Huge cheers accompanied The Pretty Reckless on to the stage as they ripped through a 45 minute set of their own material and even a cover of the White Stripes, Seven Nation Army. An acoustic number gave a chance to hear Taylor Momsen’s voice in pure form, which was a pleasant surprise.
Evanescence kicked into life with newest single What You Want to a delighted crowd full of energy. The set contained a nice mix of old and new tracks, a great way to introduce new material, but not overload the audience with songs less familiar. Whilst sometimes a little shaky, Amy Lee’s vocals were captivating and really stands out over the heavy sound of the guitars. She also had the chance to show off her piano skills, another string to her a musical bow. The recent album was received well but the biggest cheer came fro the ending number, Bring Me To Life. The encore consisted of Never Go Back, Your Star and finished on My Immortal; an odd choice to my mind.
Coupling a new album and sold out shows, I think it’s safe to say that we can expect to see Evanescence around for a little while longer!
Axl Rose blames management and Slash for late Guns n Roses gigs
Guns N’ Roses frontman Axl Rose has defended the bands tendencies to be late on stage by blaming issues with management and former bandmate Slash.
In an interview with Eddie Trunk on VH1’s That Metal Show (his first tv interview in five years), Rose states that his reputation for delays at gigs stems from a Guns N’ Roses tour in 1991. The singer recently angered fans during their headline slot at the Rock in Rio event after arriving onstage 2 hours late, something that has become somewhat of a habit at every Guns N’ Roses show.
The interview itself reinforced that point. Trunk arrived at 2 p.m. at the venue where Guns ‘N Roses was playing a concert and finally scored the interview at 5:30 the next morning.
"A lot of this goes back to ‘91, and when we were super-late going onstage. And that really has more to do with… I should not have been on that tour."
He then went on to add:
"I only went on tour for three reasons: my manager had booked a tour without authorization… then, I’m gonna be sued for it. He was also telling me if Slash dies of heroin, or whatever, it’s my fault. And lastly Slash pushing me. I should have not agreed to do that tour, but didn’t know how to get out of it.”
He did however admit that he is at fault sometimes, stating that sometimes on show days things can go wrong.
We think fans may deserve a bit more of an explanation that that Axl……
The bands bassist Tommy Stinson also revealed this week that they are eager to get back into the studio and work on a new album. We are taking bets now on just how long we have to wait to hear this one!
Check out the clip of Axl Rose on That Metal Show here:
On the 11th of November, The Icarus Line released an album of rarities, bisdes, demos and live tracks spanning their entire career entitled "JCVTIL" (“Joe Cardamone Versus The Icarus Line”). It’s available to purchase digitally from their bandcamp site here!
"To help fund future touring and the next record we are releasing a collection of hard to find and unreleased material. This is just the tip of the iceberg so please don’t file share this stuff if you want to see or hear more music from the band. We soon will be re releasing the past records with bonus material. This current collection of music will be in limited supply which means it will not be available after the new year. There will be no physical copies pressed. This is it. Get in while you can….Enjoy all Loud!"
The tracklisting is as follows:
1. Raise Your Crown 2. Holy Man 3. Gets Paid (Live at Little Joy) 4. Like a Scab (Demo) 5. Golden Rush (Demo) 6. You Make Me Nervous (Live On KXLU) 7. Amputation (Live at Sunset Sound) 8. Party the Baby Off (Kerrang Radio Session) 9. Long Gone (Demo) 10. Venomous (4 track) 11. Kiss Like Lizards (Wet and Dry Session) 12. Kill Cupid with a Nailfile 13. Elephants of Armegeddon 14. Love is Happiness (UK Single Version) 15. Outro
It is becoming more common in the music industry today for artists to offer a meet & greet at the end of gigs, but at a price. Are these a great opportunity or a little bit cheeky?
