The bands of the Dallas/Fort Worth music scene have been banding together a lot lately for various causes, from the fertilizer plant explosion that destroyed the town of West, to the tornado that ripped through Moore, Oklahoma, which is fantastic. It’s great to see people come together for stuff like that, but it’s even better to see bands unite for a cause that isn’t also a major news story, and that’s what was going on this day before Memorial Day.

This night was in support of a 7-year-old boy, Micah Creed, who has a rare brain tumor, with the proceeds of this night going to benefit his family to help with the expenses incurred by his treatments.

Over a dozen bands had been assembled to play three clubs, The Curtain Club, the Liquid Lounge, which hosted several acoustic artists, and the Boiler Room.

The Curtain Club was my first stop of the night, where Mara Conflict was getting ready to rock the stage, and it had been a few years since I had last seen them.

Their 39-minute long set began with a sample track, a speech rather. It was the “Mad as Hell” speech from the 1976 film Network, making them one of a few bands I’ve seen recently who have used that speech at some point in their show. Perhaps that says something about the state of our country right now.

The five-piece then ripped into their first song, and they were a lot more hard rock than what I remembered, especially with these first couple of songs, where front man Joshua often let out some brutal screams, something I’m not always a fan of, but I didn’t mind it.

“How the fuck are y’all doing?!” he asked the handful of people after finishing their second song. He then went on to say they have been working on some new stuff and had with them a demo they would be handing out later with two new songs, and the next one was one it. It was “Broad Brush”, which in my opinion was their best song of the night. It’s borderline metal, with Dylan rapidly firing off the beats from his drum kit, while Ben and Jarrod roamed about the stage, quickly hitting the strings of their guitars, giving an energetic performance to accompany this killer song.

They moved on to what I assume is another newer one, “You Sleep”, then did another track, which had a very lengthy instrumental part, allowing bassist Charlie, Dylan, Jarrod and Ben to show their prowess as both musicians and performers. They lightened things up ever so slightly with “Closure”, which didn’t seem to have quite as much screaming as their previous songs and made clear what a great singer Joshua is, and his voice has got a nice range to it. Make no mistake, though, this was still a song you could headbang to. They cranked out one more before ending with a track from their self-titled EP released in 2009, “The Fault is Mine”, which gave a strong finish to their set.

It was a good show, and despite the lack of fans they still hold back, and gave it their all. They’re an awesome band, and I had forgotten how entertaining their stuff is, especially their new songs, and if you’re a fan of hard rock music, than you definitely need to give Mara Conflict a listen.

You can buy their three song EP in iTUNES and they do have another show lined up for June 30th at Wit’s End in Dallas.

As soon as they finished I headed over to The Boiler Room to see what was going on there.

A band by the name of As Above, So Below was rocking out, a little ways into their set, and for a Sunday night they were playing to a very sizable crowd. They definitely had the largest draw out of any of the bands that I saw.

The group was fronted by Jacob Pierce, perhaps best known from the defunct band Faint the Fiction, who made a name for themselves, even if it was mainly just here in the D/FW music scene.

He and the rest of his band mates, bassist Johnny Reeves, guitarist Max and drummer Joey Payow were putting on a real performance, which was enhanced by the lights they had brought with them, which set up the amps as they shone all over the stage. “This next song’s called Paint it Red” Jacob told the audience, who was soaking in every little detail of the show. They followed it with the single from their upcoming debut EP “Built to Fail” as well as a few other songs, one of which was a cover, before ending with “Truth be Told”.

Their music was heavy and loud, with a bit of a sharpness to it, which alone was more than enough to get people engaged, but the stellar performance made sure they held everyone’s undivided attention.

That’s what really captivated me, the primal attitude they had towards the show, giving it their all and letting it be very raw and real. Oh, this also happened to be their first ever live show, and they managed to make a big impression on people, both old and new fans alike, and as soon as they finished almost everyone in the club was talking about what they had just seen.

It may be a little different from what I typically like, but they instantly made me into a fan, and I look forward to seeing them again, and many other times at that.

They have a show coming up at Trees in Dallas on June 22nd and from the way they talked this night, their debut album should be out in the near future (say a few months from now) so stay tuned for that as well.

I stuck around for the next band, which happened to be Red Angel Theory, whom I had last seen on this same stage about a month and a half prior to this.

 One of their newer tracks, “Psycho”, got their show going, right after an intro song played, and they tore into the song with a fury, in particular Phil Sahs who thrashed about and rocked out on his bass, and later in the song guitarist Brandon Deaton let loose some sweet riffs on his axe. Next they got into their older, fan favorite stuff with the heavy “It Often Lies”, which was immediately followed by “Shattered”. They experienced some technical difficulties on that one, and while drummer Nick Sarabia was singing the backing vocals throughout the song, his voice went unheard by the crowd. He didn’t stop singing, though, but without his voice the song lacked the fierce punch it usually has. That’s not to say it was a disaster either, though, as Monica Koohi can muster an equally as vicious sound to her voice, so it still sounded great, even if it was silent for a second or two here and there.

Afterwards, they wound things into another new song, before doing the song I was most hoping to hear before heading back to the other venue. That song was “Inception”, which Monica set up by saying it was “…About starting over and new beginnings…” That masterpiece song was a definite highlight of their set, and I stuck around for the one after it, which happened to be another newer one, “Suffocate”, during which Brandon  owned a brief guitar solo.

It’s not that I didn’t want to see the rest of their set, but I’ve seen Red Angel Theory more than a few times, and I couldn’t say that about the other band.

As for their set night, sure there was a little technical hiccup, but aside from that it was great, especially in terms of energy. They seemed like a completely different band than the one I had just last month, appearing more dedicated than ever, like they were on a mission and they weren’t going to stray from it. Presumably that mission was to put on as spectacular a show as possible, and they accomplished just that.

You can find their three song EP in iTUNES and they do have a few shows coming up over the next months, beginning with June 29th at Hailey’s in Denton. On July 12th they’ll be at the Curtain Club in Dallas and then on August 3rd they’ll be in Greenville, TX at Hartline’s.

I ducked out and headed back to the Curtain Club. Hazeland was getting ready to rock the joint, and I had been wanting to see them for months now but just hadn’t been able to. Actually, I had seen them once before with their original vocalist, and with all the screaming they were too hardcore for my musical tastes, but they had a new singer now and what I had heard online I really liked.

The band began right about the time I got over there

The rhythm section of bassist Mike Hayes and drummer Clay Wise got them going on their first number, “Look Here”, which was made to be an opener. “Hey, hey, hey turn on the gas and kick a little ass…” sang front man Brad Amos  on the chorus, before formerly introducing each member during the instrumental break, which was ruled by Robert “Ozz” Veliz, who did a wicked guitar solo. They followed it with another track from their newest EP, the rhythmic “Hustle”, which had Mike and Brad singing most of the song in unison, their voices combining together to make a very interesting sound, and a fantastic one at that. And when he wasn’t singing, Brad was often seen jumping about center stage, obviously getting into the music they were making.

The next song they did was a new one, a brand new one, and Brad mentioned they would soon be heading into the studio to work on a new record due out in the fall, and this song “Control” would be on it. I found it to be one of the best songs of their set, maybe even the best, and it was the furthest away from their old material, and there was even a noticeable difference between it and the bands current music, with “Control” sounding much more solid. It wasn’t all new music, though, and next they did the slightly older “Killer of the Year”, which was a very tune, both in terms of the song and performance that went along with it, making it easy to get into.

Upon finishing it then Ozz started having some problems with his gear, when one of his pedals messed up, then a sample track began to inexplicably play, causing all four of them to look around wondering what was going on. That got resolved (well, somewhat) quickly, and they carried on with their next song, a track from 2011’s “Carnival of Dreams” record “Backstabber”. It did sound better with Brad at the helm, and I liked the funkiness of the first half of it, before it turned into a full-blown rock song near the end with dazzling guitar riffs, some pulsating bass lines and thunderous drumbeats.

They had saved the best for last, and “Empty” started to close out their set. “You never loved me, you used me like a toy… but I won’t be fooled again, I know it’s just all one big empty LIE!” Brad sang on the songs bridge, or rather spoke part of before belting out that last line. That’s definitely the best song in their arsenal, but they weren’t quite done just yet, closing out their 28-minute long set with a cover song that had reggae vibe to it, and they owned it.

I hate that it took over six months for me to see the band with their new lineup, but it was worth the wait, and they put on a great show.

There was a bit of theatrics to their show, with Ozz wearing a hockey mask of sorts, though it was painted blue with some black mixed in on it making a very cool pattern that was very attention getting. Then you had Mike, who looked kind of Slash-esque with the hat he sported, but not in a copycat sort of way.

All around I really enjoyed it, Brad’s a great singer, it was good seeing Clay back on the drums, even though he has been with the band for a few months now, and they all made for a very entertaining show. That’s all the more reason I’m glad I was able to see this show, because this would be the final time that Brad and Ozz would perform live with Hazeland, and one short week later they both announced that they had resigned from the group, and with Ozz gone that makes Mike the only original member left.

Hazeland shows no signs of stopping, still going into the studio to record, and it will be interesting to see how the reforming process goes. Best of luck to everybody involved, both current and now former members. I look forward to seeing what the future holds for everybody.

If you’d like to purchase their music, you can find both records in their store on REVERBNATION. They also have a show scheduled for July 12th back here at the Curtain Club, but I guess that could all depend on if they can solidify a new lineup by then or not.

Part of wished they had played a little longer, but on the flip side I was alright with the shorter set, because when they finished I hightailed it over to the Boiler Room to see The Circle.

I think they were still on their first song when I walked in, and being the headliner here at the Boiler Room coupled with the fact that it was still so early (they started around 11:30) that afforded them a rare opportunity to play as long as they wanted to.

After their first song (or at least the first one I caught) the band wound things right into their next song, but first singer Don Mills raised a toast to all bands that played this night, commending them for coming together in support of this worthy cause. They then tackled one of my favorite songs of theirs “406”, which is raw and brutal in the best possible way with Don screaming on some parts of the track and singing on others, like the chorus, “Can you bring me back to life, ‘cause I’ve been dead for so long…”. The song didn’t go off without a hitch, and not too far into it Kenneth Henrichs started experiencing some trouble with his bass.

To kill some time Don said he had tried to see all of the bands that played, but pointed out there was no way anyone could and again praised everyone who partook in the event, from the organizers to the bands and of course the fans for coming out. The bass still wasn’t up and running, but they weren’t going to wait around anymore, and Don plainly pointed out they weren’t the first band to ever have something like this happen, and sometimes all you can do is push on. They did just that, and while “Beggars Can’t be Choosers” lacked the full rhythm section, Marc Berry was able to compensate for it with his massive drum kit, and guitarists Craig Nelson and Alan Sauls didn’t seem affected by it, still rocking out on their axes.

Kenneth rejoined the band sometime on their next song, and to solve the problem„ the bassist from Enamored (who played earlier) set up his rig and let Kenneth use it. He seemed to be making up for last time, instantly getting into the song and just dominating things as he slapped the strings of his bass. The gritty “I Am” came next, and around the final chorus Don asked everyone to give them a thumbs up or thumbs down to let them know if it was good or not. “I hope you liked it.” He said, adding it would be one of the cuts on their debut EP. They kept things moving with a couple more songs, and after the first one Alan rolled them right into the next with some great guitar chords, while Don counted them in to it.

“Skeptical” was another personal highlight of mine, and by this time they were all operating in perfect synch with one another, becoming a true force to be reckoned with. After finishing it, Don glanced at his watch to check the time, then remarked, “I don’t know why I keep looking at my watch, it’s dead.” That led them into another song, during which Alan broke a string on his guitar, though he continued to play it, switching to another one before doing “My Trip to the Desert Sucked”. Near the start of it Craig leapt into the air at the same time Marc pounded out a beat on his drums, which was pretty cool to see. Then at other times, mainly on the chorus, Kenneth added some backing vocals to the song with his loud, vicious scream, complementing Dons’ voice nicely.

They dusted off one of their oldest songs, “Somewhere”, and later in the song Craig owned it, shredding on his guitar during his little solo. That led them to their final song of the night, which was of course their current single, “Sleep On It”. It has something different than any of their other songs, making it standout even more than their other stuff already does, and was (and is) the perfect way to end their set. Before getting to the bridge, Don brought Kenneth’s nephew, Tyler, to the stage and the young kid helped in the singing/screaming, and did a great job.

That seemed like the end, but the final notes had barely finished resonating when someone shouted for one more, then the sound guy joined in, in egging the band on for one more. Don told everyone there was one song they had decided to cut from the set this night, and that ended up working out rather well, because they were now able to do it for the encore of their nearly hour long set.

The set was one of the best I’ve seen them do, even with the small technical issues, and they’re clicking better now then even, at least out of the year that I’ve been seeing them. They’re definitely improving with each show, and then I think their time in the studio has helped them excel even further. So, if you want to see an amazing live show from a band that writes killer music, then go see The Circle. You’ll be glad you did.

Head over to their REVERBNATION PAGE to download some live cuts of their songs, and buy “Sleep On it” in iTUNES for a mere $.99. Hopefully that will hold you over until their EP is released. Also, they have a show coming up on July 12th in Dallas, at, you guessed it, The Curtain Club.

They were the perfect end to what had been an excellent rock show, and I enjoyed seeing a band I was unfamiliar with, a few I was but can never see enough, and then one I had been wanting to see for some time. It was a fantastic night, and it was great seeing people come out to support such a worthy cause.

The Levitt Pavilion. I had heard of it before, probably around this last year, but I had never been there.

What is the Levitt Pavilion? It’s an outdoor concert venue located in downtown Arlington. It’s also a park that takes up a whole city block, with the massive stage located on the East end of it, and they bring all sorts of bands in to play the stage, from local and regional bands that frequent the clubs of the D/FW area, to bigger national touring acts, such as the headliner this night.

The concert season at the venue had just kicked off the night before, and this night there were two openers on the bill, the first of whom I missed completely, while the other was Calhoun.

I had seen the band once before, a few years ago, and didn’t really care for them much, but I was certainly up for giving them another chance.

I only caught their last 20-minutes or so, but I must say I enjoyed their music. I don’t remember much about them from that first occasion, but I think they’ve changed their sound up a little since then, and it works well for them. I really enjoyed it, and wouldn’t mind seeing them again, and getting the experience of a full set.

After them was the headliner, The Polyphonic Spree, who began their set a little after 8:30, but not before some of the workers at the Levitt name dropped the sponsors and also encouraged everyone to donate some money when they came around collecting it, reminding everyone that while the concerts are free to attend, they aren’t free to put on.

It had been two weeks to the day (and almost even to the exact time) since I first experienced The Polyphonic Spree live, and after seeing they were doing this show, how could I pass it up, especially at the low cost of free?

The show this night was very similar to that other one, including the beginning, where a large banner stretched across the stage, covering all of the band members, while the nineteen-piece band/choir proceeded to play a light piece.

As that was going on, the twentieth member, singer Tim DeLaughter, began to use some spray paint on the banner, having to write backwards so it would be readable by the audience. The message this night was different, reading, “This nite is for you”. He then grabbed a pair of scissors, cutting through it, but not in a straight line, cutting off small pieces of it and throwing them out the fans, before finally cutting all the way through it, and as the banner dropped to reveal the band, the music rose to its height.

Suddenly, it stopped, and as the instruments fell silent, the band froze, not even moving a muscle for a few seconds, before diving back into the instrumental track, which they eventually wound into their first song, the vibrant, upbeat “Section 22 (Running Away)”. The six-piece female choir, the guitar and drums were on full display on that song (among other instruments) as Tim bounced about the stage, singing in his cheery voice.

Upon finishing it, he talked about having “weathered the storm”, as it had rained late in the afternoon, and thanked everyone for sticking around. “…I see a lot of you who were out here earlier…” he said, then basically promised to make this a night that wouldn’t soon be forgotten. I think they next did “Section 7 (Hanging Around the Day Part 2)”, after which Tim again expressed his excitement about the night, saying it was “…Gonna be a hootenanny tonight.” His voice acquired a real southern drawl when he said that, sounding more country than he really is, or at least acts. They next did a track from the “Together We’re Heavy” album “ Section 14 (Two Thousand Places)”. It was a highlight of their set, as Tim marched about the stage giving everyone what could be considered some words of advice, crooning “…You gotta be good, you gotta be strong, you gotta be two thousand places at once…”.

The energetic front man conducted his band at the start of their next song, thrusting one of his arms out in the air and as he did so, the cello player, violinist and multiple other musicians plucked and or struck a string on their instrument. That went on for quite a few times, and there was only once where the band jumped the gun and struck their instruments ahead of his cue. Like I said, this show was similar to the one I had seen a few weeks prior, that includes the setlist, which wasn’t a bad thing, and I was getting pretty excited at this point knowing what was coming next. The band soon tore right off into “Section 23 (Get Up and Go)”, with Tim singing the first line of this amazing rock song, “You’re satellite cover’s blown…”

The crowd was diverse, with people coming from all walks of life, and if any them hadn’t been feeling the band yet, then that song surely did the trick, because it’s hard not to be reeled in by its catchiness. “…Did y’all know it’s been seven years since our last record…” Tim said to the audience, seeming to be in a state of disbelief about that himself. He mentioned that, that will soon be changing when their new record comes out on August 6th, and that set up a new song from it, “Hold Yourself Up”, which I foresee as being my favorite track from the forthcoming record. It’s classic Polyphonic Spree, mining the same vein as many of the songs they performed this night, and has what I think is a wonderful line, “…She’s got roller coaster eyes…”, which is also periodically sung by the choir, all whom harmonize on it.

They were definitely on a roll, and after doing one of their new songs, Tim told everyone to store the next one away in their mind. “…This is for you Arlington, you won’t forget it!” he exclaimed, as the band created the gorgeous textures that make up their medley of The Who music, first doing a bit of “See Me, Feel Me”, which was slower, then stepped it up as they suddenly did a bit of the true classic, “Pinball Wizard”. Tim wasn’t lying, that really was a moment worth filing away in your mind. They didn’t let up either, patching things seamlessly into “Section 11 (We Sound Amazed)”, which they then eventually bridged into “Section 2 (It’s the Sun)”, doing it all so flawlessly that you might have thought it was one massive long song if you were unfamiliar with their music.

They had one last new offering for everyone and that was “You Don’t Know Me”, another fantastic song that elevated the mood by sending the message that you can’t let anyone bring you down. “…This is our night!” Tim excitedly said when he addressed the crowd after that song, mentioning that everyone had “shared a moment” from that little rainstorm earlier, adding that everybody was now connected for having stuck it out, and while there set was winding down, they still had quite a bit left to do. One of those still left in the chamber was big choir and sing along number “Section 8 (Soldier Girl)”.

Afterwards, Tim tried to evoke more of the raw Rock ‘n’ Roll spirit from everybody, asking, “Can I get a hell yeah?!” There was an audible response of that, though he also got something unexpected which he called attention to, and that was a peace sign. “…Only at a Polyphonic Spree…” he said laughing, truly loving it. The laughs weren’t over yet, though, and out of nowhere Tim suddenly began singing the theme song to the old children’s show The New Zoo Review, humming over the parts he couldn’t remember, but that was only a few words. It was completely random and had more than a few people cracking up.

“This song’s called Tripping Daisy!” he shouted, throwing in a reference to his legendary Dallas based rock band, then pointed out they didn’t have a song by that name. “We do have one called Light and Day, though.” He added, leading them into the dynamic “Section 9 (Light and Day - Reach for the Sun)”. That same word could also be used to describe the performance that went along with that spectacular song, which would have been a fine way to end the show, but they still had a little left in the tank. Tim again began a conversation with the crowd, speaking in his southern voice, finally saying, “…I’m sorry, the country comes out when I get excited…”. He had reason to be excited, as he spoke about Tripping Daisy, mentioning there’s not a day of his life where he doesn’t think about that band. I knew what was coming next, though frankly I hadn’t been expecting it to happen, despite wanting to.

At that other show of theirs I caught they had dusted off a Tripping Daisy song, and now they were going to do it again. “My Umbrella”, which sounded like a true rock song, even with instruments like a harp, French horn and an array of other instruments being played, and that track brought their 70-minute long set to an astounding end.

That could have been a fitting end to the night, however the stage lights stayed on, turning a nice shade of blue, giving the impression that there would be more. Sure enough, they weren’t quite done yet, and all twenty members soon walked back out on stage and resumed their posts for the 13-minute long encore.

They kicked it off with the bright “Section 12 (Hold Me Now)”, which is another personal favorite of mine, and I was ecstatic to hear them do it live. There next and final song was another cover, and before starting it Tim mentioned it was by a band that really influenced him in his younger days. “…No, it’s not Soundgarden…” he said, though he professed his love for that band, too. He built up some suspense as to what it might be, finally dropping the band name Nirvana, which the crowd seemed pretty excited about.

The song was “Lithium”, and they did a killer rendition of it, putting a different twist on it, yet still keeping it fairly close to form. They all made sure to give it their all, making one final push, and the harp player even picked up his harp near the end of the song, holding it out over the crowd, a move that amazed me.

That was the end of the show, but as the massive group huddled around one another to show their appreciation to everyone, Tim started into one final speech, thanking everyone for coming out and being a part of the night, sounding absolutely sincere about it.

It was a stunning performance they delivered, and while not everyone stuck around for the whole thing, they did all seem thoroughly captivated by it while they were there. Bear in mind that does include all age ranges, from some preteens to even a few people who appeared to be in their seventies, and everything in between. That just goes to show that the music that The Polyphonic Spree makes and the lively, high-energy show they put on don’t have a targeted age range, rather, it can and does appeal to everybody.

The show was just as much of a spectacle as it was the first time I saw them, and while the entire band will dazzle you, just in the way that such an array of instruments are able to fit together sound-wise and create such rock sound. However, it definitely is Tim DeLaughter that will capture and hold your attention more than anyone, and this night he was constantly moving around the stage, often running, and mingling with his band mates, or looking out at the audience and doing everything he could to make sure the people were fully enthralled by the show.

They seemed like they were, and I can’t imagine a single person left here disappointed this night.

Be sure to check out the bands TOUR DATES, of which they have some around the U.S. and even various parts of the world. Also, head over to their store in iTUNES to find their older records, and mark your calendars for August 6th, when the band will release “Yes, It’s True”, their first original album in seven years. And do be sure to come out to the Granada Theater in Dallas on August 9th for the bands official hometown CD release show.

As for the Levitt Pavilion, it’s a wonderful venue and I love what they’re doing, not only by putting on free concerts, but there making a town that isn’t a real destination for live music (at least not like Fort Worth and Dallas are) into one, even if it is for a few months out of the year. Actually, a lot of other cities in the D/FW metroplex could take a cue from them in my opinion. For example, I know Plano has a venue similar to this, but as far as I know it’s barely used, and I’m sure there are other cities that are the same way, yet here’s Arlington, one-upping everybody else.

They have a lot of great acts coming through the Levitt, and they are as follows:
June 19th – The Lone Star Circus
June 20th - Chubby Carrier
June 21st – Sara Hickman
June 22nd – The Light Crust Doughboys
June 23rd – Snarky Puppy
June 26th – Vocal Trash
June 27th – Carabali
June 28th – Monte Montgomery
June 29th – Jason Eady
June 30th – Billy Joe Shaver
July 3rd – Atlanta Rhythm Section
July 5th – Del Castillo
July 6th – The Quebe Sisters Band
July 7th – Terry Hendrix & Lloyd Maines
July 11th – Girl in a Coma
July 12th – The O’s
July 13th – Ruthie Foster
July 14th – Radney Foster

Those above concerts are all free to attend, then there will be one they charge for on September 14th which will feature Foreigner. So, go check out one or several of those, and starting in late August they will also have another concert season starting up.