The majority of the time these decisions will be down to management, not the bands/artist themselves, but I can’t help feeling perhaps it’s too much? For most of us, we spend money on albums, tickets, merchandise, and of course, the travel costs of attending shows. M&G prices can range from £20 to an astronomical £1000, tempting people in with promises of photographs and signed merchandise from their favourite artists. Personally, I feel that paying for that privilege is excessive; especially as the bulk of these will last no more than an hour. Many a time I have waited for an artist after the gig to catch them before they leave, just to comment on the show and get my ticket signed. To now have to pay for that, I’m not impressed!
As I mentioned before, after already paying for a ticket, merchandise and the cost of getting there; asking for more seems discourteous, and, to me, slightly insulting. I guess another questions is; isn’t it part of the band/artists job to spend a little time with fans after the show before leaving? After all, without fans and their support, they wouldn’t be able to continue as a successful/growing artist. It’s always lovely when bands are gracious to their fans and speak to people out of choice, rather than feeling obliged.
I am a music fanatic and I love to meet my heroes, but I feel so strongly about paying for that opportunity, that I can’t bring myself to do it when on so many occasions I’ve waited, and seen them outside.
I would love to hear your opinions on this subject!
Rival Sons is a name we have been throwing around a lot this year on Let The Music Do The Talking, they are without doubt one of our favourite bands of 2011. They have just finished a sell out tour of the UK and are heading over to Europe play even more sold out shows there but we were lucky enough to catch up with drummer Mike Miley before their show in Manchester (check out our review here) where he told us just what a crazy year it has been!
How Does it feel to be back in the uk?
Amazing. This is my favourite place to tour. In terms of Europe and the UK, the people are great.
You guys were last here in July supporting Judas Priest, how was that?
Pretty awesome. They are legends, like a big heritage act we all grew up with, but it wasn’t like a match. They’re metal and we’re like, loud rnb, we’re coming from rhythm and blues, we wanna groove, there always has to be a blues influence.
You have just been supporting Evanescence as well, we though that was a strange match?
That was an interesting match too, but the sum total of both those aggregates is success, we won fans over, we gained a lot of fans. And it also goes to show that no one really is boxed in, like you guys are wearing AC/DC and KISS shirts but you may like say, The Black Keys or Rihanna or The Police. I mean I love The Who, The Beatles and Led Zeppelin, but it’s not all I listen to. I think it proves that, judging a bill by its cover, ya know? Like, Evanescence and Rival Sons? Its cool because The Pretty Reckless kind of bridged the gap, it was a good tour. We are all like best friends now. The drummer was texting me last night, they are in London and he’s like ‘We’re jamming your cd in our dressing room’, its cool, we have like a brotherhood now and Amy is a delightful angel of a person.
You mentioned the different types of bands/music that you liked, how do you guys bring your influences together to create your own sound?
Like I said earlier the common thread is like blues and rnb, and motown, black music from America in the 40s, 50s and 60s. We’re all into everything from Otis Redding, Chuck Berry, Little Richard, Otis Redding is my favourite male vocalist of all time. And Louise Post from Veruca Salt is my favourite female vocalist, I played with them and it was an honour to play for her, she delivered every night.
Speaking of different combinations, you are signed to Earache which is originally a metal label, how did that come about?
That, I think has been to our advantage more so than not. I mean when we first heard from them, they found us on myspace and their owner hit up our manager and our manager was like like ‘Hey, this death metal label from the UK wants to sign you guys’ and we were just like ‘Ahh haha’, going about our business. We didn’t take it serious, I mean we all went to the website and it was all like Satan, like dude, that’s not my thing. Then they hit us up again, and our manager was on business here and had a meeting and came back like, these guys are serious, they’ve been an indie label for the past 25 years which is hard to do in this day and age, with a proven track record, great publicist. He actually thought it was a great fit, and it’s turned out to be an amazing fit, and being based out here I think we are naturally gonna break here in the UK and Europe before America. So why not be on a label based here, the whole thing makes sense. And since we’ve signed, its come up in every interview which puts it more in the press and it gets talked about so the metalheads are going ‘Who are Rival Sons’ and the Rival Sons fans are going ‘Earache, really?’ so its all good press. People are noticing us and hearing our name.