Great night, and best of all it was over with early.

The House of Blues was hosting another one of their Dallas Rocks! concert series, and this one seemed to come together rather last minute. But when a show is free (if you get tickets from the bands in advance), it doesn’t matter how last minute it is, and even if does happen to be at the start of a holiday weekend, people are going to show up.

The first of the five bands was the Fort Worth based Animal Spirit, who did the shortest set of the night, clocking in at 22-minutes.

“We’re here to remind you that your beautiful and that you matter and that we can spread love through music!” said bassist Joe Prankster after the band took the stage. It was quite the statement to begin a show, and definitely got your attention, even if there were only several handfuls of people scattered about the venue this early on.

During their short time on stage they played a few tracks that will presumably be on their debut record due out this year, and guitarist Andrew Stroheker did most of the singing on their first song, though he was occasionally aided by front woman Sam Wuehermann . With some riffs on the guitar, Andrew wound them right into their next song, after which they did a new single of theirs. “This song’s called House on a Hill.” Joe said, viciously slapping his as they started up the song.

If I’d heard the song before, I didn’t recall it, but it certainly left an impression on me this night. It was another song that was co-sung, though the best part of it was the lengthy instrumental portions. Drummer Parker Anderson, Andrew and Joe rocked out on their instruments, all the while Sam was kind of dancing along to the music and shaking a tambourine. It’s a very well written song, in every aspect, and it’s guaranteed to get your attention.

I think they did one more after that, and then got to what is probably their lead single, the highly original “The Planets a Lie”, another song that finds both Sam and Andrew singing together, though not quite harmonizing, and each of their distinctive voices mesh well together. And that was that.

Their set seemed to pass by too quickly, but so long as you’re enjoying a show it doesn’t matter how fast it goes by, I guess.

They are a rock group, but they are very creative with their music, and if you see them there will be at least one song they do that’s sounds unlike anything you’ve heard before. This was the third time I’ve seen them, and they are growing on me more and more each time, and you should check them out while they are still a relatively new band.

Keep an eye on their CALENDAR for upcoming concert announcements, as well as their FACCEBOOK PAGE for any info in general, like the progress of their record. In the meantime, head over to their BANDCAMP PAGE to download their single of “House On a Hill” for free.

It wasn’t even 8:30 and the first act was already done and the next band was getting setup, and around 8:45 the next band was ready to go, and that was Denton’s The Gypsy Bravado.

Lou Anderson pounded away at his drum kit, kicking off the first of many newer songs they did this night, “Make a Man”. “…Did you feel it, tell me did you feel it?” Mo Myles belted, while banging away on his keyboard. That powerful rock number was more than enough to instantly reel in the ever growing audience, and in my opinion it was one of the best songs of their set.

To make sure everyone was on the hook, Lou swiftly wound them into the lead track from their “Through the Rabbit Hole” EP, “Swagger”. There was even more of a Southern Rock vibe on that one, complete with some soulful and bluesy sounding guitar chords courtesy of Shawn Bratton, and both he and Mo handled the singing of that track. That’s the thing about this band, they have two incredibly capable singers, and even bassist Jeff Dacus throws his voice in from time to time, making some solid three-part harmonies. That was a nice warm-up for their next song, another new one from their forthcoming record, which at one point they mentioned would be out soon. The next number was called “Into the River”, and it had what seemed like an even longer instrumental break then their previous song, where the four instruments wove together harmoniously, and it was set off with fiery blues solo from Shawn.

They kept the music coming, going straight into “Mountaintops”, another track that Mo did the singing on, and during it Shawn got to rocking perhaps a little too hard, breaking one of strings, and upon finishing the song he simply switched to another guitar. “This song’s called Dreams!” shouted Jeff, setting up another song from their debut EP, which is also called “(Through The Rabbit Hole)”. That was one of their longest songs of the night (clocking in at nearly seven minutes on the album), but then again, most of their songs are lengthy, being at least close to six minutes, if not over. Anyway, on that song, almost all of them had their chance to shine, from a drum solo to a keyboard and guitar solo, while Jeff played some strong bass notes while he thrashed around to the music.

The got back to the newer stuff with “Josephine”, and before starting it Mo said, “I guess you could say it’s kind of about animal instinct?“, phrasing it more as a question as he glanced at his band mates to make sure that was an accurate description. They agreed. Shawn took back over vocal duties on that, and Jeff finally got a true solo, throwing down on his bass. To close out their 50-minute long set, they did a favorite from the “Through the Rabbit Hole” EP, “Dillinger (Rebel Son)”. At one point during it, almost as if to make sure they would leave an impression on all their potential new fans, Lou stood up from his stool for a few moments, still playing some beats on his kit, before sitting back down. During their instrumental jam, Shawn again broke a string on his axe, which he quickly fixed by getting yet another replacement, and they finished in a very strong fashion.

I had only seen them once before, at least recently, and while they were good then, you could tell they brought their A-game here at the House of Blues. They were on fire, bolting right out of the gate, and with each song they just became more of an unstoppable force and I don’t see how anyone in attendance could not have had their eyes glued to the stage, soaking in the pure rock sounds they were churning out and enjoying the lively show that accompanied it.

Honestly, when they were done I found myself wondering, “If they’re like this all the time, why don’t I see them more often???”

I’m gonna have to try to fix that, I guess.

They’ll be back here at the House of Blues on July 6th for a battle of the bands style show, where the winner will perform at this years BFD, opening for acts like Megadeth, Slash and many more, so go support them. Also, while you’re waiting for their new record to come out, go into iTUNES and check out their old one, it’s well worth picking up.

After them was the headliner, even though they were going on at almost ten o’clock. The band was Ducado Vega, a duo who incorporates multiple genres into their sound, though they predominately consider themselves a funk outfit.

I’d heard great things about them, though I was a bit skeptical, since it is a genre I’m not a huge fan of, nevertheless, I was curious to see them live.

“Seven” was their opening number, a heavily synthesized track where most of the vocals had been pre-recorded and were playing as part of the sample track. I wasn’t too fond of that, and even though singer and guitarist Ducado Vega and keyboardist/multi-instrumentalist Zenya Vi were doing some singing, it was overpowered by the backing track. Things did get better with the next song, one of many new tracks they unleashed on their fans this night, which I believe was titled “Define Beautiful”. It still wasn’t my cup of tea, but I did find it a little more appealing.

Zenya took over singing on their next song, and while Ducado was tearing it up on his guitar, he broke a string, which caused a bit of a delay.

He mentioned the guitar was a pretty new addition, being very proud of it and the furry pink strap he had on it and asked if one of the other musicians could restring it for him so he could continue using it. “…I don’t even know what string broke…” he said, letting everyone in on a “secret” that he can’t read music, pointing out he just plays it. Eventually a stagehand came and got it from him, and after Ducado grabbed his spare guitar, he told everyone that he and Zenya were going to do something a little different for Ducado Vega.

Different, indeed. The song was “I Dare You”, another new one, and it was performed more as a rap. For what it was, I guess it was good, though I was unable to get into that. They kept the music flowing with “Love Freak”, which found Zenya playing some beats on the drums, before again singing on the following song, and during that one Ducado collapsed to the floor, picking at his guitar while he lay there, completely engulfed in the moment.

Things proceeded to get a little more funky with “Sex in Da Club” and “Help Me”, with another song being sandwiched in between those two. On the next song, they again switched things up, with Zenya playing the guitar (by this time Shawn of the Gypsy Bravado had brought out one of his guitars as Ducado’s replacement, adding the pink strap onto it), while Ducado added some bass lines, and about halfway through it they traded off. However, it was their final song that was the most interesting and fun, especially when Ducado jumped into the crowd, saying beforehand that he wanted everyone to “make a train” like they used to as kids in elementary school. He led, and quite a few people joined in as this train/conga line wound its way through the crowd, eventually breaking up as Ducado climbed back on stage to finish out the song and their 65-minute long set.

Performance wise it was a really good show, filled with energy, and considering they were just a two-piece they managed to own the massive stage. Even technically it was great, and Ducado has some serious chops as a guitarist.

However, it’s just not the type of music that appeals to me, being mostly a mix of funk, electronic and rock, and I was never completely drawn into it. Would I mind seeing them again? No. Would I go to a show specifically to see them? Doubtful.

They have a couple EP’s you can pick up in iTUNES, and with the music they played this night it sounds like another record is on the horizon, even if they are just currently writing material for it. As for shows, check out their REVERBNATION PAGE to see when they will have future gigs.

Thus far the night had been fantastic, and now, a little after eleven, it was time for the band that was the primary reason I was there, and that was The Orange.

The bands three core instrumentalists, bassist Jason Jessup, drummer Cody Waits and guitarist Kirk Livesay launched the band into their 45-minute long set, creating a music bed that was somewhat recognizable as the fan favorite “Teleprompters”. Soon Scott Tucker bounded out on stage and song truly got underway. It’s about as explosive as a song can be and I’m loving it being their current opener, as it just gets things off to a sensational start, and throughout it Scott was running about the stage, singing to the audience and making sure to pay equal attention to all sides and sections of the stage.

“This song’s called I Want a Girl!” he declared after getting his guitar, as they moved on to one of their best new songs. They seemed in perfect synch on that one, particularly on the chorus, when Scott, Jason and Kirk plucked the strings of their instruments in exact time with the heavy beats Cody was cranking out. Early on in that song Scott broke a string, though he carried on and paid it little attention until the song was over when he switched to another.

Cody started them off on another newer track, the trippy sounding “Valium”, which was followed by one of their most epic songs, “Cityscapes”. Jason and Cody definitely pulled their weight on that one, and out of all their songs I believe it was that one that had the loudest rhythm section of the night, and a very cohesive one at that. There are some long instrumental pieces on that song where the group rocked out, and near the end Scott dropped to the floor and shredded on his axe, in true rock star fashion.

They invited one of their friends on stage for their next song, and, as Scott said, it was a man who came all the way from Chicago, Chicago Dan. “What do you want to do for ‘em, Dan?” Scott asked him while he tuned his guitar. Dan, who stood at stage left mic, already had his weapon of choice, a harmonica, out. “How about some doomsday.” He said. They did just that, busting out one of their classics, “Doomsday for Mr. Denton”, which seemed to be a real crowd pleaser. Some of that might have had something to do with the fact that the fans seem to love Dan in general, but all the same, that’s a killer song.

The number of people on stage grew as blues guitarist Buddy Neighbors joined the mix, as did Scotts’ sister Melissa Tucker who played a tambourine. Scott informed everyone that this next song was the single from their forthcoming album, which they are working on with producer Eric Delegard, whom Scott shouted out, saying he had seen him walking around this night. The song was “Mr. Moneymaker”, which is extremely catchy and upbeat, definitely worthy of being the lead single for their long awaited full-length record.

Everybody stayed pretty much where they were, well, for the most part, as Cody and Scott swapped places. “…I never imagined I’d be playing drums on stage at the House of Blues…” Scott stated, evidently still finding this to be a surreal experience. Cody did the singing on this one, and while there’s a completely different sound from his voice and Scott’s, it still sounds great, growing on me each time I hear it, and it’s especially appropriate for the song he wrote, which I believe was “Dead Nation”. Afterwards, they returned to their normal posts and the quartet, along with the three essentially honorary members of The Orange, ended with the most dynamic song they could have, “Blow Up”.

It was another extraordinary show by The Orange, one of the best I’ve seen them do, even though Scott was a little more subdued and didn’t jump onto the drum kit this night.

All joking aside, they were phenomenal this night, and you could tell they were not only wanting to make an impression on the crowd but also the higher ups who could bring them back as an opener for future big shows at the House of Blues. I definitely think The Orange accomplished that.

They gave it 110% on stage, both wowing old fans, and from some of the chatter I overheard, won over some new ones, too.

They have at least one show on the books for the summer, and that will be on July 5th at the Kessler Theater in Dallas. They’ll be headlining that one, so don’t miss it. Also, head over to iTUNES to pick up their first EP, especially since they are sold out of hard copies of it, so online is the only place to get it.

There was one final band up this night, Nerdface, whom I didn’t stick around for. Sure, it was still relatively early, but the ticket I got for the parking lot I parked in expired around midnight, and here it was about ten minutes after, so, to make sure I didn’t get a ticket or anything, I went ahead and called it a night.

I can’t say I really regret leaving, though, because after the show The Orange put on I don’t see how this night could have gotten any better. Besides, it had already been an amazing night anyway.

In three short years the Homegrown Music and Arts Festival has established itself as a Dallas institution, and is arguable the festival that takes place not only in Dallas, but even the entire North Texas area.

A large part of the appeal (well, besides the music) is that it takes place in the urban oasis that is the Main Street Garden Park, a vibrant park, which occupies a full city block, that is usually a good place for people to walk their dogs in or bring their children to play on the playground equipment. However, this one day out of the year two stages are set up, one on the East end and the other on the West, as the park is transformed into a music lovers paradise.

The first two years the festival focused exclusively on North Texas based bands, before expanding in their third year, allowing bands from all over Texas to play. Only a handful of North Texas bands performed during the 2012 installment, but now in its fourth year, Homegrown was getting back to basics, and out of the fifteen bands lined up to play, only four hailed from outside the Dallas/Fort Worth region.

Kicking off this glorious day was Ross Edman, who is better known by his stage name as the electronic act, Datahowler.

His start time was 11:30 that morning, which was about thirty minutes before I got there, making Datahowler the only act I missed this day. It was surely an interesting show, though, since he was supposed to be playing his music alongside a yoga instructor who was in turn leading some individuals in a yoga routine.

I imagine that took him out of his comfort zone a little, but he was one of a handful of musicians pulling double-duty this day, and in a few hours he’d get back to what he specializes in.

I can’t say I’m too upset that I missed his set, since what he does is a style of music I’m not really into. However, you can check out his “The Crystal Gazers” EP in iTunes, if you are into some more ambient, electronic stuff.

Some stop and go traffic resulted in me getting there a little later than I wanted to, arriving right at noon, which I knew meant I was cutting it close, as that was when Madison King and her band were scheduled to start.

Sure enough, as I hurried out of the parking garage, the music crept into earshot, revealing they were in the midst of their presumable opener, “Whiskey In the Morning”.

During my trek over to the other side of the park where the Chevy stage was located, I was surprised by all the people that were already here. Sure, it might not have been a ton, but considering the festivities were just getting underway, there were a lot. Perhaps it’s as simple as they just have excellent taste in music and didn’t want to miss even one of the many great bands playing this day.

But I digress…

Upon finishing that song, they did another from Madisons’ “Darlin’, Here’s to You” record, “Here In Arms”, which is still one of the best songs in their repertoire and tells a great story. Songs from that nearly two year old album were few and far between this day, though, like their next one, which she announced to everyone was titled “Me and You”. Chris Carmichael launched them into the song with some awesome beats in what was essentially a brief drum solo, before electric guitarist Michael Smith and bassist Wade Cofer jumped into it. It’s a love song, and a very good one at that, that had a great flow to it and out of handful of new songs they did during this around 30-minute long set, it was one of my favorites.

During a break after that song, Madison started talking about what a great day it looked like it was going to be, and briefly mentioned that she had already had to duct tape her high heels, laughing as she said, making it sound like at the very least it had been an interesting day for her thus far. They then moved things along with another new tune, “Ghost of the One that Got Away”, and then another song which she dedicated to someone, resulting in two women running up towards the stage and somewhat dancing along to the song.

My favorite song of their set ended up being the next song, which was a slower, hauntingly beautiful number, with one of the lines being, “…We make evil inventions from the best of intentions…” All of those offered a nice glimpse at what Madison has been writing, and they give the impression that her next record will in all likelihood outdo her first, which is saying a lot. Speaking of that first record, they next played the gorgeous, “Nazarene”, during which Madison intricately plucked the strings of her acoustic guitar with just her fingers. “…This next song is called Saved By a Son of a Gun…” Madison told everyone, but almost immediately after starting it, she brought it to a stop. She thought either something was off or that her capo was on the wrong fret, but upon realizing all was right, they started it again, and this time this catchy song went off without a hitch. That brought them to the final song of their set, which was “Darlin, Here’s To You” and it was a fantastic song to end on, especially with the fiery guitar notes and even solo, which Michael rocked by the way.

Okay, so technically Madison King and her band didn’t get the day started, but since they were the first act I saw, they got it started for me, and what a way to begin.

Madison is one of the best singer/songwriters in the D/FW, a fact that everyone who saw her this fine afternoon would surely attest to. And it’s not just that the music and lyrics are great, but it’s also the fact that she so obviously pours her heart into the performance.

If you haven’t seen her yet, you should, and luckily she has several shows coming up in Dallas in June, one of which will be on the 5th at Three Links, then the 14th at the Belmont Hotel and finally the 20th at Sundown at Granada. Also be sure to check out the “Darlin’, Here’s to You” album in iTunes.

The next band was getting ready to take the Shiner stage, but, like all the bands this day, they were introduced by the events MC. “…Have you ever seen a wolf play drums?” the MC asked everyone, then added, “You’re about to.” before introducing the another country band, J. Charles and the Trainrobbers.

I had seen the band once before, and that had been over a year ago, so I was looking forward to finally seeing them again.

Steve Visneau was already sitting behind his drum kit, and after the three remaining members filed on stage, he and singer and guitarist Jeffrey Charles Saenz fired up the first song of their 40-minute set, “Mercy Killing”. They quickly commanded everyone’s attention, specifically when J. Charles’s voiced surged as he belted out, “There’s a bullet here for me, a bullet here for you. Only problem is we love each other too damn much it’s true…” It’s one hell of a song, and only got better when the sounds from Justin Youngs’ bass and Daniel Creamers’ keyboard became more prominent. They soon followed it with the subsequent track on their “Upon Leaving” record, the gritty, “Letter to a Thief”.

“This next song is called My Year.” J. Charles quickly told the crowd as they tore into another amazing song. Towards the end of that one there’s a little lull, during which both Jeffrey and Justin walked back by the drum riser. Then, as the music began to swell, the two marched back up to their respective microphones in perfect synch with each other, where they both sang, “My heart’s been on fire all year long…” I believe it was followed by a non-album track, after which J. Charles made some small talk with the audience, admitting he wasn’t “…good at talking…” That’s alright, not every band needs to have banter, especially when the music is as good as this was. He did use that time though to promote the merch they had for sale, which included their new album, and he used that as a segue into their next song.

It was the single from their debut album, the gripping, “Something Wrong”, which at times is almost a sing along, as the chorus is catchy enough it could easily have the fans shouting along to it. “Three Shades of Black” brought the noise level down slightly (at least for a bit), but not the intensity of their playing was still there, especially in Steve’s drumming.

They changed things up a bit for their final two songs, as Taylor Rea joined them, walking over to stage right. J. Charles grabbed his mic stand, moving it where he could face her, saying something to the effect that they were going to have a standoff, and she moved her mic stand to look at him. They did the lovely duet “Ain’t So Blue”, and they had a lot of chemistry going on as they sang back and forth to one another, even on occasion getting some amazing harmonies going. They had one final song planned after that, and that was their longest song yet, “Tennessee Roads (No Moon)”, which often had Taylor singing some backing vocals, word-for-word with what J. Charles was singing.

I remembered them being a great band the first time I saw them, but nothing on the scale of what they were this afternoon.

They’ve tightened and polished things up a lot in the last sixteen months, and it shows in their performance. They were very coordinated in their stage performance and operated like a well-oiled machine.

It was quite the performance they put on, too, overflowing with energy. More than once during the instrumental breaks of some songs J. Charles worked his way up on the drum riser, shredding on his guitar while banging his head to the heavy beats Steve was laying down.

They may be a country band, but they have the perfect blend of a rock and country sound, and between that and J. Charles’s rich, distinctive voice, they are sure to reel you in. So, if you haven’t yet experienced J. Charles and the Trainrobbers, you are truly missing out.

You should give their “Upon Leaving” album a listen, and buy it in iTUNES if you like it. If you’d like to see them live, they’ll be at the Magnolia Motor Lounge in Fort Worth on June 15th.

The next band of the day was one of the out-of-town bands, the Houston based, The Tontons.

They got another good introduction from the MC, who mentioned that last year Eisley played the festival, noting they used to be called Mos Eisley, before George Lucas asked them to change their name. So, after introducing The Tontons, he added, “…Or as George Lucas calls them, The Tons.”

The quartet, led by front woman Asli Omar, had several newer songs to play for the ever growing crowd, though to a lot of people I’m sure they all were new.

Their opener was one of those newer songs, and was a prime example of what the band is about, with a captivating music bed that could easily pull you in, and it made perfect use of Aslis’ soulful, rich and even at times slightly raspy voice. They may be a indie rock band, but with that song I think everyone knew they were in for one of the most unique and original performances of the day.

Asli aided drummer Justin Martinez in the percussion field on their next song, as she shook a tambourine throughout it. Afterwards, Adam Martinez started them on a fan favorite from the “Golden” EP, “Vietnam”, with the infectious guitar chords that at the very least should have you swaying along to the song, if not inciting some full on dancing. Once it was finished, Asli addressed the crowd, urging everyone to enjoy this day they had, before summer arrived making it so hot we wouldn’t even want to step outside. “…By the way, this hair is like a oven.” She added, referring to her afro.

They got back to business with one of the two songs from their recently released 7’’ vinyl record, “Bones”, and the song was simple named “Bones 1”. It carried a more rock sound with it, with some, at times, blistering riffs from Adam, and while Tom Nguyen’s bass lines were often more subtle on some of their other music, they were anything but during this song, creating a very cohesive and solid rhythm section. Yet another new song came next, which took them to the emotion filled title track of their most recent EP, “Golden”. “You’re shallow and silly and oh so conniving. I’d say you were stupid but that’d be denying you were ever smart enough to date me, ever strong enough to break me…” Asli sang on the chorus while dancing along to the song.

During another short break in between song, Asli encouraged everyone to check out their Austin friends Quiet Company, who were playing right after their set, as well as Zhora, who was set to be the next band playing here at the Chevy stage. “…That’s the best part of Texas…” she said, “…We are all family…”

Another barrage of new material followed, as they cranked out three more songs, one of which was another where Asli again played the tambourine. They had been up there for about half an hour at this point, and to wrap up their 34-minute long set, they did the lead track from their self-titled album, “Leon”.

Having only see them once before this (which had been over a year ago), I had forgotten how amazing The Tontons really were.

They are incredibly versatile, owning the more rock style of music they play, but also pulling off the slower, almost jazz like songs, which is reminiscent of something you would have often heard in a lounge setting in say the 60’s.

The interesting music and superb vocals made them one of the most unique bands of the entire day, which in turn made them one of the most memorable.

Between ITUNES and BANDCAMP, you can purchase every single one of the bands releases, even getting a few singles for free download over on their bandcamp page. As for shows, their schedule is currently empty, and word is they are going to be working on a new record.

Three bands in and it had already been an amazing day, and while there were plenty of bigger name bands yet to come, I was most looking forward to the next band on the Shiner stage, the Austin based rock outfit, Quiet Company.

Opening their set was “And You Said it Was Pretty Here”, a bonus track from their new/old record “A Dead Man On My Back: Shine Honesty Revisited”, which is a re-recording of one of the bands first album. This cheery sounding tune found the band looking a little out of place, as Cody Ackors was playing one of the guitars, an instrument he’s actually quite great at, leaving the heavily bearded Thomas Blank to focus on his keyboard. It was the first time I’d heard them open with that song, and despite the drastic differences between it and some of their past openers, it worked every bit as well, as more and more people gathered around the stage to watch the spectacle that was starting to unfold.

Cody gave up the guitar to Thomas, while he assumed his spot on stage right, surrounded by his numerous instruments, which included the trombone, a floor tom and a keyboard. The sample track for “It’s Better to Spend Money Like There’s No Tomorrow Than Spend Tonight Like There’s No Money” began to play while the band got ready for it. “…You better stop and smell the roses. You better love the life you live. You better take note of when it’s killing you…” sang singer and guitarist Taylor Muse on the chorus, and after the second one the music gave way to Thomas and his solo on the melodic. It wasn’t just the standard instrumental break, though.

“…We all have regrets.” Taylor said to the crowd, noting he regretted “eating at the Great Wall of China Buffet in Bryan, Texas.” “But one thing I’ve never regretted is dancing at a rock show…” he added, as he proceeded to encourage everyone to cut loose, have fun and dance to the rest of the song, to which some people did.

Those two songs got them off to a fierce and dynamic start, and it was only about to get better as they prepared to do a few songs from what is arguably their best record, 2011’s “We Are All Where We Belong”.

“So you say you got peace about it, I purpose you could live without it…” sang Taylor at the start of “Preaching to the Choir Invisible, Part I”, which had Cody, at least at first, accompanying drummer Jeff Weathers in the percussion field, as he tapped some drumsticks on the rim of the tom. The deep meaning, multilayered song culminated with the guitars, drums and bass, played by Matt Parmenter, soaring to life, as the four members at the forefront of the stage shouted in their singing voices, “We belong!” over and over again, a cry that even their fans who were in attendance joined in on.

Upon finishing it, Taylor again told everyone who they were. “…We’re Quiet Company, a metal band from Austin, Texas…” he said, which caused much of the crowd to laugh, because metal, they are not. He also took this time to point out their merch booth they had, telling anyone who wanted to buy something to go visit the guy in the purple shirt. There happened to be two guys wearing purple shirts, and the one who was not the merch guy said something like, “Who are you talking to?” in the spirit of being funny. Actually, it was funny, but Taylor has a quick and clever wit about him, and instantly had a comeback. He jokingly said he was talking to the guy who didn’t know he was selling the merch, telling everyone, “…But he does have that nice dog, go try to buy it from him.”

As they entered the tail end of their 32-minute long set they did another favorite from their 2011 album, “Everything Louder Than Everything Else”, which they then wound right into the single from the record, “You, Me, and the Boatman”, with some simple guitar feedback followed by Jeff tearing it up on the drums. That amazing rock song, which is really set off by the trombone, soon led them to the final song of their show, which was the more serene “On Modern Men”. That track grows on me each time I hear it, especially in the live setting, and it’s undoubtedly at its best when they all croon and then shout, “Make way for your modern man, we fought to exist. We crawled from the water to the dry land and our hands are the dirtiest.”

It may be an older song, but it fits well with the themes from the songs on “We Are All Where We Belong”, and offers the perfect way to cap off a show.

There may have many bigger name bands left to play this day, but Quiet Company was every bit as astounding as those others were. For the record, they were every bit as professional, too.

They are truly one of the best live bands I have ever experienced, putting on an energetic performance that never ceases to amaze, and their greatest quality, their musicianship, is constantly on display and always shining. If you haven’t seen them yet, you are truly missing out.

This little 32-minute performance instantly became the highlight of my day and was the moment to beat, and while a few bands came close, in my opinion, none surpassed what Quiet Company did.

As for their upcoming shows, on June 7th they’ll be in Chicago, IL at Schubas. They’ll also play the Horseshoe in Toronto on June 11th. And do be sure to check out their music on either iTUNES or BANDCAMP. If you like straight up Rock ‘n’ Roll, you’ll love what they do.

So far, the genres played had included some country and a few varieties of rock, and now, it was time for the only electronic band of the festival, Zhora.

It was a different Zhora than had been seen before, though, because a little over a week before the show, half of the band split, leaving just vocalist Taylor Rea and drummer Ross Martinez. So, in order to do this show, they had enlisted the help of Michael Smith on guitar, while Ross Edman worked the electronic aspect of things, and there was also a musician playing a keyboard.

Right before starting their set, Taylor grabbed a futuristic looking visor (think something out of Star Trek), placing it over her eyes, and then they were off.

One of their newer tracks, which will presumably be on their forthcoming full-length, began their set as they started to take the crowd on an adventure through vivid, sonic soundscapes. “The Hold”, a song from their debut EP, came next, followed by “Futuristic Land”, a song where Taylor really put her vocal effects pad, which was mounted on her mic stand, to use. She changed it to where her voice had a distant sound to it, with just a hint of reverb while she sang, with one of my favorite lines of the song being, “…If I’m seeing stars, pull me to your constellation…”.

This short set consisted of another newer track, which had an excellent dreamy quality to it. It was also with that song where the bands show really seemed to take off. Taylor had been swaying and dancing about to the music thus far, but it was on that song where she got a little more forceful, moving about the stage as she really began to entrance, and even command the crowd. But no sooner had the behavior started, and then it was time to end their 26-minute long set. “Sunset”, which oozes with thick sounds from the synthesizer, was their closing number, and was undeniably the highlight of their show.

Zhora is another band I had only seen once before this day, and honestly, the show was kind of lacking from what I had experienced before.

I can’t really fault them, after all, three of the members on stage this day aren’t even official band members of Zhora. They made it work well, and considering they probably didn’t get much practice in, they came across as being pretty cohesive, bust still it was a little lackluster.

That doesn’t mean they’re not a great band, though, and they are one of Dallas’s best electronic bands, at least out of the ones that I’ve heard. Their songs have a nice texture to them, and their newer material is fantastic. But as far as the live show is concerned, while all the members obviously play a key role, it’s really all about Taylor Rea, who, even on what I felt was kind of an off day, still easily managed to make herself the main focal point of the show.

Keep an eye on their FACEBOOK PAGE for upcoming show dates, which they will no doubt have coming up in the future, once the band is reassembled. In the meantime, download their four song EP on their BANDCAMP PAGE, plus some other stuff.

Now, most times at concerts, things are always running behind, but oddly enough, they had actually gotten pretty ahead of schedule at this point. So, in order to get things back on track everyone had to wait for a bit, as The Burning Hotels set time wasn’t until 3:20.

Now, it had been quite some time since I last saw The Burning Hotels, and the few shows of theirs I had seen I had never managed to get into their music, so I was curious as to if they would change my opinion of them this day, or if it was going to be more of the same.

This indie rock bands 36-minute set focused largely on their 2011 self-titled record, as they kicked off their set with the infectious “Always”, and exerted a lot of energy throughout it. They quickly followed it with a song from the “Novels” album, “To Whom it May Concern”, which found the four-piece getting more into the performance, as lead guitarist Matt Mooty and the bands bass player moved about the stage, and even Chance cut loose when he didn’t have to be stationed in front of the microphone. They changed pace bit with their next song, the at times soupy sounding “Days Are Gone”, which also found Matt singing just as much of the song as Chance did.

They followed it with another track, which if memory serves correctly was one where Chance kind of put his keyboard to use, and next did a tune from the “Eighty Five Mirrors” record, “Lovely, Lovely Lady”. “Sound City” was another song they did, though the biggest crowd pleaser seemed to be their single “Beard”, which had Matt taking over the main vocal duties, and not only was this song the biggest crowd pleaser, it was also the one that had most of the audience dancing along to it while Matt sang the chorus, “…Why did I love you?… Why did I ever love you at all?” Afterwards, they had one more song planned for everyone, before getting to the slightly electronic inspired track, “To You with Love From Me”, which brought their show to a close.

Being objective, it was solid set. I believe I had only seen them twice before this, and I did enjoy the overall show much more this time around then my previous experiences. It’s a little inventive and very alluring. They’re also great musicians, especially Chance and Matt, and that’s evident in watching their live show.

However, on the subjective front, I still wasn’t won over as a fan. Chance sings the majority of their material and in the live setting, his voice is constantly on the verge of cracking. Mind you, it never did, but he has a rather high pitch to his voice, and it’s incredibly shaky and unsteady. And for someone like me, who basis if I like a band or not solely on the singer’s voice, I just can’t overlook nor get past that.

As of right now, the only show date on the bands calendar is their September 14th gig at Panther Island Pavilion in Fort Worth, where they will be one of many bands playing the Toadies annual music festival, Dia de los Toadies. They will no doubt be playing some gigs between now and then, though, so keep an eye on their SHOW CALENDAR. And to purchase the bands records, go HERE and HERE (they have two different pages in iTunes, hence the two separate links.)

Now, it was time to get to the country music portion of the day. Sure, a few country bands had played earlier, but the next three bands were bigger names, with all three being routine headliners.

One of those acts was the Dallas duo, The O’s, ho received another memorable and noteworthy introduction from the MC’s, which now included Dallas musician Grant Jones.

The other MC said he recalled the days the band was a four-piece outfit, calling themselves “The Hoe’s”, but when they lost two of their band mates, so too did they lose a couple letters.

It made for a good joke, and before even starting their first song, multi-instrumentalist John Pedigo mentioned he was glad to know how they came up with their band name. That’s the thing with this duo, they’re pretty humorous, though they had little time to let that side show this day.

The O’s were still pretty fresh off the release of their third album, “Thunderdog”, and they began this set with the lead track from it “Outlaw”, as John started strumming his banjo, while Taylor Young supplied the beat with his bass drum while simultaneously playing his acoustic guitar. It was a surprisingly uplifting song, creating a pleasant, hopeful mood amongst the audience, but not only that it also seemed to summarize all the years of work and effort these two have put into the band, specifically with the line, “…We all fight the good fight, we all know what is right. We worked too hard to have nothing change…”, which was mainly sung by John, though Taylor added some backing vocals for most of the song.

Afterwards, John found a clever way to work in all the sponsors of the event, saying something along the lines of he had driven his Chevy truck down here and drank a Shiner Bock beer, but only after having a Red Bull to help him get going (the Red Bull ten was where the beverages were being sold at). Taylor was even impressed by it, but he quickly told John they needed to cut it, reminding him they only had a limited amount of time. “I’m sorry, we like to talk…” he told the crowd, before saying their next song was about the fine city they call home, which was appropriately titled “Dallas”. John plucked the strings of his pedal steel guitar for that one, while Taylor did the singing, essentially professing his love for the city, even saying “…This is where I’ll die…”

I’ve never considered myself a true fan of The O’s (at least not before this day), and even though their newest album at been out nearly a month now, this was the first time I had heard anything from it, and I loved those first two tracks from it they had played. It was a step (or two) above their previous material (which is saying a lot) and made it very clear they had outdone themselves on their newest effort.

This show wasn’t all about their new stuff, though, and next they ventured into their sophomore record, “Between the Two”, by doing a song about what else, but the city of Dallas. At least that was the subject matter according to John, who kind of laughed when saying something like it gets hard to find new things to write about. The song was “We’ll Go Walking”, which may be set in Dallas, but it’s more of a love song than anything.

“…This next song is called Kitty…” Taylor told everyone, as they tackled the final track from “Thunderdog”. That song took them almost completely out of their comfort zone, and was very atypical of them, as it had more of a rock sound and the way Taylors’ voice flowed on the song was superb. It was the banjo that really stole the show, though, as John often ran it through an effect via a pedal, and with the help of that, his banjo made a gritty, distorted sound that could rival that of any guitarist from the many rock bands that had played thus far.

It was an excellent departure from their roots, though they soon returned to their folk/country roots with a couple more tracks from their second album, one of which was the rather beautiful “Pushin’ Along”. That led them to the final song of this short 28-minute long set, which was the upbeat “Everything’s Alright”. In setting it up, John announced to everyone the song title, than added, “…Because it is…”, almost reassuring everyone that things were alright.

Each time I’ve seen this duo over the years I’ve become a little more of a fan, and the performance they gave this day, coupled with the brilliant setlist, solidified me as one. They were extraordinary and put forth a show that stands out as being another very memorable one from this amazing day.

You should definitely head over to iTunes and check out their three albums, particularly “Thunderdog”. As for upcoming shows, from June 7th through the 15th they’ll be over in the UK, so check out their REVERBNATION PAGE for their calendar and specifics on where they’ll be. Come July they have a couple dates in Arlington, TX, one at the Grease Monkey on the 5th and the other at Levitt Pavilion on the 12th. On the 13th they’ll play at Hank’s in McKinney and they have many other dates immediately beyond that, all throughout Texas.

That set seemed hard to follow, but one of the few bands that would have no trouble with that was Somebody’s Darling.

It had been several months since I last saw the band, but their opener hadn’t changed, and as soon singer and rhythm guitarist Amber Farris sang the first line of “Weight of the Fear”, you could tell the throng of people were entranced. As well they should have been, because her voice, which has an especially soulful quality to it on that song, was in rare form. Her voice certainly wasn’t the only gripping aspect to the song, though, and one of the others was lead guitarist David Ponder’s stellar solo.

Drummer Nate Wedan started them on their next song, doing a little bit of a solo at first, while keyboard player Mike Talley clapped along to the beat, before Amber eventually crooned the first line of “Back to the Bottle”, “Well, I believe God made a lover for me…” It was another stellar number, albeit in a different way than their first song, particularly at the end when Mike really got to show off his skills on the keys with some fiery notes. Next up, they had a little treat for all their fans, both the old and new ones alike. They usually have at least one cover song in their set, and now they did one that I had never heard them do before, and that was the classic from the band Faces, “Stay with Me”. They put a slight country twist on it, but Somebody’s Darling is still pretty close to a rock band, allowing them to pull the song off with ease and make it entirely their own.

The crowd definitely seemed to love it, and they followed it with a few more originals, as Amber informed everyone that the next song was “Cold Hands”, which is one of the singles and the lead track from their latest release, “Jank City Shakedown”. The guitars soared to life on this occasionally bluesy track, and were rounded out by a solid rhythm section, of course including bassist Wade Cofer, who effortless and methodically plucked the strings of his bass, with that certain swagger that most bass players seems to have.

“We’re gonna slow things down for a minute.” Amber told the crowd upon finishing the last song, saying it quite quickly, as they seemed in a hurry to finish their set to make sure they adhered to the allotted amount of time they had. The slower song she spoke of was “Pretty Leaves”, which is arguably the most beautiful song they currently do, and it tells a real story, with its lyrics packing a huge emotional punch. After Nate’s drum outro, Amber took a minute to banter with the audience, reminding everyone that the next day was going to be Mother’s Day. Her recommendation to anyone who was out here at Homegrown with their mom was simple; “…Get mom plastered today…”

After her sage advice, they did another cover song, and this one was my personal favorite that they do. It’s a rendition of Jack White’s “Love Interruption”, and not only to they own it completely, but it my opinion, they also upstage the original. They had one song left for everybody after that, and they had saved one of the best for last, finishing with the very well orchestrated and intense, “Wedding Clothes”. As it wound down, Amber had the idea to jump off the stage, which was probably about five feet off the ground, give or take a little, and she told everyone of this. Sure enough, after playing her final notes on the guitar, she leapt into the air, rolling onto her back after she hit the ground, and still clutching her axe. “I had to.” She could be heard saying, making it sound like it was a once in a lifetime opportunity.

Their 35-minute long set was a sensational one, and out of all the bands that played this day, Somebody’s Darling is another one that comes to my mind first when I think back on it. Hell, this show they did this afternoon was almost every bit as good as their CD release show last October, which is hands down the best SD show I’ve personally seen.

They’re a band with an overabundance of talent, with David, Wade, Mike and Nate having phenomenal talent on their respective instruments, and Ambers’ voice alone is enough to leave you in complete awe. And no, she’s not too shabby on the guitar, either. However, the best part is they don’t wield any of that talent in a flashy way, and are instead pretty modest, simply doing their thing while they’re on stage.

They have two LP’s available, both of which can be bought via iTUNES, and they also have quite a few shows lined up. They’ll be at the Hunt County Fair in Greenville, TX on June 11th, then the next week, June 18th, at the Wherehouse in Fort Worth. June 20th will find them down in Austin at Stubb’s BBQ, and the 21st they will be in Tyler, TX at Stanley’s Famous Pit BBQ. They’ll be stopping in Shreveport, LA at Bear’s on the 22nd, then on the 27th they have a free show going down at Sundown at Granada in Dallas. A couple Oklahoma gigs are lined up for late July, and then on August 31st they will be headlining the famous Granada Theater in Dallas for the first time ever.

Concluding the country music portion for the festival was another Austin band, The Band of Heathens.

I had listened to their music before, and while I didn’t hate, I didn’t love it either, and I was curious as to how it be conveyed live.

I was able to find a modicum of shade near the guardrail by the stage, but in taking it I was only able to see four of the five members of the band, and their bassist was not in my view, though I don’t think that made much of a difference in the long run.

The lead track from 2009’s “One Foot in the Ether”, “L. A. County Blues”, began their 42-minute long set, and what a way to start. Both Gordy Quist and Ed Jurdi served as the guitarists, and the latter of those two did the singing on this song. Except on the chorus, when Gordy chimed in, creating some amazing harmonies as they crooned, “We’re burning down Las Vegas, half asleep by noon…”. At times they were even aided by pianist Trevor Nealon, who helped them achieve true vocal perfection. It was such a good opener because it highlighted exactly what the band was about, which is a nice blend of country and Americana music with some smooth, soulful and passionate singing.

Their next song, “Shake the Foundation”, also demonstrated those qualities exceedingly well. Gordy handled the lead vocals this time around, but Ed was often adding his deeper, more blues sounding voice to the mix, while Richard Millsap kept a steady and solid beat going throughout the song. “Right Here With Me” showed off a different side of the band, and I thought the song had more of a minimalist sound to it, at least in comparison to the previous songs. It was more simple, and Ed and Gordy, who each sang a few lines before passing things off to one another, often merely plucked the strings of their guitars, though they still put quite a bit effort into it, making it appear more complex than it really was.

It’s already been a couple years since the bands last studio record, and at this point in the show, they offered everyone a taste of their next album. At least hopefully it was a taste, because after finishing it Ed clarified that it might be on their next record, which he added would most likely be out later this year. I sure hope it makes the cut, because out of the seven songs they did, this one was my personal favorite. All I remember is the final line of the chorus, “…Riding shotgun through the past.”, and the song created somewhat of a solemn atmosphere as they recalled times that have come and gone. It was just a fantastic number, and while I can’t say I really can relate to it, it still stirred some type of emotion in me, and really, isn’t that what any great song should do?

They again slowed things down with “Jackson Station”, which was the only song they did off their first studio album, leaving them with just enough time to do a couple from their latest effort, “Top Hat Crown & The Clapmaster’s Son”. One of those was “Should Have Known”, which is catchy enough it could easily get people dancing along to it, and from what I saw this day, there were a small handful of couples who were doing just that. The best thing about this song, though, was when they proceeded to rock out. They had added some instrumental portions to a few of their previous songs, but they went into a full on instrumental breakdown during this one, which took up at least a couple minutes. I’ve said many times before that I’m not a real fan of instrumental music, and that does apply to breakdowns, but in this case I loved it, and not only did it add a nice layer to the song, it also showed off the chops that Trevor, Richard, Gordy and Ed have.

By this point, more than a few fans were shouting requests for a fan favorite song (“Cornbread”), and had this been a headlining set, they probably would have done it, but it wasn’t, and they brought things to a close with the single from their newest record, “Medicine Man”. Gordy’s voice had been nothing short of impressive before, but it was downright astounding during this song as he belted out some of the later lyrics.

I was hoping I’d like their music and show, and I ended up enjoying it all much more than I thought I would. The music they churn out is almost an homage of sorts to the classic country acts, though it’s certainly modernized. The best part of their show however, was the harmonies. It’s done on their records, but it doesn’t even come close to sounding the same as it does in the live environment. In my opinion, that’s a lot of what made their live show so incredible, because both Gordy and Ed are more than capable lead singers, and when their voices mix in the various ways they did this day, they sounded unbelievable.

I think that helps set them apart, because I don’t think there are many country bands like this that utilize two male vocalists, and I also think that is why you need to see The Band of Heathens live, so you can experience that for yourself.

They tour quite a bit, and on June 8th they’ll be in Pagosa Springs, CO for the Pagosa Folk ‘n Bluegrass Festival. The Tap Room in College Station will host them on June 27th, then the next night they’ll be at the Magnolia Motor Lounge in Fort Worth and the night after that they’ll be in Bee Caves, TX at Hill Country Galleria Amphitheater. They have several more dates scheduled in July, including another North Texas show at Dan’s Silverleaf in Denton. As far as the bands records, you can purchase their stuff (which is a mix of live and studio records) in iTUNES, as well as get a free download of some of their stuff on NOISETRADE.

The next act up was a very big change of pace from the previous acts, as it was the hip-hop group A.Dd+.

I’ll admit, I was ready to write them off long before they even started, because I’m not a fan of hip-hop and rap in the least, but then again, the hip-hop act from last year’s Homegrown at surprised me, so there was a chance A.Dd+ could do the same.

The duo of Paris Pershun and Slim Gravy’s entire 32-minute set consisted of songs from their new album, “DiveHiFlyLo”. They did a CD release show for their hometown fans awhile back, but it has yet to drop on the national scale, so I can’t even attempt to run through what tracks they did.

The two men rushed onto the stage, announcing, “…We in the house…” during their first track. What really surprised me was the tremendous stage presence they had, and even my eyes were glued to the stage. They followed it up with a ton more tracks in quick succession, some of which were handled mainly by Slim Gravy and others by Paris Pershun, while of course others they both rapped on, and those were the tracks where they were nothing short of being a well-oiled machine.

Before one track, Paris Pershun asked everyone to put their middle fingers in the air. “Put your peace signs up.” Slim then instructed, creating a conflicting and rather funny moment. They did some more stuff from “DiveHiFlyLo”, which they said would be released soon, and at one point during the show Paris took time to address the band’s name to everyone who was unfamiliar with them. Basically, the “.” And the “+” sign are just in the written name and not said in their actual name. So basically, you just say each letter individually to get their name, and that seemingly lengthy explanation eventually led to a rap about their name.

As their set neared the end, Paris threw in some more humor as he asked everyone to them on Twitter, saying something to the effect of, “…You’ll see us and be like, ‘That’s those two black guys who wear backwards pants.” By this point in the show they had, had a friend of theirs come up and rap on one song with them, and now for their final track, he returned as Slim and Paris jumped off the stage into the area used by the photographers, pacing about as they really got the crowd riled up.

I might not have cared for it much personally, but you have to give credit where credit is due, and after experiencing this A.Dd+ show, I can see why a few years ago the Hip-Hop scene in Dallas was exploding, and why these guys were at the forefront of that.

They are exceedingly talented at what they do, and while I won’t be buying their records and probably won’t be seeing another one of theirs shows, for 32-minutes this day they had me enthralled, and even enjoying the music to an extent.

You can find their first release in either ITUNES or BANDCAMP, and in the not too distant future their sophomore release should be available in both of those outlets, too. As for shows, keep an eye on their FACEBOOK for updates.

The day was getting closer to an end now, and it was time for another change in musical styling’s, as two soul acts would be the next performers.

The first of the two was Larry g(EE) and his rather large band, which was comprised of Beau Bedford and Daniel Creamer, both of whom played the keys, and Beau even dabbled with the guitar at times. There was also a choir, featuring three women and a man, and along with the bassist and drummer, there was also a saxophonist, trumpet player and another like instrument used.

This new age man of soul and his band kicked tings off with “Game”, a track from Larry’s debut EP, “Weekends”. If you were unfamiliar with Larry g(EE), then you were probably both surprised and impressed  by the powerful and soulful voice that came out of him, as they wove together a mix of soul, funk and even some R&B on that song. The crowd loved it, and they enjoyed the next song, which was one of Larry’s newer tracks, just is much, and a highlight of that song was the mini choir, who added quite a bit of backing vocals to the tune.

However, it was their next song that truly had everyone mesmerized, as Beau first told everyone they wanted to take them somewhere, and then Larry said essentially the same thing. The audience screamed with delight, obviously more than willing to go along for the ride. They wanted to take everyone “higher”, and to do that they did an amazing cover of the Sly and the Family Stone classic, “I Want to Take You Higher”. There probably aren’t many bands that can pull that song off, but Larrys’ band has all the right parts to do it, and I dare say his voice can give Sly Stone’s a run for its money. That one definitely seemed like the crowd favorite of the night, yet Larry and his group were still just getting warmed up, as they did another newer song, which was dedicated to the city of Dallas.

A couple more tracks from the EP came next, one of which was the more tender love song “I’m Your Fool”, which had Larry scaling back on his singing, showing off a softer side to his voice, and showing that he’s not all about belting out the lyrics with a fiery passion. For the record, though, the passion was still more than evident on that number. Larry set up the fan favorite “Camera Phone” by first saying he wanted his picture taken with the crowd, pulling his phone out and handing it to the drummer, who snapped a shot of him and the massive amounts of people in the background. It’s a bit more soulful than some of his other originals, and it also has a serious groove going on, making it one you can really get down to.

No question that Larry had been the main focal point thus far, even with all of his band members constantly doing something, they were almost more of an afterthought in a way, except on the next song, when Larry exited the stage, giving it all to his band mates. It was another cover song, and I’m fairly certain it was “Rock Me Baby” by B.B. King. There was a little more umph to their version, and the three female singers had a moment to shine, as they each sang one of the verses, working their way down the line, eventually reaching the guy, who also sang. By this point Larry was back on stage, completely consumed by the music, soon taking back over the vocal duties as they brought it to a close.

They had a couple songs left for everyone at this point, and one was another non-album song, “I Don’t Know” or rather, “IDK”, which he set up as being about “making bad decisions”. The horn section really got put to use on the final number of their 32-minute set, “Yo Mama”, which was nothing short of electrifying. Towards the end, Larry hopped off the stage running about the grassy area, before eventually racing back up onto the stage, bringing the show to an extraordinary end.

It was an incendiary set, plain and simple.

For the record, I’m not big on the soul genre of music, either, but it’s almost impossible to deny the talent that flows in and subsequently out of Larry. He’s a beast when it comes to singing and has an aura about him that pulls you in and will hold your interest for the entire time he and his band are on stage.

Go experience a show for yourself, either on July 6th at Summerfest in Milwaukee, WI, or in Dallas on August 6th at The Belmont. You can also purchase his EP in ITUNES.

That new wave of soul was excellent, but now it was time for a classic taste of the genre, as The Relatives were getting ready to take the Shiner stage.

They were introduced by Jeffrey Liles, who works at the Kessler Theater, and a high-up at the Dallas Morning News, and both men piled on the praise about The Relatives. The gentleman from the DMN mentioned that the band had disappeared for awhile, “…But I often said they needed to save their voices so they could save the world…” he said, shortly before they left the stage.

Drummer Matthew Strmiska, bassist Scott Nelson and guitarist Zach Ernst were already on stage, and soon five older gentleman filed on stage, Head Deacon Earnest Tarkington, who took his spot on stage right behind some congas, Reverend Gean West, Tony Corbitt, Tyron Edwards and Reverend Tommie West, all of whom stood behind some microphones.

This gospel/soul ensemble played several songs from throughout their career, but the main focus was on their recently released record ”The Electric Word”, and they opened with a song from it called “Let Your Light Shine”. The Reverend Tommie West led them on it, doing a majority of the singing, though they all participated, creating all sorts of divine harmonies, with Tyron Edwards even employing the use of his insanely high falsetto voice, which definitely got your attention. That ended up being merely the start of a 47-minute long sermon of sorts, as the gospel aspect of their music radiated forth from every song, creating a very spiritual atmosphere.

They won a lot of the crowd over with that upbeat song, and next brought things down with the slower “Your Love is Real”, as they continued giving praise. Tommies’ voice flowed so smoothly throughout the song, soothing in a way, though it was the few lines that Gean sang that seemed to steal the show. “One of these mornings, it won’t be long, you’ll look for me and I’ll be gone…” he crooned in a rougher tone that was filled with character. They wound it seamlessly into their next song, and upon finishing it, Gean took a moment to promote their new album, encouraging everyone to go over to their merch table and pick up a copy. He mentioned that before this show a friend of his told him not to beg the crowd to buy their CD, and he then said to everyone, “…So y’all don’t tell him I begged…”, creating a rather comedic moment of their set.

“Speak to Me (What’s Wrong with America?)” was one of the songs they did from their initial run back in the 70’s. It dealt with racial discrimination, which was obviously a much bigger problem back when they wrote it, but while it may not carry the same weight now as it did then, at least in that regard, it’s message about acceptance I imagine was just as strong now as it must have been back then. At least that was what I took from it, and it further enforced that you shouldn’t judge anyone based on their looks (and not just skin color, but also tattoos, piercings, etc.)

“Don’t Let Me Fall” was another track from the groups early years, and while it may be a short song on the album, it was anything but live. They got the audience to interact with them on that song, from things as simple as clapping and singing along, the best, though, was when Tommie asked everyone to “drop it down”. He and many of his band mates formed a cradle of sorts with their arms, then lowered their arms down a little below their waist, and much of the crowd followed suit. That went on for several times, with the old and newly converted fans happily obliging the band. Right before it ended, Tommie told everyone they were going to do it one more time, “…And I want you to drop it down real low!” he exclaimed, as he lowered his arms so much they were almost scrapping against the floor of the stage. The fans again obeyed, and did so with a huge smile on each of their faces.

Beforehand, they made it seem like that would conclude their set, but thankfully, it did not, as Gean proceeded to tell everyone of a book he read from every morning, mentioning different things it said to do to praise God, “…You praise God to dance…” he said, sounding like a pastor as the stage became his pulpit. That last sentenced I mentioned he said was a fitting one, because the song they then did had even more people swaying and dancing along to it than their previous songs had. They were able to squeeze one more song in after that, to bring to a close what had, at least for me, been the most surprising set of the day, and I say that simply because I was not anticipating the action that ensued during their show.

As great as the act before them was, The Relatives proved that the classic brand of soul mixed with gospel and funk is far superior. Mainly because they just don’t make bands like The Relatives anymore.

Actually, I’ve never cared for a choir like group like this before, and while I’d stop short of saying I’m now a true fan of The Relatives, I am a true believer in what they do.

What really amazed me was the voices of the five of them. It’s clear just by looking at them they aren’t any spring chickens, and I mean that in the most sincere way possible. When they just spoke and talked with the crowd, their voices matched their looks, sounding pretty worn and old, but when they sang, they sounded like a group of twenty something’s who were in the prime of their singing careers. It was mind boggling, but in the best possible way.

Aside from their heavenly voices that intertwined in the best ways imaginable, another standout quality to their show was their demeanor, and you could tell they were all just as happy as they could be being on that stage and performing for everyone.

They have a couple shows coming up over the next few months, beginning with one at the Solid Sound Festival in North Adams, MA on June 21st. They’ll also be Albuquerque, NM on July 20th at the Route 66 Summerfest. As for their albums, visit their pages in iTUNES either HERE or HERE. One of those is their new album, while another is their older one.

The festival was now in its final hours, and as soon as The Relatives finished I headed over to the Chevy stage, where a ton of people had already gathered all around the stage.

Headlining this one was the mighty, The Polyphonic Spree. I’ve heard a lot of good things about them over the years, whit many people even saying the band puts on the best live show they’ve seen, but during my seven plus years of being active in the local music scene, I had never seen one of their shows, and was excited to finally experience one firsthand.

A large white banner stretched across the stage, and was tied to both sides of the stage, and while the band prepared, all you could see was some silhouettes as they walked back and forth across the stage, oh, and band members’ feet.

Finally a figure, who ended up being front man Tim DeLaughter, appeared, and spray painted several letters on the backside of the banner. “Yes It’s True” it read when things were all said and done, and that is the title for the bands upcoming album. He then cut the banner at the center with some scissors, revealing the massive, almost cult like looking group.

I say cult like simply because the whole band (which is twenty plus members strong) wear essentially the same attire, with the men sporting robes with bright pastel colors on them, while Tim wore a shirt of the same pattern, and the women in the band wore white robes with simple horizontal blue stripes on the top of them.

“Hi Homegrown, we’re Tripping Daisy!” Tim gleeful exclaimed, referencing his storied Dallas rock band that started over two decades before. It seemed like just a joke of sorts at the time, but by the end of their show that comment would make much more sense.

I was immediate awe, mainly in how twenty plus people were able to fit so well on the stage, still allowing enough room to move around. The band quickly launched into their first song, which was “Section 22 (Running Away)”, the lead track from their most recent original record, “The Fragile Army”. This upbeat, poppy love song was so chipper it was impossible for your mood not to be influenced by it. My mind was quickly taken off the fact that my legs were starting to feel like jelly as I took in the completely brilliance of that song and the band in general, and in those few short minutes they more than lived up to all the hype that has surrounded them.

They gave their show a very fluid quality, often transitioning one song flawlessly into the next, and such was the case here, as they wound things into a song from “Yes, It’s True”. Tim stated that afterwards, saying it was just “a taste” of what’s to come, and at one point later in the show he even pointed out it had been six years since their last release, as if to say this was long overdue. They then got back to some stuff all their fans would now, with Tim announcing their next song was “Two Thousand Places”, or as it appears on the “Together We’re Heavy” record, “Section 14 (Two Thousand Places)”.

Tim toned his energy down to fit the slower mood of the song, and instead of frantically running about, he more paced around, while singing, “You gotta be good, you gotta be strong, you gotta be two thousand places at once…”. Accompanying him on it, at least in parts, was the six-piece all female choir, who stood on some risers at the back of center stage. Upon finishing it, a fan shouted out a request to him, which was inaudible from where I stood. “What?” Tim said, as he leaned out towards the crowd to try to hear better. “Oh, you want some of this?” he said in a second, suddenly turning towards stage right and thrusting his arms out towards his bane members, conducting them. Right on cue the violinist, cello player and many of the other musicians made one quick pluck of the strings on their instruments. It happened another time or two, and they maintained perfect synch with Tim’s movements, before several of the musicians led the charge into the explosive “Section 23 (Get Up and Go)”.

They next did another new song, “Hold Yourself Up”, and out of the small batch they of new material they did this night, that one was by far my favorite. They followed it with what everyone thought would be their only cover of the night, doing a medley of Who songs, starting with “See Me, Feel Me”, which was so harmonious, it often sounded otherworldly. It soon grew into more of a rock song, though, as they moved along to “Pinball Wizard”, where their lively performance once again ensued. They didn’t let up with their next song, either, which Tim said was yet another new song, but not in a true sense, as they had already leaked it.

He was talking about “You Don’t Know Me”, which was slightly different from their other original songs, having a stronger rock vibe, where the guitar, bass and drums where much more prevalent, though the choir, French horn, trumpet and the rest of the plethora of instruments were still put to use.

Tim left the stage for their next song, getting up close to the guardrail as they did the first of two songs from their debut album “The Beginning Stages of the Polyphonic Spree”, “Section 8 (Soldier Girl)”. Everyone seemed truly saddened when he said the next song would be their last, but the curiosity was piqued when he noted they might have a surprise after it. They ended things similarly to how they began, with “Section 9 (Light and Day - Reach for the Sun)”, which is another incredibly glowing song that exuded happiness and positivity.

That may have been the end of The Polyphonic Spree’s music for the night, but they still had one spectacular trick up their sleeve, as Tim began to reminisce about Tripping Daisy. “…There’s not a day of my life that goes by that I don’t think about the band…” he said, adding those were some of the best days of his life.

“No, they’re not seriously about to cover a Tripping Daisy song, are they?!” I thought to myself, and I guarantee you anyone even remotely familiar with that legendary band was thinking the same thing.

Tim continued by recounting the band’s early days, from playing venues I had heard of, like Club Clearview, and more than a few that must have shut their doors long ago. He even recalled how the bands first gig was at an open mic night at Club Dada. Soon enough, he mentioned that Josh Florence, one of the masterminds behind Homegrown, was a big Tripping Daisy fan back in the day, and that this song was for him. “…I busted a nut on this song all over town …” said Tim.

I had never even heard a Tripping Daisy song before this, so no, I couldn’t appreciate this as much as I would have liked to, but that still didn’t mean I wasn’t anxious to hear what they had planned.

“My decision, your decision, there’s no common ground…” Tim suddenly belted out, as the instruments, including the harp, sprang to life. The song was the first track from their first album, “My Umbrella”. It was certainly different from Tripping Daisy’s original, but it was amazing all the same, and by the time they finished it their set clocked in right at 60-minutes.

The things that surprised me the most about The Polyphonic Spree was that, despite all the things going on, on stage, it never once seemed like a sensory overload. All the instruments worked in perfect harmony together, and while many of the instruments may typically be stereotyped as being used in classical orchestras, The Polyphonic Spree certainly broke that mold.

And while much of their music was very poppy, it was also very in-your-face, even downright vicious at times, and that was all thanks to Tim. His voice has one of the most unique sounds I’ve ever heard, and what you hear on the recordings is essentially what you get live. Probably even a little better. He’s also a sensational front man who had seemingly limitless supply of energy, constantly running about and doing everything he could to pull the audience in and get them engaged in the show, which wasn’t too hard for him. Just astonishing, and I’m pretty sure he could run circles around front men that are half his age.

First off, their new record will be released on August 6th, so just a few months away now. But in the meantime, check out their other records in iTUNES, and between live cuts, holiday records and such, there are plenty to choose from. They have several dates throughout the U.S. in June and July, hitting up the states of Alabama, Tennessee, Ohio, Indiana, Minnesota, Kansas, Illinois, Missouri, Pennsylvania, Washington D.C., Massachusetts and New York. They’ll also be doing shows in the countries of Australia, South Korea, France and the UK. For specifics on all of those, go to their TOUR PAGE.

Some people left after that. Actually, some even left before The Polyphonic Spree was finished, but there was one band left, and closing out the day over on the Shiner stage was a super group based out of Austin/Los Angeles, the Divine Fits.

Despite some people calling it a day, the band still had a very healthy sized crowd, all of whom were anxious to see what I believe was the bands first ever show in Dallas.

The four-piece rock outfit, which is made up of guitarist Dan Boeckner (Handsome Furs), bassist and multi-instrumentalist Britt Daniel (Spoon) and drummer Sam Brown (New Bomb Turks), as well as Alex Fischel who worked several keyboards, took the stage a little after their 9:30 scheduled start time, and to much fanfare I might add.

The band is only barely into their second year as a group and only had one album to draw from, as they quickly got down to business, opening with “Neopolitans”, which is the final track from “A Thing Called the Divine Fits”. While repetitive, the key(s) Alex continuously struck were infectious, though the level of excitement spiked when the rest of the band ripped into the song and Britt began to fully sing the song. I don’t mean to undercut it, but it was simplistic in a lot of ways, which in turn made it somewhat of a haunting opener.

Dan took over on vocal duties as they kicked things up a few notches with one of their singles, “Baby Get Worse”. “…My heart was beating in, in and out of time…” he sang on the chorus, as the song seemed to burrow deeper into everyone’s head with each passing second, as a lot of people were moving around to it, which resulted is some loud cheers and applause when they finished it up. Britt handled the next song, and before starting their love song titled “Like Ice Cream”, Alex left his keyboard station, picking up a guitar, which he rocked on the song.

Upon finishing it, he returned to his original post, while Dan and Britt swapped out instruments, as Sam started them into “Would That Not Be Nice”, a song that really showcased their skilled musicianship, especially Britt, who had some more subtle, yet intricate riffs, which he cranked out like the pro he is. Upon finishing it, the two again switched out instruments, though this time Britt exchanged his bass for a guitar, as they did another album track, “Civilian Stripes”, which was one of my personal favorites of the night.

“We’re gonna do some Frank Ocean…” Dan informed the crowd, which got a nice reaction, as I heard some people start asking their friends what song they thought they would be covering. The song was “Lost”, but if you weren’t familiar with it and if they hadn’t just said who they were covering, you wouldn’t have known it. Obviously they made some changes to it to better fit the style of music they play, and in all fairness I’m personally not a fan of Frank Oceans’ music, so I thought their version of it was much better, mainly because it sounded much more lively. I think a lot of that was due to the full live band rounding out the sound and making it so lush, rather than the sterile sound the (I assume) drum machine gives the original song.

Britt got back to his trusty bass once that song was done, and while tuning it, he asked Dan to tell everyone about their next song, which was a new one they’ve worked up. Dan summed it up by saying, “…It’s about heartbreak and drinking…” Classic. It really was a killer song, though, and one of my favorites from their set. Next up they had another cover in store for everyone, and this time it was a more classic song, coming from Tom Petty and the Heartbreakers. The song was “You Got Lucky”, which Dan sang, with Britt adding the occasional backing vocals. It was another knockout cover, and one that really fit their style, both musically and lyrically, exceedingly well.

They were nearing the end of their 48-minute long set at this time, and next did “Flaggin a Ride”, which was followed by the subsequent song on their record, “What Gets You Alone”, which was the most intense song they did. Judging from it, they had saved the best for at least close to last, and to cap off this show, they had one last cover, one that can be found on their record. The song was “Shivers”, originally done by The Birthday Party, and for it Alex added the bass lines, leaving Britt to take up the rhythm guitar. The song teemed with emotion, particularly with the opening line, “I’ve been contemplating suicide, but it really doesn’t suit my style…” His singing gave it a very melancholy vibe, as well as sounding very apathetic.

The crowd somewhat dispersed after that, though droves hung around in hopes of an encore. It didn’t happen.

Surely no one was disappointed in that, though. After all, they had played almost everything from their record, and certainly hit the highlight tracks and then some.

They put on a great show that seemed to pass all too quickly, and I loved the dynamics they had going on. For instance, the vocals. Both Dan and Britt are amazing singers with very unique voices, and switching up who did the singing like they did ensured things never got stale (though I doubt that would have been a worry in the first place).

However, it’s really all about their musicianship. It’s clear each of them have spent many years doing what they do, damn near, perfecting it, as they each played their respective instruments with ease, making it appear so effortless that any non experienced person from the crowd could have joined them and been just fine. Their talent was a true thing of beauty, and something to marvel at.

Pick up their debut album in iTUNES, and they have several shows on the horizon too, which can be viewed HERE. They’ll be doing gigs in New York, Illinois, Tennessee, Ohio, California, Oregon and Texas, as well as a few around Canada.

As the crowd lingered, hoping for one more song from the band, they instead saw Josh Florence rush onto the stage. His speech was short as he thanked everyone for coming out and also promised that the fifth annual Homegrown Music and Arts Festival would be even better.

That’s a bold statement, and one they’ll be hard pressed to accomplish. But then again, I didn’t think there would be any topping last years, yet they managed to.

I liked the fact that they returned to focusing predominantly on the Dallas music scene, while the few bands from out of the immediate area were a nice way to switch things up, especially since they were scattered about the lineup.

As far as I’m concerned, Homegrown IS the best music festival in the North Texas area, and this year solidified it as that. So, go ahead and make sure you keep your Saturday’s in May 2014 free, ‘cause most likely it will be one of those days when they do the sixth edition of the festival. At the very least it’s a fun way to spend the day, and you can be a very casual music lover and still enjoy it.

It didn’t seem it, but it had been a long day, and it wasn’t quite over yet as I made the very short journey to Deep Ellum for one of the Homegrown after parties…

The suburbs of the Dallas area don’t usually come to mind as a place to go see live music, and the few venues that I’ve known of over the years have never been able to make a real run out of it. However, the one venue that has lasted is one I had never been to before this night, and that Love and War in Texas, which is primarily a restaurant.

They get some pretty notable Country/Americana/Folk acts through, but since those typically aren’t the genres I go for, I had seldom had a real reason to go there, until this night, when Ronnie Fauss and his band were playing.

Opening up for him was a band out of Austin called Greg Mullen and the Cosmic Americans, who was starting their final song when my dad and I arrived and stepped out onto the nice and spacious patio where the stage is located.

It’s hard to get a feel for a band in just one song, but I liked what I heard in that one song. You can listen to and buy both of the bands records on their BANDCAMP site, so check that out, as well as their FACEBOOK PAGE to keep up-to-date on their goings on.

Ronnie Fauss and his band missed their 9:30 start time by a bit, due mainly to some guitar issues, which were finally fixed by Ronnie replacing the battery in his acoustic guitar.

“I’m Ronnie Fauss and this is my band The Chupacabras.” He told the crowd of a little over a dozen, as they then embarked on a 71-minute long set.

They played a majority of his newest album, “I Am the Man You Know I’m Not”, which is also his debut on New West Records, beginning with the song, “The Last”. “…I’ve seen your future, baby, and it looks a lot like your past. I was your first, oh let me be the last…” Ronnie sang on the chorus, while Chris Norwood plucked at the strings of a lap steel guitar, a traditional instrument in country music, that, oddly enough, wasn’t used much this night. Then again, it’s not like they really needed it.

They picked the pace up immensely as Ronnie belted out the opening line of their next song. “Well, I’m driving this rig up to Oklahoma City…” he sang, as drummer Bill Spellman, bassist Rocky Garza, and electric guitarist Chad Hannon ripped into “I Don’t See You”, which is one of my personal favorites song of his, and was one of the catchiest of this entire night.

Chris switched to keyboard/piano for the next few songs, as Ronnie announced to everyone that the next song was called “Tia Maria”, a song that was originally found on the “Mulligan” EP. It’s a true country tune, telling a story of a wife and her cheating husband, and by the end of it, Tia Maria” has “…shot herself right through the head…” It may sound sad, but there’s actually a certain amount of humor thrown into the song.

 “…This next song is called Pistols In the Air.” said Ronnie, leading them into another track from the new album.  There was a brief instrumental breakdown during that song, and Chad stole the spotlight for a moment with some nice riffs that comprised a guitar solo, which was his first, but far from last of the night. They then pulled out another older song of Ronnies’, and while Chris was readying his mandolin, Ronnie asked everyone if they enjoyed a “good revenge song”, as that was what their next song was about. It was “One Eye Open”, and while it appeared to go off without a hitch, Ronnie copped afterwards that he forgot to do his harmonica solo, mainly because he forgot to pick his neck rack up before the song in order to do it.

No harm, no foul is what I say, especially since Ronnie pointed out that Chad picked up the slack by doing another solo. Chris again switched instruments, going back to the keys this time, but mere seconds into the more melancholy “Answers You Already Know”, Ronnie brought things to a stop. “…I didn’t learn from my mistake…” Ronnie told everyone, before reaching down and picking up his harmonica, before starting the song again.

It’s a song that shows off what a truly brilliant songwriter Ronnie is, with a line from the first verse being, “…Children are nothing but grownups who have not had their hearts broken yet…”, which soon gives way to the chorus, “And the stars shine brighter in Texas than they do in Colorado…”

They followed it with what Ronnie said was mostly an autobiographical song. I got almost giddy at that, knowing it was my favorite song of his, “It’s a Long, Long Way”, which I had not heard live since the first time I saw Ronnie, when he was just a solo artist, about two years or so ago. The song does take you through his whole life, right from the opening line, “Well, I was born in the year that Nixon resigned…” The song came to a sudden end, though, which Ronnie noted, saying it was a “impromptu end”, and sadly that happened before the final verse, which includes the line, “…Said life is not about riches, but then Snoop said it’s nothing but money and bitches…” Regardless, excluding that certainly didn’t ruin the song, and it was still a standout.

Before doing the single and lead track from the newest album, “The Night Before the War”, Ronnie plugged local radio station 95.3 The Range, saying he was lucky enough to get some airplay from them, telling everyone that the song might sound familiar if they too listened to the station. Afterwards, they did a the final remaining tracks from the new record, which were “A Pretty Nice Night for Houston”, and “This Year”, during which the mandolin was again put into action, .before going back to the keys for another utterly outstanding song, “Good Enough”.

That left them with just a few more songs from Ronnie’s back catalog, all of which came from 2010’s “Mulligan” EP, but can now be found on the compilation album, “The Sun is Shining Somewhere, but Somewhere isn’t Here”.

One of those was “Just Another Tuesday”, while another was a song that finds Ronnie wishing that multiple characteristics were different, aptly titled “Wish”, and both of those songs again called on Chris to play the mandolin. “To Ease My Mind” seemed like the perfect song to end on, especially with the killer outro they gave it, where Bill, Rocky, Chad and even Ronnie rocked out. Actually, in most cases that probably would have been the end of it, but given the show and the longer set time they had to fill, they had worked in a couple of cover songs.

One of those covers was a much more up-tempo version of Merle Haggard’s “Swinging Doors”, but it was their next song that really captured my attention, almost as much as their original stuff had. Ronnie invited  Greg Mullen on stage with them, who brought his acoustic guitar with him, despite not knowing where to plug it in at, and the sound guy was unable to help them, since he was MIA at the moment.

Ronnie again thanked Greg and his band for playing the show with them, mentioning they crossed paths doing a show in Austin and also encouraging everyone to buy Gregg’s new album, “There are America’s Beyond This America.” “…And I thought my album titles were confusing…” said Ronnie.

The song they did to end it all was “Please Don’t Bury Me” by John Prine, and even though I hadn’t heard the song prior to their rendition of it, they still did an amazing job with it. Like their other cover, this one had a faster pace to it, but that’s what made it so good, as it was really catchy and offered a very fun way to end what had been an incredible set.

Both of those songs were really a fitting end to the show, because it is the more classic country music spirit, like that of Haggard and Prine, and Ronnie embodies.

He’s a storyteller through and through, a fact that is constantly radiating from his music, and his voice has a distinctive twang that sets his sound apart from anyone else’s.

Now, I’m not saying there aren’t other country musicians and bands taking some pages out of the original playbook like he does, but all the same, I always find it refreshing when a singer or band focuses on what country is (or was) about. Rather than going with the glitz and glamor sound of the pop influenced brand of country that Nashville currently breeds. You know, the stuff that populates (or rather pollutes) the airwaves of all major radio stations.

So, if you want to hear some good ol’ fashioned country music with a bit of a modern vibe to it, check out Ronnie Fauss and his extremely talented band and listen to/buy his records in ITUNES. Better yet, go see a live show. He’ll be back in Plano on June 6th at the Courtyard Theater, then the following night, the 7th, he’ll be opening for Gary P. Nunn at the Granada Theater in Dallas. He and his band will then return to Love and War on June 23rd to open for Micky and the Motorcars.

Very fun night, and I just might need to get out to Love and War a little more often.

Tonight was a monumental night for Dallas’s premier electronic band, Ishi, who, after spending at least the last year and a half working on their sophomore record, were finally ready to release it to their fans. Well, at least in physical format, since the album had been available online for a few weeks at this point.

Still, everyone knows that a bands CD release show is typically one of the best shows they ever do, so it seemed almost a sure bet that by the end of the night, Ishi’s fans would have one of Dallas’s finest venues, the Granada Theater, packed.

The lineup for this show wasn’t your typical lineup, and Ishi was the only true band  on the bill, and the first opening act was The Nikki Trash Burlesque Experience.

As the name suggests, it’s a burlesque show, and the person at the helm of it, Nikki Trash, is a drag queen.

It wasn’t a drag show, though , and when I got to the Granada just shortly after eight, the handful of people who were already there were huddled up close to the stage, cheering and applauding as one of the dancers slowly disrobed.

They went through several dancers, covering a wide spectrum, with a couple of the ladies being plus sized, while a couple others were more my definition of alternative, and one even sported a mohawk.

After each performance Nikki Trash could be heard asking everyone to give the dancer at the moment a round of applause, at one point saying something to the effect of, “That’s some weak applause for such amazing titties!”

After the next to last performer, she introduced her own “god damn self” to the stage. Like the others, Nikki did a choreographed performance to a song, though she (he?) lip-synched along with it. The most noteworthy part of her show, though, was what she later referred to as her slave girl, which is exactly how I would have described her.

Nikki “drug” the girl around by her hair, making her lick her boot at one point, and even set atop her as they appeared to go at it.

Yeah, it was a different opening act, but it was actually fun to watch, and it’s a shame no more people were there to see it.

Would I see them again? Probably not, that is to say I wouldn’t go to a venue just to see Nikki Trash, but if you are into that kind of thing, than you should definitely check out The Nikki Trash Burlesque Experience.

The main support was Booty Fade, which is a collaboration between two Dallas are DJ’s, one of which is DJ Sober, and the other is Picnictyme.

I’m not a real of fan of stuff like this, and I really don’t know what to say about it, since practically everything they did was scratch some records, play some samples and stuff like that (sure, I know it was a little more involved than that, but that’s what I took away from it.)

Not being a fan of that style, it all sounded more or less the same to me, the good thing however was that their 54-minute long set seemed to pass by rather quickly, which was good, because I was afraid it would drag on an on.

The one thing I do remember from it is at one point around halfway through their set, Picnictyme said they realized that today was James Brown’s birthday, and they decided to do a tribute in honor of the Godfather of Soul.

“…Everyone’s sampled.” He said, adding, “Sober’s sampled him. I’ve sampled him…” They then sampled a portion of one of Brown’s songs, with Picnictyme singing part of it, too.

If you’re in to DJ’s, check out Booty Fade, as well as the individuals that make up the act.

I was glad when they finished up, though, not just because I was starting to grow weary of it, but because it meant it was getting close to time for Ishi to take the stage.

At 10:22, the lights went out as the screen in front of the stage raised up, revealing frontman John Mudd, guitarist Rocky Ottley, drummer Jonathan Merla and Becky Middleton, who was singing some backing vocals, along with a additional musician who was behind some keyboards over on stage left, and he played various instruments throughout the night.

They were all about using visuals to entice the crowd this night, and began with a large area of light on the horizon, which was broadcasted on some large totems of sorts that were set up on either side of the drum kit, and it looked as if you were traveling through space towards the light.

Despite some dapper attire, which included a vest and a jacket, John looked as eccentric as usual, with what appeared to be a mink stole (or some sort of similar animal) draped across his shoulders while he sported a hat that had reflective tiles, much like a disco ball, all around it. You can get a better idea of what I’m talking about by watching their music video for “Disco Queen”, and he had his face painted like it is in parts of the video to boot.

There was just enough time to take all of that in and John welcomed everyone to the show, then the sample track to “Mirror Ball Sky” kicked in, as they began their set with the lead track from the “Digital Wounds” album.

Accompanying the song was two disco ball, or generated images of them, broadcasted on the Granada’s screens on the left and right of the stage, which helped in giving the show more of a party atmosphere.

The fans at this nearly sold-out looking show cheered and applauded the band, almost as much as they had at the start of their set, and after subsiding briefly, the noise from the rabid fans again rang out as they fired up a hit from their “Through the Trees” record, “Our Time”.

John had certainly been mobile during that opening number, but he really cut loose now, dancing about the stage and providing all sorts of moves while signing, “Don’t let go of who you are. You came too far to be the one left standing on a falling star…” The chorus, “This is our time…” seemed especially appropriate this night, since the band hopes to push themselves into a bigger national spotlight with this new release, making this show a staging point of sorts for all of that. However, the best parts of the song came when Becky grabbed her mic approached the center stage for one of the few lines out of all of their songs that belonged solely to her. “…Wash your fears in the crystal river moonlight.” She belted out with her fiery voice that packs a punch, before retreating to her spot on stage left as John again took the spotlight to finish up the song.

He removed his jacket after that song, but put the stole right back around him. “Dallas, we will never stop loving you.” He said, obviously grateful to all the fans who had come out to celebrate and support his band and its newest release.

They returned to doing songs from their new album, including the serene and dancey tune, “Moon Watcher”, which seemed to place everyone in a state of bliss as they watched in awe. “…I’ll be riding the waves of our sweet, sweet memories.” John sang on the chorus, making the motion of a wave with his left arm, very fluidly I might add. He also did a little more hip shaking on that song, and is it came to an end, he crossed his arms, one hand on each shoulder, and bowed in perfect synch with the music. There was almost no downtime before their next song, the more electronic and even somewhat techno sounding, “Emotional Hard Drive”.

It was around this time where their show got elevated to the next level, as the laser light show began. The totems had small holes in them where some laser devices were housed, as the beams shot out at the crowd, waving about seemingly inches above the heads of those at the back of the venue. Not only is it a highlight track on their album, but it also was a highlight of this show, infecting the audience while Rocky bounced around, shredding on his guitar, as John, who had taken off his stole by this point, roamed around the stage.

They almost immediately got their next song going, which was “Touch The Future”, and as Becky added some “ooooh’s” to it, two people stepped through the stage door, bringing with them a couple of massive balloons, big enough a person could have fit in them if possible (though they might have had to hug their knees to fit). They were thrown out to the crowd, one of them busting nearly right away, while the other was bounced around all over the front part of the venue, almost ending back on stage before John hit it back out to the crowd. Eventually it too popped, and the audience let out a collective, “Ahhh” of disappointment. It was also during that song, which finds John singing in an incredible high falsetto voice, where he put on his stunner shades, with some parts glowing a neon red, while others were green.

Over the course of the next several songs, it would get so dark on stage that those shades were the only things truly noticeable, at least from where I stood at the back, and they seemed to be gliding through the air on their own accord.

They kept things moving swiftly along as Jonathan started them in on their next song, which was the title track of this new record, “Digital Wounds”. The song evokes an eeriness of sorts, yet it’s beautifully captivating. The upbeat “ISHI” came next, which has a sing along ending of “I.S.H.I. We’re rolling high on our own dreams tonight.”, and is another song that hints at the bands drive for success.

They still showed no sign of letting up, as they continued to tackle one song right into the next, though here John started everyone on a clap along, while again thanking everyone for showing up. The clapping went on for at least half a minute, with no one actually knowing what is was leading to, nor did they seem to care, they were just following instructions and enjoying being completely caught up in the moment, enjoying this brief escape for the drudgeries of everyday life.

Suddenly, the track for “Disco Queen”, the first single from this new album, started to play, and the crowd got ecstatic. The rather suggestive song was one that everyone had been anxiously awaiting, singing along with the chorus, “When I look into your eyes, the beat drops and we collide to the rhythm of the night…”

John disappeared to stage left as they song came to an end, while Jonathan and Rocky fired up the next song, though they kept their playing pretty light. Also joining them was the additional musician, who was shaking some maracas, or some type of similar instrument.

Rocky chatted with the crowd for a moment, thanking everyone for coming out. “Dallas, this one’s for you!” he declared while raising a toast to everyone. Soon, John returned to the stage, having donned his now customary attire for the song, which is a large Native American headdress and a luxurious red rope that nearly touches the floor. To top it off, each feather on the headdress has a neon element on it, with the designs and color varying from feather to feather.

They then truly got “Mother Prism” underway, with John crooning the first line, “Don’t be too hard on yourself, there’s enough love to go around…”, while making a circle with his left hand. It’s one of the most positive, upbeat songs I think I’ve ever heard, and it exudes an overwhelming amount of joy. “So let’s create the dance where we celebrate each other…” John sang as the song continued, and soon after Becky and Rocky chimed in, chanting the chorus, “Aiyah ayay, aiyah aiyah ayay!” It wasn’t just them, though, as the room was filled with a throng of fans shouting along with them on this anthem that is all about uplifting peoples spirits.

That could have been the show right there, simply because it would have been a perfect note to end on, but then again, there were still several fan favorites left, and even a few more new tracks, like “Naked Blur”. It slowed things down a little, and they got progressively got slower with the final song on “Digital Wounds”, the beautiful, more acoustic based track, “Diamond Door”.

Their 56-minute long set came to a quiet end. At least it kind of ended. While the band left the stage, they were replaced by two dancers, both of whom had what looked like hula-hoop’s fashioned to the waist of their tights, so they just hung there, moving around as they twirled about the stage.

It was very nicely though out intermission, making sure the show didn’t stop just because the band members were taking a breather.

Soon, Rocky and Jonathan returned to the stage, adding some light notes and beats to the track. Becky and John then made their way back out, and he had undergone another wardrobe change, this time wearing a white robe, or something similar to one, plus a piece over it that covered most of his upper arms and then a majority of his torso (watch the video that was mentioned earlier to see what I’m talking about.) It was a cool and very futuristic look.

Thus began their extra songs (at other shows John has made it clear they don’t like doing encores, instead just taking a break and then doing the rest of the stuff their fans want to hear), and the first of those was another oldie, “Make It”. It had been a long time since I had heard that one live, and it was quite nice getting to experience it again.

They had almost played “Digital Wounds” in its entirety, sans two songs, and somehow, I had failed to notice that “Slowly But Surely” was absent from the first set. While his band mates got it going, John climbed off the stage and into the massive crowd, climbing atop one of the partitions just in time for the opening line, “I’m coming for my love.” He moved about throughout the song, winding his way through the crowd, who obviously enjoyed the closeness, as you could see everyone who was around him at the different times pulling out their phones to snap a picture.

Getting back on stage was no easy task for him, but he eventually did once the song was over, disappearing on stage right while Becky took center stage as two dancers walked onto the stage. They busted out their cover of The Bangles “Walk Like an Egyptian”, with the dancers performing the dance moves and walking like an Egyptian. When given the chance like this, Becky really steals the show, and has an incredible voice. John eventually returned to the line of sight, hiding behind Rocky for a few moments as he outstretched his arms with the robe/cape waving behind Rocky. He then walked more towards center stage, co-singing the song as he again forced his voice into a higher register, which he pulls off with ease, and his voice doesn’t even come close to cracking.

The rest of their set would be the hits, well mostly so, and one of those which got greeted by a strong reaction from fans was “Come Closer”. “…Take my hand for the ride…” John sang at one point in the song, making a motion with his hand like he was driving a car.

Their next number was a bit of a surprise, as John said they had a new one for everybody. “And only for you.” He added, as they began a track that hopefully will make it on their third record, even though that is years away at this point.

If I were to compare it to any other Ishi song, I would say it most resembles “Mother Prism”, in the sense that it was more peaceful. It even had a chant that I can see catching on just like the one of “Mother Prism” has. It was another spectacular Ishi song, and it’s nice to know they are already looking ahead to the future.

This additional 33-minute long set started to wind down with “Pastel Lights”, which really got the fans moving around, though it was “Shake Your Dandelion” that received the most fanfare any of their songs had gotten since their show first began. “You know what time it is, Dallas. This is our last song of the night.” John stated as the track led them into the seductive and suggestive song, which was the perfect way to cap of what had been one of the best concert experiences I had ever had.

If there has been a better Ishi, it was one I was unable to attend, but I kind of doubt that, because the band was in rare form this night.

The stage show was amazing and everything was perfectly coordinated, though not to the point of seeming over rehearsed where it had all been planned to a tee. Then you have the energy, not just from the band, but the fans, as they fed of each other’s energy for the full 89-minutes they were on stage.

In regards to their set pieces, they served to only enhance the show experience, making it an even more memorable show than it would have been with just the band. And for anyone who read my posts regular, you’ll know lately I’ve been tough on some bands who have used different visual aspects and such, but Ishi is one of the bands doing it right, because they do it to enhance the show, not to seem like they’re a bigger deal than what they are. Besides, they already are a big deal.

That leads me to this, what I saw this night, is easily capable of becoming an arena-sized show. And let’s be frank, even though there are other bands in Dallas whom I’m a bigger fan of, simply because I’m more of a rock person, I can’t, at least at this moment, think of any band who even shows signs of one day being capable of playing an arena.

Ishi could, though, because the energy is there. Between Rocky running around the stage, Jonathan’s aggressive style of drumming, which often found him standing up from his kit and banging about the cymbals, while John is a mesmerizing frontman who will always command 100% of your attention.

The aesthetics are every bit as good, too, and already a few notches above most bands, and I can only imagine what they can do once they get an even bigger budget.

The band has truly found itself by fully embracing the electronic sound with this new album, and that was made very obvious this night.

Like I said earlier, they are hoping to do big things this year as Ishi, a fact John made sure to point out multiple times this night, which is all the more reason to get in to the band now, because this thing could blow up at any moment.

They have a couple shows coming up in Colorado, one on May 24th at Casselman’s in Denver, the other at State Bridge in Bond on the 26th. They’ll also perform at Stubb’s in Austin on May 31st. And do be sure to pick up their albums in ITUNES, which consist of not only their two full-length records, but also some remixes.

This was an amazing night, definitely one of the best shows of the year, and it was great seeing a Dallas band headline of of Dallas’s best venues for the first real time, and I doubt it will be the last, either.

I hadn’t originally planned on going to Trees this night. In fact, I wasn’t even aware the venue was hosting a show this night, until about a week before when a friend forwarded an email along to me from the PR guy for one of the bands. Long story short, I offered to go to the show to review it and got guest listed to do just that.

The only hometown act on this bill was the first act, Sinsect, who started their set at 8:20.

They were a duo, and set up like a DJ would be, with both James Ashley and Joe Virus operating a few synthesizers. Their first few songs were all instrumental, as cranked out their electronic pieces with various sample tracks intertwining with them. Things got even worse with James began singing on their last two songs, doing some full on singing for their final number, while he just added the occasional line on another. His voice was essentially auto-tuned and had a very digital sounding effect to it, which I disliked it because you couldn’t tell what he was capable of on his own.

All of that resulted in me not liking their set a whole lot, and at least it was short, even though it felt like it lasted forever.

I guess I should say I’m not a huge fan of the kind of music in the first place, but still, I have seen a band or two who are completely electronic like this, and then their singer has blow my mind with his voice. That wasn’t the case with Sinsect, though, and not only did their music do nothing for me, but James, or rather his voice, hid behind all the effects. Who knows, maybe that was for the best, but then again, what does that say about you as a singer?

If you’re curious to listen to their stuff, well, they do have an album, “A Broken Hero”, which can be purchased in ITUNES.

Well, at least the night was bound to get better with the next act, and that was The Rabid Whole from Toronto, Ontario.

This was the band whose PR guy I had been in contact with, and after listening to their stuff online, I was ecstatic to see what they were like in the live setting.

As the curtain opened on them, a cloud of smoke engulfed stage left, then slowly billowed out towards the crowd, making it easier to see bassist Oscar Anesetti. The band bills themselves as a 21st Century Alternative Rock outfit, and they definitely looked the part with their jackets and other attire which had a futuristic look to it.

They waited on the sample track to lead them in to their first song, while Chalsey Noelle laced some beautiful piano notes over it via her keyboard. It was the calm before the storm, though, as guitarist George Radutu, drummer JJ Tartaglia and Oscar soon ripped into “Stargazer”. “I’m still expecting you to break my fall, assuming everything goes wrong…” belted out frontman Andreas Weiss on the chorus, who was racing about the stage and often propping one leg up on the monitors, gazing out at the crowd while he sang. Before the final chorus, he placed the microphone back in the stand, picking up his guitar, shredding on it while signing the remainder of the song. That was the extent of his guitar playing, at least for the time being, though, and he placed it back in its stand once the song concluded.

With that one song they had pulled almost everyone up to the front of the stage, even if everyone was only about two dozen people, and after allowing just enough time for the crowd to applaud and cheer for them, they fired up “Delusion”. It was followed by another song from their “Refuge” album, “Corporate”, which was a infectious and powerful number, partly about chasing your dreams. “…It’s the day that my friend turned corporate. Hard to think that this shell was once a man…” Andreas sang on the chorus. There were also some moments of the song where he softly whispered a few lines, giving it somewhat of a chilling tone.

They let up after that one, at least long enough for Andreas to mention that this was their first ever time in Dallas and that they were excited to be here. He of course also noted that they had some stuff for sale back at their merch table, and then they got back to it with a song from their 2009 debut album, “Autraumaton”, called “Selfish Nature”. Afterwards, Chalsey left her keyboard station which had kept her slightly out of view, joining her band mates at the front of the stage with what I will call a keytar. There was no real neck to it, so instead it looked like just a keyboard with a strap on it.

“We have a video for this next song. It’s called Future.” Andreas said hastily, as they started the lead track and single from their latest album. Maybe it’s because in listening to their stuff online it had become my favorite song of theirs, but I found it to be the best song of their set. It’s just a perfect blend of sheer rock with more electronic tones that can put you in a mood to dance, and Andreas and Chalsey’s voices fit well together as they each sang a few lines on the chorus, his having a more forceful, raw quality to it, while hers was more delicate and had a very pretty tone.

Following it was a slower song, at least slow by their standards, and that was the title track from their 2012 record, “Refuge”, which was another song that saw Chalsey doing a fairly good bit of singing. Once they finished it, Andreas walked up the stairs at the back of the stage, while Chalsey disappeared in the shadows of far stage right, as JJ took the spotlight, doing a killer drum solo. Really, a lot of drum solos are less than awe-inspiring, but he played a great piece that held your attention throughout. As it wound down, Chalsey got back behind her keyboards, while Andreas descended the stairs. He informed everyone they had one song left, maybe two, depending on if they had enough time.

In case this was their last song, they were going to go out with a bang with the aggressive, “Metro”, which featured a thick and heavy rhythm section. As luck would have it, they were able to do one more after that, and they chose to close their 38-minute long set with another older song, “All The Same”. Andreas again thanked everyone for coming out to the show while he put his guitar on. Near the end of it he asked everyone to help them out and repeat after him. “What does it take to make you bleed?” he sang, with only a few people shouting it back at him afterwards. He wasn’t too impressed, saying it was even worse than what the people of Portland did to try to entice everyone to get more into it. It worked, and the shouting grew stronger and louder as a few more people joined in. After the sing-along portion was over, Oscar proceeded to attack his bass, viciously slapping it as they finished up the song.

Their set was phenomenal, and even though there was a VERY sparse crowd at Trees this night, it still speaks volumes about The Rabid Whole that they were able to pull nearly everyone up to the stage and get them actively engaged in the music.

Speaking of their music, that’s what initially drew me in. It’s fun yet serious with a nice space rock sound, and while I wouldn’t say it’s original in the sense that what they are doing has never been done before, it is more unique, and I doubt you’ve heard many bands that pull of this musical style as well as they do. Aside from the music being easy to get into, you also have the lyrics, which are very well written and come across as telling fairly personal stories, which makes it easier for them to get behind it.

As impeccable as their music is, though, and as well as their energy translates onto the recordings, it’s their live show where it’s all at.

From the moment they started, they were going ninety miles a minute, never letting up for even a moment. They didn’t care that they were only playing for about thirty people, and I have a feeling they could have only had an audience of three and they still would have been putting on the same show. Why? Because they were obviously all having fun on that stage, and I think everyone quickly picked up on and was reeled in by that.

The only complaint I have is more of a technical issue, and that was that the main mic could have been a little louder out in the crowd, because at times I had trouble hearing Andreas while he was singing.

Aside from that, everything was perfect, and The Rabid Whole ended up stealing the show right out from under the headliner, as unintentional as it was.

Their current tour may be over, but keep an eye on their tour dates, either on their OFFICIAL WEBSITE or their FACEBOOK PAGE, especially if you live in Canada, since that is the bands home territory. You can also find their two albums in ITUNES, plus a remix of their first album. I would highly urge everyone to check out the “Refuge” record, as it’s one of those rare albums where every song is exceptional.

The headlining band for the night was Dope Stars Inc., who had traveled all the way from Rome, Italy to be here, and despite having been around for ten years now, this marked the bands first U.S. tour.

Traditionally, the band is evidently a five-piece, however, on this tour they were a trio, consisting of singer and guitarist Victor Love, bassist Darin Yevonde and drummer Mark Madhoney.

Oddly enough, they entered the stage to a good deal of fanfare, and evidently, most of the people were here for Dope Stars Inc.

I didn’t know what to expect, because I hadn’t even listened to their music beforehand. They had a real industrial rock sound, and were even alternative rock, and like the two bands that opened for them, they did have an electronic sound to an extent, even though that was all supplied through sample tracks.

Honestly, after their first song, I contemplated leaving, because I just didn’t care for it a whole lot, but I decided to stick around at least through the next couple of songs.

“…This is next one is called Vyperpunk!” Victor shouted, which resulted in some members of the crowd cheering with excitement. Like most of their songs, there was almost a techno sound to it, but in the most rocking way, and I found myself getting a little more into the music. Before starting their next song, Victor dedicated to Michael J. Fox, or at least that’s what I thought he said, but his accent was so thick (both when he was and wasn’t singing), I thought surely I had misheard him. Turns out I had understood him well enough, as they stared “Save the Clock Tower”, from their newest album, “Ultrawired”, a song that is a bit of an homage to the Back to the Future film series.

“It’s Today” was what did it for me, as it piqued my interest and ensured I’d stick it out for the rest of their set. It’s a riveting song, an anthem in a way, with Victor encouraging everyone that, “It’s today that we have to wake up all the energy we own…”, which is the first line of the course, before ending with, “…Our time is dead. Our time is now. And now is past.” They really seemed to hit their stride with that song, too, Darin pacing around the entire stage while he effortlessly tore it up on his bass. Actually, I had to look several times to make sure it was a bass he was playing, because as quickly as he was strumming the strings, it looked like it was a guitar. Aside from that, Mark was devastating it on the drums, often standing up from time to time as he continued to lay into his kit, while Victor was shredding on his guitar.

“It’s hot here in Texas.” Victor proclaimed, before they started their next song. They followed it with “10,000 Watts of Artificial Pleasures”, which got the biggest rise from their little fan base, as Victor first told everyone the song title, than asked something like, “Are you ready for the pleasures, Dallas?”. The aggressive “Bang Your Head” came next, which found Victor often snarling and yelling the words, and once it was over he set things up for Mark to do a drum solo, as he and Darin left the stage. The drum solo didn’t impress me to the extent the other one from the other band did, but it was still a great solo.

Once he put the finishing touches on it, Victor returned to the stage, with Darin eventually following suit, as they continued their barrage of songs, first with one I wasn’t able to figure out, and then doing what I believe was “Banksters”. They kept moving right along with “Make a Star”, from 2005’s “Neuromance” album, and then another track from their latest record, “Blackout”. Those songs weren’t slow by any means, but they really picked things back up with “Self Destructive Corp.”, while “Defcon 5” began to wind things down. At the end of that latter song, Darin, who resting a leg on the monitor, let his bass dangle in the air as he plucked one of the strings, then Victor announced they had one last song left. It was the title track of their 2009 album, “21st Century Slave”, which ended their 69 –minute long set. Now, a lot of their songs make statements in one way or another, most of which seem more social or political, but this one is probably the most notable. It deals with being a slave to the corporate world and being “brainwashed” by various forms of “propaganda”, with the message being that technology is the key to freeing our minds and bodies from all of that.

Yeah, there’s songs carry a message with them.

While watching them play, I wasn’t all that crazy for their actual music, and was more watching them for their performance, which is definitely an area they’ve perfected in their ten-year existence. However, after listening to their stuff a little more, like while trying to identify the songs they played this night, it has really grown on me.

It’s good rock music with a twist, and something well worth listening to. I’m still not all that crazy about Victors’ voice, which frankly, isn’t the best in the world. I wouldn’t call it bad though, either, which puts it in the spot of being one of the most unique voices I’ve ever heard, and he writes some fantastic lyrics that can be rather thought provoking.

I went from not being sure I’d even stay for their set, to watching it all, and now I’ve gone from not having a real interest in seeing them again, to liking them enough that if they ever get back to Dallas, I’ll most likely be there.

Yeah, they won me over is a fan.

Check out all of their records in ITUNES, and you can even get a free download of the “Ultrawired” record on their OFFICIAL WEBSITE.

It was a fantastic night of music (with the exception of the first band), and I love shows like this where more independent and small time bands tour through, because I like getting a little taste of what else is out there, outside of the local North Texas music scene.

A truly great weekend entails spending a night at the Curtain Club, at least in my opinion, and there were some talented bands playing there this night.

I wasn’t able to stay for the whole night, though, which is a rare event for me, and I didn’t even arrive until the first band was almost done with their set.

I did get there in plenty of time to see the instrumental trio Son of Swan, though.

The sirens of the songs sample track blared before drummer Billy Walker started them in on “SOS”, the opening song of their 30-minute long set. They got right down to business, with Neil Swanson so effortlessly shredding on his guitar, letting loose some shrill notes at times, while bassist Steve Wilson roamed all over the stage with a real swagger to his step. They followed it almost immediately with “Children Of The Night”, which is yet another raw rock song that encompasses some amazing guitar riffs and solos. At this point Neil approached the mic, informing everyone of who they were, before moving on with a couple more songs, one of which was a cover. Now, I’m not familiar enough with all their stuff to know it, but they did another original before tackling another cover. “…If you don’t know this one, well, maybe you should.” Neil said before they began it. I’m fairly certain they followed it with the intricately woven “30K Curse”, and before starting their final song, Neil made a very accurate statement. “…Remember, everybody that is somebody used to be nobody.” Very true, and great final words to speak for the night, before starting what I want to say was “Dog Days”.

Sure, song-wise this probably isn’t as accurate as I like to be, but that doesn’t change the fact that all those original songs plus the rest that comprise their seven song debut record are masterpieces.

Seriously, they are some of the best songs I think I’ve ever heard and when you see the live show that accompanies them, then you’ll love the band even more. Billy’s an incredible drummer, Steve has that casual persona that most bassists have, yet he’s constantly storming around the stage, and I don’t know how anyone couldn’t consider Neil to be one of the best guitarists they’ve ever seen.

He does steal the show with his guitar work, his hands racing all over the fretboard, yet he manages to maintain a more humble attitude in his playing. Whereas some guitarists give you the impression that they are wanting to go all-out and do some ridiculous guitar work that seems like it’s just to show off, Neil doesn’t at all come across that way.

It never seems like what he’s playing is meant to be showy, rather it’s just the natural progression of the song, and he doesn’t, say, hold the guitar in front of the crowd like “Look what I can.” Instead, what you see is simply a virtuoso at work.

I never imagined a day where an instrumental band could hold my interest, yet this was the third time I’ve seen them now and all three times my eyes have been glued to the stage. So if you think you won’t like them just because they are an instrumental act, just give them a chance. You’ll probably end up loving the music, and if you see a show, you’ll be blown away.

So far the only place to pick up their CD is at live shows, and next up on their calendar is May 24th at The Rail Club in Fort Worth, May 31st at O’Riley’s in Dallas and they will return to O’Riley’s on June 22nd.

Up after them was Greysmyth, and this was a pretty big show for the band, and even a bigger one for the singer.

See, this was the groups first show with Justin Ranton fronting the band, and it was also the first time he had performed on stage in over a year, and personally, I was beyond excited to be seeing that guy on stage again.

They opened their set with a song called “Avalon”, which got off to a slower start with some light notes from guitarists, Jerrod Nelson and Spuds Berryman, while Justin held back on his singing a bit. “Come on Dallas!” he roared after a bit, as drummer Brayton Lyons, bassist Kobe Garinger and the others really cut loose on the song, transitioning it into a full on assault of rock. They  did several great songs this night, but that was one of my favorites. Before beginning their next song, Justin took a moment to speak to the crowd, mentioning that it had been “a long time” since he had been on a stage as he thanked everyone who was there for coming out. “…This next one’s called Feed the Need.” He said, as his band mates ripped into the song. “Feed the need, my intention is to be close to you…” sang Justin on the chorus of this powerhouse track, which was really driven by the rhythm section. They did one more hefty rock track, “Peripheral”, before slowing things down with “Rose”, which Spuds announced was for his wife. It oozed with feelings, but not in a true lovey dovey way, and it showed off another, more sensitive side to the rock outfit. “…He’s saying he can’t live without you…” Justin said to Spuds’s wife after they finished the song. They didn’t immediately bring things up, though, instead doing another lighter track, “A Way to Love”. Both of those softer songs were really good, but I really liked the latter of those two, and they both pushed the band out of their element a bit, in a good way. They returned to what they do best with a song called “Bloodlines”, before finishing their 34-minute long set with the killer, “Corpse Flower”, which was proof they had saved (one of) the best for last.

It was a great rock show, and I found myself wondering why I hadn’t heard of the band before Justin joined them, even if they hadn’t played too many live shows.

It was fantastic seeing Justin on stage again, and while he began the show seeming a little apprehensive, he quickly warmed up and got into the swing of things, moving about the stage, operating in synch with the music and just being a commanding frontman. And even though it had been so long since he sang on stage, he hadn’t lost any of his stage persona.

Regarding the songs, Spuds, Kobe, Brayton and Jerrod have created some great stuff and put on a good performance, getting better the further they progressed in their set.

The music is different from Justin’s past projects, and compared to those I think it’s more melodic (that’s not to say Greysmyth is a Melodic Rock band by any means), but his voice fits quite well with the music, and even kind of pushes his voice to new heights.

Point is, I loved their set, and I’m eager to see how Greysmyth is going to grow from here on out, like, what their songs will sound like with Justin being a part of the band now, and how much better their live shows will probably be once they get more practice under their belt and become even more cohesive.

Definitely keep an eye on these guys, or better yet go see them with your own eyes. They’ll be playing Wit’s End in Dallas on June 1st, then they’ll be back at the Curtain Club on July 26th.

Not long after they finished was when I left. Junk and Carmeci were probably great this night, but Greysmyth and Son of Swan were well worth the ten dollar cover, and I’m glad I was able to see both of them.

Alex Allred is a singer/songwriter who has been entrenched in the North Texas music scene for a little over a decade now. He’s probably best known for fronting the hard rock outfit, The Aftermath Theory, a band that after five years, decided to go on an indefinite hiatus.

He’s working hard to change that, though, and in the late 2000’s he began writing some acoustic songs, readying himself for a solo career, and suddenly finding himself without band made this a good time to pursue this new musical outlet.

This new music was a vast departure from what he was used to, but it allowed him to test and push himself as a songwriter. A little over a year after his rock band had more or less called it quits, Alex was releasing his first album as a solo artist, and he had also welcomed two other musicians into the fold to back him up.

The album is titled “Born on 4/20”, which is his actual date of birth, and isn’t just a collection of random songs, but songs that chronicle his life.

The album begins with the title track itself, “Born On 4/20”, which is a promising, upbeat song that partly deals with Alex’s birth. It’s driven predominantly by the acoustic guitar, which eventually builds and hits a rather epic climax towards the end of the song. I feel the overall message of the song, though, is about chasing your dreams, regardless of what others may think, best summed up with the line, “…Count all your blessings and never attest to the world that dreams are only for the chosen…”, which Alex sings in his distinctive voice, which has nice, almost soothing quality to it.

The album doesn’t let up any, as it moves on to “Little Warrior”, a very melodic track where Alex continues to tell his life story to everyone, beginning with the (very) early days of his childhood. The drumming is often more simple on this one, often just a steady beat made by slapping one of the skins, but it mixes quite well with the guitar, creating a catchy music bed that will no doubt burrow its way into your head.

Things continue full-steam ahead with “Another One”, which mines a vein similar to the previous track, before offering a glimpse at his softer side of singing and writing with the longest song on the album, “Panic Attack!” which, despite the brief crescendo, is still more of a tranquil song.

“Phase”, which is the shortest offering on the record, comes next and finds Alex returning to his Rock ‘n’ Roll roots, albeit in more of an acoustic way. Sure, it may have a very stripped down sound, but it’s rather intense and could go up against some of the loudest rock songs and hold its own with ease, especially since it boasts a more noticeable rhythm section than previous song.

“I would do it if it takes me a lifetime. Good news, I’ve got nothing but time…” Alex croons at the start “#1 Scenario”, a song where he seems to reaffirm his love and dedication for his music career. It also finds him returning to a more traditional acoustic style of sound, different from the song that came before it, but that’s okay. His music doesn’t all have to be in-your-face to stick with you, in fact, this is one of the highlight tracks on “Born On 4/20”.

One of the cheeriest songs on the album is “Moments”, which emits a rather carefree attitude with its positive vibes, as Alex reminisces about growing up in his suburban neighborhood, before things take a more serious twist with “Biology, Not Chemistry”. “It scares me to say that we share the same DNA…” sings Alex, a line that perfectly summarizes how real and raw the track is.

There’s a slight reggae influence to “Just Breathe”, which is appropriate, given what the song is about. One of the lines from the chorus is, “…I could get used to this, faith, love and cannabis is happiness…”, obviously making marijuana what he is referencing to breathing. It’s not just a song about smoking pot, though, at least not in the sense where he’s simply stating that he does it. Rather, he kind of delves into what he gets from it, making a slightly more complex song than you might think it would be.

Aptly following it is “Young & Dumb”, where Alex bluntly recounts an indiscretion from his later teen years when a police officer caught him smoking a joint while driving down the highway. He’s very transparent about it all, matter-of-factly stating that it happened, though, essentially admitting that it was mistake of his youth, yet not showing any regret about the situation. Like he sings, “…Give it up for the young and dumb…” Oh, and the guitar chords are most excellent on this tune, too.

“Higher Learning”, a song that takes the listeners through Alex’s college years, is a real sing-along track, particularly on the chorus, “…Never said I didn’t do every little thing I wanted to…”, which I could see everyone shouting along with at one of his live shows. It’s just another fun song that “Born on 4/20” has to offer, and is a contender for best song on the record.

“Life & Times” concludes this nearly 40-minute long listening adventure, ending things on a chipper note, and this more love based song finds Alex meeting his (presumably) current girlfriend, and it comes across that he has an optimistic outlook on the future, as well he should.

“Born on 4/20” is a nice concept album of sorts, and it’s refreshing to see a musician write an entire collection of songs where he bares his soul, exposing who he is and informing everyone of what shaped him, rather than writing songs about ex-girlfriends and bad break-ups and such.

It’s also a record that will grow on you, trust me. I listened to every song at least five times each while working on this review, and with each listen, the music, from the beats to the chords, as well as Alexs’ one-of-a-kind voice, became more and more appealing to me.

These days, you don’t often see trios, and you probably wouldn’t think an acoustic one would be all that special, but Alex Allred and his band are one to get acquainted with, and “Born on 4/20” is the perfect introduction to their style.

The Alex Allred Band is:
Alex Allred - Vocals, Guitar
Kevin Broussard - Percussion, Vocals
Clinton Potter - Bass

Purchase the album on:
iTunes / Amazon mp3

Visit Alex Allred’s websites:
Offiical website / Facebook / Reverbnation / Twitter / Youtube

Current Shows:
Saturday, June 29th at Liquid Lounge in Dallas, Texas

As usual, there was another great show going down at the Curtain Club in Dallas, featuring an array of bands, some of whom I had seen before and others I hadn’t, but was excited to.

The first band was called Drag the Waters, and by the time I got there they were nearing the end of their set, but what I saw was pretty good. They looked like they could be a Metal band, instead, they were a Heavy Rock group and they made some  good music at that and put on a good live show.

I can’t find any info out about them, but I wouldn’t mind seeing them again if they happened to get on a bill with some other bands I’m a fan of.

The next band was the main one I wanted to see, and that was Alterflesh. Actually, they were the main reason I was even at this show in the first place.

I was introduced to the band after meeting their singer, Dayvoh, a couple months back and became a fan of the groups unique style, and I thrilled that I was finally going to see one of their live shows.

The first thing I noticed when the curtain was opened on them was a nightstand over by some of the amps. There were some books on it, as well as a lamp sitting atop it, all of which was rather aesthetically pleasing.

Dayvoh referred to everyone as his brothers and sisters as he welcomed everyone to the show, then said it was time to “…step through the portal…” It was a much more interesting intro than the typical things bands say, and it was very accurate, too, as “Megahub” did seem to open the doorway to another realm. See, the band doesn’t play simple songs, they play music that has a message , and that song deals with various philosophers throughout history, with Dayvoh spitting out the names of dozens of them. Actually, that’s another thing that makes the band so unique. See, Dayvoh is more of a spoken word artist and he brings that skill to the band, performing the songs more in that style rather than singing. “…A stumbling lost humanity. Most will go their entire lives without even understanding it…” he said on the songs bridge, which was just one of many lines in that song that can stimulate the mind.

Just one song in and I was loving it. The music was very engaging and the energy in the performance they were giving was something else. They kept things moving right along with “Toxic”, which makes a statement about the state of the Earth and how we as human beings are continuously destroying it. For those first couple of songs Dayvoh had been playing a guitar, but he set it down for the time being, grabbing the microphone saying, “…We’ve all had are fair share of self reflection…” then announced the next song as being “Imaginary Dreams”, which is one of the tracks they have yet to record. Dayvoh seemed to fit in best on this song and the others that didn’t require him using the guitar, as he could move about the stage, connecting more with the audience while he preached his message. He got his guitar back out for the next song, saying, “The mystics say we all slowly burn…” as he, bassist Paul Kubajak, lead guitarist Ben Schelin  and drummer Kevin Mills tackled another “Embers”, another song that they have yet to lay down in a studio.

Upon finishing it, Dayvoh surveyed the large crowd gathered around the stage, giving shout outs to Born and Raised, Solice and The Circle, plus several other bands who had members out representing. That was one thing that was so cool about this show, other musicians were actually out at it supporting these guys. They had a few songs left now, none of which Dayvoh used the guitar on, and the next was his “social rant” known as “Watch Rome Burn”. It was my favorite song of their set and could easily be the most thought provoking song in their arsenal. Aside from that, it’s just one of their most rocking numbers, with Ben shredding on his axe at times, and Kevin really got into his drumming (that’s not to say he hadn’t before, it was just more noticeable now). “Start Over” slowed things down a little, before bringing their 34-minute long set to a close with “New Horizon”.

In my opinion, they were the band to beat this night. Their performance was much more vigorous than I was expecting, with Paul constantly jumping up and down, which was quite a sight to watch. While more contained, Ben was is great guitarist, and Kevin just killed it on the drums, and Dayvoh was a captivating frontman. Together, they were able to hold the crowd’s attention with ease.

As for the music, they are a Rock band, and even harder Rock at times, which makes what Dayvoh does even more interesting. Like I said, it’s not full on singing that he does, and if you’re not paying full attention you may say he’s rapping. Sure, it can sound like that at times, but it most certainly isn’t rap. Rather, it is spoken word. And because he “sings” in that style, it allows him to get away with some things.

See, his voice is rather monotone, something your traditional singer couldn’t get away with. But the way he fires the words off, you don’t care if his voice is monotone or not, because you’re more fixated on the words. And that is what really makes Alterflesh stand apart from most other bands; the lyrics. Overall they have a positive, uplifting message to them, often about changing things for the better.

Really, that makes their show a spiritual experience in a way, and one I can’t wait to witness again.

If you want to hear something new and completely out-of-the-box, then check out Alterflesh, either on their FACEBOOK PAGE or REVERBNATION. Their next show is slated for July 6th at Tomcats West in Fort Worth, and if you’re in the area, you should definitely check it out.

Following them was Last Day Living, whom I hadn’t seen in quite awhile, and I was curious to see how their set would go.

I admittedly haven’t been as big a fan of the band since they lost their lead singer (which happened a few years ago now), resulting in them staying a four-piece and guitarist Shawn Pipkin picking up the slack as the lead singer.

The thing is, his voice just isn’t built to really sing, and that was proven during their first song, a slower almost ballad of sorts, where his voice repeatedly cracked. No, their 31-minute long set didn’t get off to the best start, and personally, I was never able to get into it. Shawn ditched his guitar for the next song, which he kind of rapped a portion of, before picking it back up as he, bassist Irish, fellow guitarist Paris Pipkin and drummer Daniel Burpo rocked out “Twisted Smile”, which was the single great moment of their set. Shawn got a little political before another song, asking, “So who’s pissed off at the government for taking our guns and then education from our kids…” A lot of people screamed and cheered in agreeance, and after finishing it they ran through their final three songs. During that last one, Shawn broke one of the strings on his guitar, and as they finished the tune he decided to finish the job, pulling the five remaining strings until they snapped.

Last Day Living writes good music and they put on an enjoyable live show, but in my opinion, they need a fifth member, one that can really sing. That’s the only hindrance that I see.

No, I wasn’t in love with this set, but the vocals were why, and I did enjoy the other aspects of their performance. They just need that one missing component to round things out.

There was one more band to go before the headliner, and that was Idler.

I first saw the band here a couple months before and instantly became a fan, and I was hoping their set this night would be even better.

“Vendetta” opened up their set, a song that finds siblings Micah and Katie Frank co-singing on the verses, while he tore off on the chorus, shouting, “Don’t cross me again. It all comes back in the end…” That song set the tone for the rest of their show in a way, gave the impression that they weren’t going to be holding back at all, and they indeed did not. Upon finishing it, Micah told everyone who they were, as well as the title of that first song and mentioned the next one was “Go for Broke”, another track from their debut, self-titled EP. A cool little instrumental intro set the song up, with drummer Eric Gustafson, bassist Nick Laracuente and Micah, who was the rhythm guitarist, created a nice little piece before Mykey O’Neill started plucking the strings of his guitar, giving the song its full shape. Both of those songs got them off to an explosive start, and “Let Me In” didn’t let up much, as the electric version is much more in-your-face than the acoustic version you can find online is.

They followed it with a couple more newer songs, one of which was titled “Deceit” and saw Micah handing his guitar over to Katie. She predominately strummed rather slowly, and once they finished pointed out that was her first time ever playing a guitar on stage. She seemed proud of the fact, and rightfully so, ‘cause she did a good job. That freed Micah up to roam about the stage a little more, acting like your typical frontman, standing on their boxes that bear the band’s name while he livened up the crowd. At the end of that tune, he even screamed the last few lines in a throaty enough voice he could give even the most hardcore Metal bands a run for their money. They followed it with a song that Katie sang lead on, which I believe was called “Buried”, before doing a couple more tracks from their EP. One of those was “Lose Control”, while the other was my personal favorite song of theirs, “Kings and Queens”, during which Micah laid his guitar down, again gaining some freedom to move about and Katie did the same. They weren’t always the main focus, though, as Eric was pounding out some thick beats that were undeniable, and the short solo, or rather riffs, Mykey plays are stellar. Up next they did another newer song, and afterwards Micah informed everyone that their next song was “Pitchfork”. That’s arguable the best song on their EP, but they didn’t have a chance to do it as their set was cut short at 32-minutes.

See, after he said that the house music came back on, causing everyone band members and fans alike to look around in disbelief.

Personally, I think it was pretty crappy. I mean, I get that things were running behind schedule, but the guys and girl of Idler never even received a heads up warning them they only had, say, five minutes left or anything like that. At least not that I know of.

Something like that can’t affect their overall show, though, at least not in a detrimental way.

I thought they were better than the other time I had seen them. Micah didn’t use a guitar almost the entire show then like he did now, but that didn’t diminish his persona, and even though he was more glued in front of the mic he’s still a mighty frontman. He even has one of the best and more unique voices that I’ve heard, and Katie’s every bit as good, and their voices mix together to create some amazing textures in the songs.

The other guys, Eric and Nick, do a perfect job of rounding things out in the live show aspect, as does Mykey, but I mention him separately because I believe this was his first show with Idler. He’s a great guitarist and on stage he looked like he had been playing with them since their inception.

If you like straight up Rock music, then Idler’s a band to check out. You can find their album on ITUNES, and even get a couple of free downloads (including their cover of “Highway to the Danger Zone”) on their REVERBNATION PAGE. As for shows, their next one is going to be June 29th at Hailey’s up in Denton.

Closing out the night and doing their first live show of 2013 was the Fort Worth based band, Pulse.

Now, I’ve heard a lot about these guys for awhile, but had never seen a show. In fact, I’d never even listened to their music, so I was interested to see how they lived up to the hype that surrounded them. Sadly, I think they may have been overhyped to me…

Like I said, this was the band’s first show of the year, and they used to play/debut a lot of their newer material. Their opening song was one of those new ones. Vocalist Sean Yeaney sang something along the lines of, “…I wish I could just wish you away…” on the chorus, and that was a song I really liked. They then did a track from last year’s “Show Me the Way” record, “Blame”, following it with another new(er) song, and then another album track, “No More Next Time”. That latter one was a good one, especially with the chilling guitar notes at the beginning and end of it, but out of all their songs thus far I wasn’t truly feeling it. Guitarists James Brennaman and Justin Judy, drummer Jimmy Lay, bassist Kelly Robinson and Sean busted out some more new songs, and during the second one of this string of them Kelly encountered some technical issues, resulting in not being an active part of their next couple of songs.

They soldiered on without him, though, and after finishing one that I believe was called “From Here to Home”, things were fixed and Kelly rejoined the action, just in time for what seemed to be a fan favorite, “Think About It”. Their next song found Sean singing the words at a very rapid pace, and afterwards they let the crowd choose which version of a song they wanted to hear. One option was the usual way it’s done,  the other was a 420 remix, which Sean noted they were never able to perfect, so it might not be the best. That didn’t stop the fans from choosing this remix, though, which had a bit of a Reggae sound to it. “They Have Arrived” was another good one, and had a killer thick intro with Kelly and Jimmy working in excellent synch with one another. Their show started to wind down with “Won’t Let Go”, and after one more new track they closed their 60-minute long set with “Run Away”.

It was nearly two in the morning when they finished, and I figured the show was over and left, However, when I walked out the door, I heard Sean asking the crowd if they were still with them. They most likely came back for an encore, but it was late and I had seen enough.

Like I said, I think the band was overhyped to me I think, because I was expecting something amazing, both in their music and performance. What I saw and heard, though, was honestly rather generic, and even struck me as a little lackluster.

I thought the best part of their stage show came during when song when Sean climbed atop the speakers, staying there for maybe a minute before leaping off back to the stage, but there was just never that one moment where Pulse got their hooks in me and wowed me.

I didn’t really like the fact that they used smoke machines, or cannons that propelled the smoke into the air, because really, bands on this level don’t need stuff like that. I’m kind of prude with stuff like that in the first place, be it with visuals playing behind a band or stuff like this, and I think it subtracts from any bands show. The main focus should be the music and any and every band needs to let their music do the talking, rather than using various things to try to “enhance” the experience. The only exception to this rule is Muse.

Now, it’s also worth noting that I’m basically the only person at this show that felt that way, because they had a ton of fans out, all of whom were shouting along to every song they knew, and listening in awe to the new stuff. I wish I could have been one of them, but they didn’t ignite any passion inside me like some of the other bands on this bill did. And just to be clear, I’m not saying they are bad or that their music is, it just did nothing for me.

Their next area show is scheduled for July 6th at Tomcats West in Fort Worth, but before that they’ll be rocking St. Louis, Missouri at FUBAR on May 18th. You can find their album, “Show Me the Way” in ITUNES and you can even get a free download of one song on their REVERBNATION PAGE.

Nonetheless, this was still an excellent night of music, and if you weren’t here, you missed out.

There were several great shows going on this night in Deep Ellum, but I settled for the most rock filled event of the night, which was taking place at The Boiler Room.

As far as I knew there were only three bands on the bill, but upon walking in I discovered there was a fourth, and it was the Wichita Falls based rock outfit, Twicebroken.

It had been quite awhile since I last saw them, so it was a very pleasant surprise.

A lot of their 37-minute long set was newer material, including their opening song which began a fury of Rock ‘n’ Roll. “This next song is called “Can’t Stop I Won’t Stop.” announced frontman Aaron Mullin, giving themselves just a few seconds of downtime before guitarists Bryan Crowe and Brandt Holmes fired up the intense number. Upon finishing it, Aaron mentioned that they had finished up a tour not long ago. “…It was awful…”, saying that their van had broken down while in Michigan I believe, leaving them stuck there for a few days. He obviously didn’t have good memories of it, and the way he talked it won’t be something they do again anytime soon. They did a couple more songs next, one of which was called “Crawling Out”, and then arrived at a single of sorts from their self-titled debut album, “Already Gone”. You really got to see how tight they are with one another during that one, with bassist Nick Knowles, Bryan, Brandt and Aaron all operating in perfect synch with the beats Billy Pennington was pounding out, thrashing around to them and such.  Another song they did from that album was “Walkin’ Away”, which has a more Southern Rock flare to it, then slowed things down with a much more sentimental song. Aaron stated that he wrote it about a friend who died in a crash about a year ago and he wanted to write something in her memory. I think the song was titled “Walk with the Angels”, and there was a duality to it, being both very beautiful and quite sad. They started winding things down with “The Enemy In Me”, and wrapped up their set with what is arguably the best song in their repertoire, “Preacher Man”.

Their set was chocked full of rock and matched with one of the most intense live shows you can see. That was what drew me to them whenever it was I first saw one of their shows, and they’ve only honed their skills since then, making them a true force to be reckoned with.

Hell, on any normal night they would have stolen the show right out from under the other bands on the bill, but this wasn’t a normal night.

Definitely go check out Twicebroken’s album in ITUNES, and while they don’t have any shows lined up at this moment, you really should go see them if you have the chance.

Second up this night was Waking Alice, who had made the trek from Fort Worth to Dallas to do their first show of the year.

They got started with what I think is one of their newer songs, and one I’m quite fond of, then tackled a couple of songs from their newest EP, “Retribution”. One of those was “Treason”, which drummer Jon Levey and guitarist Brandon Brewer got underway with some thunderous beats and roaring notes. “…Come on one more time, play the game with me…” Rus belted out as they reached the songs chorus. It is the most rocking song on their EP in my opinion, and that showed during their performance of it, which was just a little more vicious than some of their other stuff. “This next song is called Scars.” Rus announced, before they started the slightly darker (in a musical sense) sounding song, which has some thick rhythm parts where Brayton Light tore it up on his bass. That’s all evened out, though, by Brandon’s killer solo that closes out the song, however, it was outshined by the instrumental break/jam during “Biggest Lie”. Brandon captured the spotlight during it, just riffing and going with it, but Brayton and Jon certainly added their two cents on it, while Rus took a backseat. They do that at every show, but the most interesting thing is it’s always a little different, so it never gets stale. After that powerful number, they scaled things back ever so slightly with “Fates Design”, which tells the story of Rus meeting his now wife, but not in a cliché way like most of those songs are done in. They got back to the high-energy rock stuff with “Wasting Time”, though I believe it was that song that, before starting it, Brandon cracked a joke. Now, I couldn’t understand what he said, which might have been the same problem other people had, resulting in essentially no laughter. “You better laugh at that, or we’re not gonna play this next song.” he said. Rus chimed in, “I think he’s serious.” He did seem it, but it wasn’t long before they started the song, following it with another classic from the bands catalog, “Chasing Memories”. I love the new stuff they’ve done with Rus, but some of their older material, like that one, are at least every bit of good, and it’s given all new life with the slightly different approach Rus takes to singing it. They had one song left in the chamber, and it was brand new one no less. “…It’s That One…” said Rus, saying it again and pointing out that, that really was the name of the song. I really liked it, and out of the handful of songs they churned out with Rus at the helm, this one now stands out as being one of my favorites and it was great way to end their 42-minute long set.

Which each show I’ve seen, they’ve continued to improve and tighten up, delivering a better show each time, and this night was hands down the best Waking Alice show I’ve seen yet.

It’s a nice lively stage show they put on, and coupled with their music, it should have no problem holding your attention.

Their next show is going to be on June 1st at Andy’s Bar in Denton, and it’ll be one you want to see. And be sure to head over to ITUNES and pick up their albums. Again, the newest is “Retribution”, but they have some older stuff available as well, featuring the bands previous vocalist.

The night wasn’t about to slow down, especially with Red Angel Theory being the next band up.

Their 32-minute long set was kicked off by one of the new songs they’ve cooked up, which is just one of the great things that has come out of Monica Koohi fronting the band. It was clear right from the start they, like all the other bands on this bill, were taking a no holds barred approach to their performance, and tore through that commanding opener. They weren’t about to lose the momentum they had built with that one either, as guitarist Brandon Deaton immediately fired up their next song, “Shattered”. Early on in the song drummer Nick Sarabia could be seen flipping his drumsticks up in the air then catching them, as well as adding some backing vocals during the chorus, adding some extra force to Monicas’ voice (not that she needs it) which is what makes that song stand out so in my opinion. They let loose another newer song on the audience, before taking a breather, as Monica announced who they were and such, also mentioning what they were going to do next. It was “It Often Lies”, another heavy song of theirs with Phil Sahs bass lines and Nick’s drumming working well together. “…Standing tall and proud, fighting till the day we die. Open up yourself, now it often lies…” Monica sang in her one of a kind voice, right before the songs second chorus. They followed it with what is arguable their best song, “Inception”, a true powerhouse of a song, that even comes across as an anthem of sorts. Monica got ahead of herself with the next song, saying it was one, before Nick corrected her. Instead, it was another newer one, called  “Suffocate” I believe, and out of the three newer tracks they played this night, it was my personal favorite. Now they got to the song Monica was ready to do a few minutes before, but first she had to introduce it. Her speech involved stating that Red Angel Theory was “not about negativity”; rather they are about taking any negative thoughts and energy and turning them into something productive and creative, like music for example. The song was “The Darkness”, and despite the title, there are some positive, almost uplifting moments of the song. They went for a strong finish, as Nick started them right into their final song, “When the Dust Settles”, which happens to be the title track of their debut EP from last year. He provides some more backing vocals on that one, this time in the form of some ear piercing screams, which gives the song an extra layer of depth. It’s one hell of a song, and served as the perfect way to end their set.

I liked this Red Angel Theory show much more than the previous one I saw with this current lineup. Partly because now I knew what to expect and Monicas’ unique voice wasn’t as foreign to me as it had been before, and partly because they’ve got more shows under their belt now, and that experience showed.

They were awesome when I saw them a few months back at another Deep Ellum venue, but they were really clicking this night.

Monica was often racing around the stage, with a certain urgency to her step and her singing, which made it easy for your eyes to be glued on her. Brandon and Phil were a little less mobile, but they still have a presence about them. Besides, their musicianship speaks for itself, and you can admire it all, from the subtle nuances to the more intricate riffs each one cranks out. As for Nick, well, he’s a beast, plain and simple.

This was the best show I’ve seen them do yet, in either of the bands lineups, and it makes me excited for what they’ll be like down the road.

Go pick up their new EP, “Rise for Something”, in ITUNES. Then, if you want to hear those tracks live, go see them at The Worship Lounge in Colleyville, TX on May 17th. They’ll be up in Greenville on May 25th at the Texas Tattoos and Art Gallery, then on June 29th they have a Denton gig scheduled at Hailey’s. And on July 12th they’ll be back in Dallas rockin’ the Curtain Club.

This had been an amazing show so far with some killer bands playing, and now it culminated with Early Pearl taking the stage.
   
They ripped into their 50-minute long set with “Get Out”, and as soon as they started it you could practically feel everyone’s excitement as the adrenaline level in the club skyrocketed. As it came to an end, frontman Bishop Booker pumped one of his fists in the air, while he repeatedly shouted the final line, “Get out!”. They kept things moving right along as lead guitarist Chris Jackson wound them into another high-octane track, “State of Affairs”, before slowing things down just a bit with “Breakdown”. The coolest part of that song (and one of the most memorable moments of this show) came towards the end of it, when guitarists Chris and Ryan Maynard, plus bassist Chris Ivey all moved to stage right and formed small circle of sorts. Then, Maynard proceeded to hit the strings of Jacksons’ guitar, while Jackson did the same to Chris’s bass, who in turn played Maynards’ guitar. Like I said, it was cool to see, but above all it was a fun moment, and you could tell the three of them were having a good time doing it. “…This is Hindsight.” Said Bishop after he had talked with the crowd for a moment, which started them on a string of new songs, however, out of all of them, it was one of the best in my opinion. As serious as they were about rocking, there was also some entertaining banter between some songs, like here when it was said that Bishop had once gotten “…someone pregnant just by looking at them.” If I’m remembering correctly that all started because some of his sweat had dropped on a girl at the front of the stage, and he was joking that she couldn’t even talk after that happened.

They got back to the music with “Sooner Or Later”, and after someone bought them some shots, which they of course subsequently did, they tackled “Letting Go”. “Will I see you later, ‘cause I’m letting go? Will you open for me, or will you let me go?” sang Bishop on the chorus, amidst a barrage of drumbeats from Bobby Primm, and shortly after Jackson started his knockout guitar solo. Upon finishing it Bishop went to say something to the fans,but it came out wrong and rather nonsensical. “…I’m sorry.” He apologized, “I’ve been drinking and can’t speak English.” That got a laugh from everybody, and they then set up their next song, a very new song, and Chris asked everyone not to be too hard on them if it sounded horrible. It was only the second time they had done it in front of an audience, but I don’t think they had much to worry about. The song is called “Sure and Jaded Symphony” and it’s a killer song, being almost melodic at times, and others it’s just raw rock, which is exactly what you expect from Early Pearl. For the next song, Bishop announced he was going to do a little screaming, adding, “…I usually only scream if I’m with the right woman.” Chris chimed in at that point, “Or the right man.” “Man, I’m not even gonna talk to you after that…” said Bishop, while Chris just laughed. That led them to “Say It”, a song that is unlike any other of theirs, and even though they hadn’t been holding back in terms of their performance, they certainly didn’t pull any punches on that track.

As their set started coming to an end, Bishop made a brief speech. I don’t recall everything he said, but one thing was along the lines of there are a lot of bands out there who aren’t staying true to themselves. He went on to say that they supported what everyone of their fans was doing, since they support them. “…Early Pearl shows are about wearing funny hats…” he said as he kind of pulled a hat of a girls head. Overall, the takeaway message was to be yourself, which is a good message to send in my opinion. Now, they got back to some stuff from their album, both of which are fan favorites. “Dear lover, I need you to listen one more time. I’ve tried to deny you, but you just slowed my stride…” Sang Bishop, as they got “Turn” going, before bringing things to a close with “This Is”.

The fans were shouting for an encore, even though the two Chris’s were the only members left on stage at this point. “I’m sorry.” said Ivey, “In ten years we’ve only written ten songs.”

The fans, myself included, were eventually okay with that, but I’m not gonna lie, I was hoping they might bust out “Regret” for an encore. Maybe, next time.

As it was, it was still an excellent show, though.

To somewhat repeat what I said about the last Early Pearl show I saw, they put on real rock show. Sure, there are many bands that do that, but Early Pearl is a head above most others. Their music is still some of the best I’ve heard, and the live show is one of the best I’ve seen, and they won’t leave you disappointed.

In a month and a half now I’ve seen Early Pearl as much as I did in 2008 and 2009 combined, and will no doubt see them at least a few more times before the years over with. You should do the same, and while they have no shows scheduled at the moment, keep a check on their FACEBOOK PAGE for future show updates.

Also, head over to their SOUNDCLOUD PAGE to download their entire “This Is” album for free, as well as some live cuts of several of their new songs.

This was one hell of a rock show, and I’m glad I decided to spend my night at the Boiler Room.

Being out at the arts festival meant I had missed the first two bands playing The Curtain Club this night, but on the bright side, I wasn’t going to have to wait long to see the two bands I was most excited to see.

First up was Opium Symphony, who, after releasing their debut full-length album last year did a couple of tours throughout the South, Mid-West and East Coast, but have been laying relatively low since late last year. That’s not to say they haven’t played, it’s just that their shows had been pretty sparse.

Since it had been awhile since their last hometown show, they had decided to make this show a little special by playing some songs from the “Blame It On the Radio” album that had never been done live, beginning with the title track itself. It replaced their typical opener, which also happens to include the word radio in its title, and as big a move as that was, even gutsy in some ways, it couldn’t have worked out better for them. “Blame It On the Radio” was every bit as loud and aggressive as the other song, garnering them a good little crowd from the start, and they commanded their attention pretty easily. They quickly followed it with “Fiction for Addiction”, with singer and rhythm guitarist Kellen Ross leading the charge into it with the opening notes, and once Derron Bell entered in on the instrumental intro, he showed off some of his skills, twirling a drumstick in one of his hands. After that song, which happens to be the one the band got their name from, “…Didn’t want to give you an opium symphony…”, Kellen took a moment to thank the other two bands who had played before them, calling some attention to the first band, Plowboy. I believe he said he was as god as those kids are when he was their age, seeming very impressed by their talent. Rightfully so, too, ‘cause I’ve seen them before and they are great. Next up was one of the staples from their album, “Jukebox Junkie”, which was greeted with some fanfare from the fans. I had forgotten how awesome that song is, particularly in the live setting, from the slick sounds of the intro which finds Kellen and lead guitarist Jarrett Kramer playing pretty much the same chords, to the eerie bridge where Kellen softly whispers “Sell your soul to the devil you’ll find…”, before surging back into the chorus. Like usual, they rocked out the instrumental outro, but they didn’t just stop like they normally do. Instead, they had another trick up their sleeve. On the album that instrumental piece at the end brings them smoothly into “Soul for Sale”, a song that had never been performed live, until this night. It was like you were listening to the two songs on the album, and during a momentary break from playing his guitar, Kellen took in a deep breath like he was preparing for this epic six plus minute long song.  “Anyone today would gladly sell their soul for a dollar…” after that lengthy instrumental portion came to an end. Honestly, that’s not one of my favorites from their album (and that’s not to say I dislike the song, ‘cause that is far from being the case), but live it was another beast entirely and was one of the best songs of their set. Upon finishing it, bassist Drew Nolde had a question for everybody. “Has anyone ever had to choose between God or money?” he asked, which got little verbal response, instead getting an awkward look from people, like, “No, no I haven’t.” “Me neither,” he said, “but Kellen wrote a song about.” He was of course speaking about “God or Money”, the second and only other old song that made it into the setlist this time around, and after finishing that rhythm heavy tune, they wound it right into the explosive “Down the Rabbit Hole”. I think the only other time I had heard that one live was at their CD release show, so it had been a little while. It’s definitely one of the highlight tracks from their record and as well as the live show, it’s also very dynamic and everyone who was up by the stage was rocking out to it. Their 38-minute set was nearing the end, and now Kellen gave the fans a choice between two of their longest songs. One was “…Pennies…”, the other “Gospel”. Not many people voiced their opinion but the few who did made it clear that they wanted to hear “Gospel”. It’s the routine closer for these guys, and frankly I can’t imagine them not ending a show with it. Besides, how can you dislike a song that says, “…As long as god’s alive rock ‘n’ roll ain’t ever gonna die…” 

It was a fitting end to what was probably the best Opium Symphony show I’ve seen to date, or at least in the top two. Part of that can probably be attributed to their tour. I talked with Kellen out on the patio earlier in the night, asking him how their tours went, and he was talking about how when you play so many days in a row like that, that it eventually becomes all “muscle memory”. I’ve seen other bands do that, and when they get into that touring shape they’re elevated to a whole new level. Now, it had been two months since their last show, so they of course weren’t in touring shape, but you could tell they had benefited from it.

They were better polished than what I remembered, which is saying a lot, and everything was just so tight.

If you haven’t seen them yet, you need to, and hopefully they’ll have some more shows coming up soon. Also be sure to head over to ITUNES and check out their album.

Following them was another band who hasn’t been playing much, at least not recently, and that was Redefine.

They started their 41-minute long set completely differently from any other Redefine show I’ve seen. See, it began with a rap song, specifically Nelly’s “Hot in Here” playing through the speakers, and when the curtain opened, bassist Mike DiQuinzio, drummer, Daniel “Dano” Taylor, and rhythm guitarist Matt Jones were on stage. Soon the remaining band members, lead guitarist Chris Apaliski and singer Scott Headstream, made their way on stage, somewhat dancing along with the song. Soon it cut out, though, and they were ready to get to work.

There are always two songs I hope to hear at their shows, and they opened with one of them, as Dano got right into show mode, tearing it up on his drum kit. The song was “Like a Vision, a Ghost”, which was a great track to open with. “…When you were off setting your fires, I spent my days trying to douse those flames…” sang Scott as the start of the second verse, which is one of several lines I love from that song. Dano wasn’t the only one in show mode, and Chris and Mike had been racing all over the stage during that song, while Scott focused on working and interacting the crowd. “Hey Dallas, take your medicine.” He said before starting their next song, and another one from the “Blur On the Horizon” EP, “Take Your Medicine”. They kicked things up a few notches with that fast-paced song, ensuring everyone was captivated by their show. “Let’s be honest, I’m drunk.” Scott said to everyone after finishing that previous song. I want to say he also threw in that if anyone wanted to buy them any shots they’d be okay with that. I believe that since December, they had only done one other show before this one, and during that little hiatus from being on stage, they had been working up some new material, and now they were going to give everyone a taste of what they had cooked up. I think this first new song was titled “All That Ever Was”, and it was pretty good. It wasn’t quite as aggressive as the song they had just done, or even some of their others, but I enjoyed it. Dano filled the silence in between their next song by doing a drum solo of sorts, while Scott did a little begging, placing the Redefine megaphone at the front of the stage, telling anyone who wanted to they could put some money in it to help them out in getting new shirts made. See, a little while back a lot of their merchandise was stolen, so all the shirts they did have are gone. Through all of that, Dano was still laying down some beats, and now Matt, Mike and Chris laid some riffs over it, doing a badass instrumental piece, setting up “Arcana”. They kept the music coming, next doing “The Silent Hum”, which Scott noted was the first song he wrote with the band, which was at least four years ago now, if not longer. They’ve written some great stuff in recent years, but that is still one of their best songs, and Chris gets to go all-out on it, simply shredding on his axe. “Cut the Cord” was their next song, and possible the most entertaining of their set, but not for the reasons you may think. Towards the end of it, Scott grabbed the mic stand, flipping it up in the air while he sang a line or two, and as he was swinging it back down, Chris happened to go over next to him, subsequently getting nailed in the head by the bass of the stand. You could tell it hurt, but he didn’t miss a note, and Scott looked at him apologetically and in disbelief that it had even happened. They laughed about it for a moment, then they were ready to unleash another new song on the fans. I was told as of right now they are calling it “Whole”, and it was the most intense song I’ve ever heard them do. For those familiar with Redefine, think “The Silent Hum”, then multiple that by ten or so and you should have an idea of what this new track was like. Seriously, I’ve found my new favorite Redefine song, and I think I like it even more than my favorites from their two EP’s. It didn’t seem like they had been playing anytime, but already it was time for them to wrap it up, and they did so with “Leave The Light On”. Towards the end of it Scott made his way down the sort of steps at the front of the stage, still singing, and during an instrumental break he got right out in the crowd, watching his band mates rock out for a minute, before climbing back on stage to finish it out.

This was the best Redefine show I’ve seen in a long time. Almost two years to be precise, when they played here at the Curtain to celebrate the release of what is their most recent EP.

They were on fire and worked together like a well-oiled machine. I will say that their newest member, Matt, isn’t quite as lively as the other guys are, but then again, this was only his third live show with them. And regardless of if he ever moves around as much as the others do or not, you can’t argue the fact that he’s a great guitarist, playing all of his notes very fluidly.

With Dano officially back behind the drums and Matt on rhythm guitar, I think Redefine has finally found another winning combination, and one that will hopefully last a good long while.

No shows are on the books for these guys at the moment, but they’ll be rocking a stage sooner or later. In the meantime, check out their two EP’s in ITUNES, and if we’re lucky, by year’s end maybe they’ll be adding another EP to their discography.

I think there might have been one last band up this night, but I went ahead and left after Redefine’s set. After all, I was planning on being back out at the art festival early the next day and needed to get some shut eye.

It’s spring, which means it’s festival season, this week it was time for the annual Deep Ellum Arts Festival.

Like the name suggests, it is an arts festival, with tons of artists from all over setting up shop along Main Street, which is partially blocked off.

Also, they have a variety of bands playing multiple stages, which is what gets my interest, especially since it’s free. So, since I was going to catch a show in Deep Ellum in the first place this night, why not get down to the area early and see some of the acts at the arts festival.

Midnight Empire had been playing for awhile by the time I arrived, and I made it over to the stage as they were wrapping up one of their newer songs. They had some old gems thrown in, too, though, like the fan favorite, “Can’t Get Enough”. It sounded as good as usual, and the sweet guitar solo Art Struck rocked out helped make the song, but they were oddly reserved while performing it. Actually, the same went for their entire set, or at least what I saw of it. I hate to say it, but it did affect the show, and as cohesive as drummer Matt Cook and bassist Rick Reynolds were on the next song, “Tidal Wave”, it just seemed weird with them being rather motionless, while singer Jacob Henderson casually walked around the stage. After finishing it, he said he didn’t think they had played that song in about a year or so, asking Art if that was right or not. They finally agreed it was, and that they had probably last played it at one of the clubs down here in the Deep Ellum area. The ballad “Two Against One” brought the level down for a moment, before bringing it back up with some more full on rock songs, four to be exact, which closed out their set. That seemed like the end, but after finding out they had a few more minutes left on the clock, Jacob informed everyone they were going to do one more, another new one that would be on their sophomore album.

I’ve only seen one full show of the bands, and caught another partial set before this one, so I know what Midnight Empire is capable of, and will gladly write this off as they were just having a bad night. Still, none of them really seemed like they were into it, and the passion from the musicians (or lack thereof) can make all the difference in how shows are perceived.

This was just an off night for them, and still think they are probably one of the most talented bands in the Dallas music scene at the moment. They have two big shows coming up, one will be at the House of Blues in Dallas on May 22nd opening for Ratt. The other is July 18th at the Rock USA Festival in Oshkosh, Wisconsin. Check out their debut album “Everything and Nothing” in ITUNES, as well as get some free singles on their REVERBNATION page plus some live cuts of a couple newer tracks on their SOUNDCLOUD page.

I killed a little bit of time by walking around and looking at some of the art after they finished, getting back to the stage a little after eight to make sure I didn’t miss any of Sayonara.

This was going to be an interesting set from the band to say the least, since earlier in the day singer and guitarist Debbie Blythe had gotten ill, posting online that the show may have to be an instrumental one.

Luckily, by the time they started had 8:19, her voice had recovered thanks to a steroid shot she had gotten at the doctor, which she mentioned a few songs into their set. All that said, you never would have known anything was wrong as they rocked out their opener, “Rendezvous at the Slaughtered Lamb”. That first song of their 44-minute long set sounded exactly like the fans were expecting, with Debbie hitting all the notes just fine with her unique voice, while the often smooth bass lines Sean Blythe was cranking out gave the song a great texture. When that song ended, he mentioned he had been down in Houston and had “…hauled ass…” to get back up here in time to do the show. That brief banter ended, as they started into one of only a couple older songs that were in the setlist this night. It was the lead track from their first EP, “Mothership”. It’s still one of their best songs, and since I’d only seen the band once before, I forgot how good it was live, being a fairly loud rock song with some killer beats from drummer Jonny Williams, but contrasting that, Debbies’ voice is a little softer and lacks the aggression heard on other songs, which makes for an exceptional tune. They did another new song next, one that often found Debbie moving her guitar behind her, playing the keyboard instead, giving it a slightly different feel from their other songs. At this point, Debbie apologetically informed everyone she needed to give her voice a rest, turning the next song into an instrumental one. “…I hope y’all don’t mind too much…” she said to the fans, several of whom were clustered in front of the stage. They seemed okay with it, and personally, I liked it much more than I thought I would. As I’ve said many times before, I’m not a fan of instrumental music, but without the lyrics taking some of my attention, I was able, or rather forced, to pay attention to their musicianship, and each of them is amazing at what they do. Sean owned it on the bass (and not just during this song), really getting into the music and rocking out. Jonny made the drumming look rather effortless at times, offering some slick moves from time to time, and Debbie picked at her guitar with calculated precision, but could also shred quite well when she needed to. Another new song came next, followed by another instrumental, and I believe that one actually is meant to be an instrumental track. “I Need Japanese Steel” was one of the most impressive songs of their set, and they cooked up one hell of a song with that one. After finishing it, Debbie mentioned she had been put on antibiotics, which led to a conversation about how she found out a little while back that drinking anything alcoholic while taking meds doesn’t make them any less effective. Instead, she said it just makes the potential side effects, say tiredness for example, more potent. It made for an interesting conversation, but soon they did another newer song, and then one of my favorites of theirs, “Discourage Wolf”. They had one left in the chamber after that, and finished a great show with one more new one.

I think the band members were just as skeptical of how this show was going to go as some of the fans were, and giving the circumstances, I was impressed by them.

For an off night, Debbies’ voice sounded great and showed no sign of weakness. In fact, there was one song where she did some screaming, and her voice didn’t even crack. And I did touch on their performance earlier, but this was a real rock show they put on this night.

Keep up to date with them and see when they’ll be playing, and if you can, go to a show. You’ll be glad you did. Besides, both times that I’ve seen them know Debbie has been sick and had to hold back on her singing, so if their this incredible on an off night, no telling what they’re like at 100%.

There was one more band I wanted to see at the arts festival, but I killed some time by going into the Curtain Club, then going to the Deep Ellum stage to see Vinyl Pilot.

I got there a little late, and the band was finishing up one song, which they eventually wound into “Watch It Grow Old”, from their older “So far, By Far” EP. The stage was smaller, especially with all the gear and five guys on it, but they didn’t let that hinder them, especially not lead guitarist Kyle Burkett, who was moving all over stage left, tearing it up on his guitar. He wound them seamlessly into their next song, which is the following track from that EP, “Keyword Optimism”. “Lock your doors and close your windows. So far, by far this is the worst time that I have ever had…” sang singer and rhythm guitarist Jeff Lowe, whose voice perfectly fits the upbeat, in your face style of Alt/Rock with touches of Pop that the band plays. They stopped long to briefly chat with the crowd, and then announced their next song was a newer one, before launching into it. So far, it had been strictly about the music so far, but they, or rather the bands newest addition, bassist Patrick Hunter, had some fun with the crowd now. He mentioned how lovely everyone looked, saying that they all ranked probably a nine and a half. “…Alright, alright, I’ll say a ten…” he said all serious like, like he was rating an official contest or something. “Bet You Won’t” was the next song in the setlist, but it didn’t being like it normally does, instead they had worked up an awesome intro for it, which just had the quintet, including keyboardist Chase Eriksen and drummer David Tapp just jamming. They were going all out and it lasted a few moments, before subsiding, highlighting Jeff’s singing for a moment as the song officially got underway. They kept up the high-energy pace of the show with the arresting “No Way in Hell”, but soon shook things up with the title track of their latest EP, “A Beautiful Disaster”. Beautiful is exactly what it is, with the notes Chase plays on the keyboard being nothing short of heavenly, while the lights guitar and bass lines accentuate it quite well. It’s not all serene and relaxing, though, eventually growing into a beast of a rock song, and in my opinion, it doubles as being the most intense song in their arsenal. With that, their 33-minute long set (well, that was what I caught of it anyway) was almost up, and they ended with a new, non-album song called “The Great Unknown”. It’s the perfect title for a song to close with, and left things on a good note.

This was the best Vinyl Pilot show I’ve seen yet, even if they didn’t have as much room on stage as they did at the last venue I saw them at. The reason I liked this one so much more is because they seemed more cohesive here. They were all in synch with one another, and I loved how Kyle segued them from one song to the next early on in the set. It gave things a very fluid feel, and I wouldn’t complain if they did even more of that.

And going back to the cohesive thing, Patrick meshed much better with them than he did on February 1st when he played his first show with them. I don’t mean that just in the sense that they’ve gotten more accustomed to each other, either. He added some comical relief of sorts with his occasional dialogue, and got a good rapport going with the audience.

Their an all-around great band, and if you want to see a show for yourself, well they have a free one coming up on June 5th at the Rockin’ Rodeo in Denton. They’ll be opening for Bowling for Soup, which is all the more reason not to miss out on the show. You can also find both of their EP’s in ITUNES, which I’d suggest checking out.

Night one of the arts festival was pretty fun, and I got to see some great bands, but just because the festival was getting ready to close for the night didn’t mean the night was over, as I headed back to the Curtain Club for some more music.

It had been over a month in the making, but this night was finally the night of the WhiskeyBoy Radio, RYA Entertainment and The Music Enthusiast presented show at Reno’s Chop Shop in Dallas.

It had been a while since we had put together a show (actually last August when WBR did their benefit show to raise money to help the fight against breast cancer), so this was long overdue.

Five great bands had agreed to play the show for us, and after one dropped of just a week before, Bawcomville was kind enough to fill the vacant spot for us.

About a year or so ago the band’s singer, Jeycin Fincher, had done a hilarious interview on an episode of WhiskeyBoy Radio, which was how I was introduced to the band, bust since their shows are very few and far between, I had never really had an opportunity to see them.

The band released a solid EP almost a year and a half ago, but near as I could tell they didn’t do anything from it, unleashing a slew of new songs on the small crowd that had gotten there by 8:30 to see them play.

I knew they were a rock band, but what I had listened to gave the impression that they were more of a softer rock band, so when they busted out of the gates with a killer, loud rock song, I was pleasantly surprised. They didn’t let up, either, tearing through three more songs and upping the energy level more with each one. At this point, WhiskeyBoy himself made a reference to the interview he had done with Jeycin, calling out a “sponsor” Jeycin kept naming, called “cunt nectar”. This obviously got some strange remarks from some of the people who didn’t get, as Jeycin joked not to mention them anymore, as they had decided to drop their sponsorship of Bawcomville. They got back to their music, rocking out four more songs in their 34-minute long set. Jeycin mentioned they had two more songs than they would “stop bothering everybody”, but it turned out that drummer, Ryan Pogue, had really gotten into it, and broke his kick drum pedal. That almost forced them to cut their set short, but luckily Doug of Long Sword Spectacular was nice enough to loan them his pedal, allowing them to properly finish out their set.

Part of it is probably because I was expecting something different, but the guys of Bawcomville were out of this world. Jeycin has a killer voice and he owned it on the guitar. Aside from that, he added some funny moments to the set, saying thanks after almost every song, but saying it in a high-pitched voice that sounded like it could have been well suited for a cartoon character. Both bassist, Chris Nutt, and guitarist, Derek Bennett, put on just as mean of a live show, moving all about the stage and shredding on their respective instruments, while Ryan solidified the rhythm section with some flawless drumming.

Catch the band on Saturday, May 4th at the Tentacle House in Plano (see their FB page for info). Also, pick up a copy of their self-titled debut EP, and hopefully soon they can get some of these newer songs laid down and released.

Long Sword Spectacular was up next, and one of only two bands on this bill that I had seen before.

The Hard Rock trio started their 43-minute long set with singer and bassist, Josh Harelik, giving shout outs to all three parties who put the show together, and then they got their first song underway. That song was “Manhunt”, which quickly immersed everyone in their heavy Hard Rock sounds, which even has some tinges of Metal thrown in. “…I’m the devil incarnate and I’m here to say… I’m on a mission of killing all my enemies…” growled Josh at the end of the first verse, leading into the chorus. That was one of the songs from their 2012 self-titled debut album, but they also did a few of their newer songs, like their next one, which drummer, Doug Jones, guitarist, Daniel Reid, and Josh segued perfectly into. It was during that track that Daniel let loose a wicked little guitar solo, and once they had finished with that song, Doug started the drum part for “Hey (We Want You)”. He patched them seamlessly into the song, which was then followed with another new number. They had been owning it thus far, and had everyone enthralled, but they managed to kick things up a few notches with the intense and gritty “Firewalk”. There are a few instrumental stretches during that one, which freed Josh from the microphone, allowing him to move and thrash about to the music. I also really enjoy that tune because there’s a certain sense of urgency to it, which only grows the deeper they get into the song. They cranked out some more new ones afterwards, and before one of them Josh shouted, “…We’re gonna take you all to Babylon!”, as they tore into the song. It wound up being my favorite song of their set, partially due to the lengthy instrumental break they took, which showed off what outstanding musicianship all three of them have. When he spoke in between songs, Josh did so with a lot of enthusiasm, and now he excitedly told everyone they did have CD’s for sale, but left out the price, as he checked with Doug. “…For pay what you want!!!” he shouted. They did one last new one for the night, saving three of their heaviest hitters for the final songs. One of those was “Threat Display”, which could be considered the bands anthem in way, with the opening line being, “When the dead rise, red fills the eyes. Revenge sparks the fire. LSS for hire…”. “Dead Soul (Down the Hatch)” was probably the most fun song of their set, with Josh switching up the lyrics at the beginning, incorporating Reno’s into the story that the song tells. It really is a story, too, and one I laughed at a few times, because how many songs have the line “…I smoothed out my mustache…” in them? I don’t think many do, but as fun as it was, it was also a serious Hard Rock song with a thick rhythm section that shook your innards. The final track on their album, “Breakin’ Loose”, was also the final song of their set, and brought it to a fiery finish.

They put on the most fun show I had seen in a LONG time (with the exception of a certain band I had seen the previous Sunday). They were up there having what looked like the time of their life’s putting on a legitimate rock show, and their songs only added to that fun.

That’s the thing about their music, there is a light, fun quality to most of them, despite the fact they are very heavy and more Metal sounding. That in turn is what makes them so enjoyable in my opinion, because while there is a bit of anger to Joshs’ voice and all the other Metal traits are present, too, they don’t fit the stereotypical mold, and have a style that is all their own.

They stole the show this night, and every other band could only hope to be as half as good as they were.

Their next shows will be on May 10th at the Rail Club in Fort Worth opening for Saliva. On June 1st they’ll be in McKinney at Dawgz ‘n’ Hawgz. The next week, June 8th, will find them in Dallas at the Liquid Lounge and on July 5th they’ll be playing O’Riley’s in Dallas. Also, be sure to check out their record in ITUNES.

Smack dab in the middle of this show was the Dallas based Rock band, Always the Alibi, who had been laying low for most of the year thus far.

They had some surprises for everyone, but first up was one of their songs from their debut EP, “Wave on the Sand”. They’ve changed up the intro of it for the live version, and personally I like it so much better, as it just has a slicker sound to it. That got them off to a strong start, and they built on it with one of their newer songs, “Edge of the World”. Now, during their time off from the club circuit, they’ve been working on some new material, and now they were ready to debut one of those brand new tracks, which was titled “Twelve Years”. It was a really good song from what I remember, but I was more wowed by the other new track they would eventually get to. At this point, guitarist Kelly Panter mentioned that he and singer/guitarist Henry Coke had done an interview for my podcast the week before, with Kelly warning everyone of how I “tricked” them. “…He gave us beer and Victoria Secret mailers to look at…” he told everyone. Yes, it’s true, but I was informed that beer and Playboy’s were a part of their rider, so I the best that I could with what I had. Ha. Several more tracks from the “We Are Waiting” EP came next, like the one that was for the ladies, “Beautiful Girl”. They wound it right into one of their best rock tunes, “Dream”, with the killer chorus, “…Go on, move on knowing I was never enough.”, which Henry sang with real emotion. “She’s Letting Go” was another standout track with its at times blistering guitar solos, but it paled in comparison to their next one, “Ain’t Another Girl”, which packs a punch that most songs could only hope to have. Some more funny banter ensued as Kelly mentioned he had used the bathroom earlier and talked about how bad the conditions were. “…[It] smells like sex…” he said, jokingly accusing WhiskeyBoy of getting it on and being responsible for it. They then tackled another brand new song, which was one I had been looking forward to, called “My Little Ghost”. It started off very quiet, mainly with Henry strumming his axe, but after awhile grew into a real rock number, with bassist Evan Scates and drummer Richard Muenckler getting a good rhythm section going. Like I said, out of their two new ones, that was my most favorite, and whenever they get around to recording their next album, hopefully it’ll make the cut. They had a few more songs planned for everybody, but their set got cut short when they were informed they only had three minutes left.  “We Are Waiting.” They all said after looking at one another, opting to close with the title track of their EP. That rock anthem capped off their 38-minute long set, and they raced through it, slowing up near the end for some audience participation where Henry asked everyone to shout “You know, you know, you know” after his “Come on, come on, come on.”, but few people did. Soon, he gave the sign to Richard, Evan and Kelly to move on as they got into the final stretch of it.

I hated that their set got cut short, ‘cause they had a couple more songs to do that I would have liked to have heard, but oh well.

They were able to dish out all the highlights in their time on stage, which was the most important part, and they put on a great set, too, with a nice blend of awesome rock and humorous banter in between some songs. Part of me even wants to say this was the best show I’ve seen them do yet, due to all the new material they did and how amazing it was. Quite honestly, it’s even better than some of the stuff on their debut EP, which is saying a lot.

You can get a free download of one of their songs on REVERBNATION, and if you lie it, get the rest of the “We Are Waiting” EP in either ITUNES or BANDCAMP. Also, see them on May 3rd at The Boiler Room in Dallas.

A Rook/Metal band by the name of Zativah Kid was next, and from the one song they had available to listen to, I didn’t really think I’d like them.

Their first song proved my assumption wrong, though. They, too, were a Metal/Hard Rock band, with even hints of Punk Rock, I thought, which sounded fantastic in the live setting. They ripped through their 34-minute long set, doing songs such as “Destroyer”,  “Hereatic”, “Killer Freakout”, “Reality Check” and many others, eventually getting to their closer, “Fast, Wet and Easy”. While doing that song, drummer, Danny, did a solo on his massive kit, and as the song came to an end, singer, Coz Kalamity, jumped of the stage and into the crowd of people who had gathered around and had a small mosh pit going.

The live show is definitely where it’s at with these guys, who had an abundant amount of energy. Coz displayed the majority of it, racing all over the stage, and it’s also worth noting that he had a much better voice than I was anticipating. The rest of the band may not have been quite as active, but guitarists Chris Zativah and Blaise, bassist, Brian, and Danny are excellent musicians.

Go see ‘em if you have the chance, and I know I wouldn’t mind seeing them again. They have two shows coming up at O’Riley’s in Dallas, one will be on May 10th, and the other is July 5th.

Responsible Johnny was the final act of the night, and personally, I just didn’t dig their style of Punk Rock. I am grateful to them for playing the show for us, though.

You can find their three albums in their store on REVERBNATION, and they are $5 each. As for shows, they have one coming up on June 14th at O’Riley’s in Dallas.

The turnout was rather light, but all in all it was still a great show from the quality aspect, and another big thank you to all the bands for playing and Reno’s for hosting the show.

Speaking of Reno’s I want to put my two cents in about the venue. It has been typecast as a venue for Metal bands and a biker bar. Yes, they do host a lot of Metal shows, and sure, there are some bikers in there at nights. I’ll admit, that’s what kept me away from the venue for so many years, until finally going there about two years ago.

The place isn’t nearly as bad as some people might think, though. The handful of shows I’ve seen there have been great ones. The sound, while not on the level of some of the bigger name venues in Deep Ellum, is better than most. And the crowd at most of these shows is the same you’d see at any other venue, in the sense that it’s just people who want to see live bands, and not a ton of scary looking bikers.

The way Reno’s is now, it’s not worthy of the bad rap it kind of has, and if you’re a music fan and know of a show going on there, go see it. And bands, see about playing there. They do put on some Rock shows at times, like this night for instance.

I seldom see the larger national touring bands that come through Trees, and honestly, I didn’t have much interest in the one that was playing this night, but the lineup of local talent was superb.

There were four opening acts on this bill, which meant the show was getting started early, and shortly after 7:15, Thrown took the stage.

I had seen the band before a few years back (2010, or maybe even 2009), and recently they seemed to have fallen off the map, making me think they had disbanded. That’s not the case, though. Rather, they had been regrouping, and tonight was their first back.

They had some new material under their belt, but this 28 minute long set consisted mainly of stuff from their debut record, “The Beautiful End”, like the lead track which was also the show opener, “Bleed Like Me”. It was a supercharged rock tune, and while Trees was pretty vacant at this point, the people who were there were gathered around the stage, obviously being drawn in by it. They followed it with another track from their old record, “Nothing Left”, which was another heavier rock number. “The One” came next, which was heavy on the rhythm, with bassist, TreVice Layne, and drummer, Brent Matthews, dominating the song, but also featured a blistering guitar solo from Brad McFarland, which helped balance out the song. The highlight of their set (at least in my opinion) was “Ignorance”, whose lyrics are even better than most of their other stuff. “…My eyes grow tired of seeing all the shadows that you cast…” shouted singer, Greg Vinson, on the chorus, his voice perfectly fitting the style of rock they play, and could easily compete with the best of them. They cranked out another song, and as their set neared the end, they pulled out their newest songs that they have released for their fans to listen to. One of those was “Back