So you’ve been really successful over here, the album has done amazingly well, how do you feel about playing sold out shows on your first headlining tour?
We’re playing sold out shows, I mean we’ve never done that. We played some headlining dates at the Borderline in London and in Leeds which both sold out but we figured our album just came out, but when your resume has sold out all over it, its kinda cool. On one hand I’m not surprised because like I said if we are gonna break I think it is going to be here first, but im like ultra grateful and honoured and humbled that we are being embraced. I mean like the litmus test is the UK. Speaking of that place in Leeds, like Foo Fighters played in there, The Black Keys played in there a long time ago, Nirvana played in there, ya know?
How did you find High Voltage, didn’t you end up playing twice?
Yea we weren’t supposed to play twice. Electric Wizard were stuck in Oslo because of that shooting, it was a crazy time, you know Amy Winehouse died that day. I was in catering putting food on my plate when one of the guys is like ‘Hey everyone, I don’t wanna bum anybody out but Amy Winehouse just died like 15 minutes ago’. An hour before that I was in an interview and they were asking me what my ideal line up was for a festival, and I said us, The Who, The Black Keys, The Police, AC/DC and Amy Winehouse. It was crazy.
So you were saying Earache found you guys on Myspace. We know you tweet and have facebook and things like that, do you think that has helped you to gain a bigger fanbase etc?
Oh yeah, their publicist has big connections to all the big rock magazines in Europe, so since we have signed with them and finished our album and began the whole lead up to the release we were doing like ten interviews a day, now we are selling out in Helsinki and all these crazy places and I think it is all because of what Earache has done in the UK. Our first show in Oslo was sold out, our first show in Zurich was sold out, these are our own headlining dates, it was so crazy.
What have your highlights of this year been then?
This tour, for sure, already. We’ve only played a few shows and we’ve never been consistently a headliner, we’re always opening for somebody, always proving ourselves all the time. Like we entered the UK rock chart at number 9, but we were opening for Judas Priest and 95% of the audience had no idea who we were, but when you headline it’s like a whole different world, and we are so humble and so thankful. Its weird, we get to show up to the venue first, go to the hotel and nap, when usually you’re the last soundcheck then doors, then you’re on.
For anyone that hasn’t seen a Rival Sons show before what can they expect?
The unexpected. We don’t know whats gonna happen! We play a different set every night, we do different things in the same song every night, it keeps it fresh. And it’s good for the fans too because you’ll never see the same show. We like to say we like to impregnate your ears, or as Jack Black says in Pick of Destiny, we’re gonna come in your ear pussys.
Finally, what is next for you guys after this?
We want to make a record in January/February time and we are want to do it with Dave Cobb, who has produced all three of our albums, Before The Fire, EP and Pressure and Time. Then there is talk of some tours, and releasing some special international releases in Australia and South America, we’ve got to come back here, definitely in the Spring, this is our main hub.
Anything else you want to say to the fans?
Thank you so freaking much, it’s a dream come true. We grew up with the British Invasion bands, like The Beatles, The Who, Cream, Led Zeppelin, so it’s a dream, thank you!
Big thanks to Mike and the rest of the guys for taking the time to chat to us! You can find out everything you need to know about Rival Sons over on www.rivalsons.com and there latest album Pressure and Time is available now.
Blues Funeral is the new Mark Lanegan Band record, the first since 2004’s Bubblegum,and is set to be released in early February 2012.
It was recorded in Hollywood, California by Alain Johannes at his 11ad studio. The music was played by Johannes and Jack Irons with appearances from Greg Dulli, Josh Homme et al. Mark Lanegan has sung with Screaming Trees, Queens Of the Stone Age, The Twilight Singers, The Gutter Twins, Soulsavers and Isobel Campbell.
Blues Funeral will be available digitally and on CD and LP on February 6th, 2012 via 4AD.
To coincide, Mark Lanegan Band will tour Europe next year at the following destinations: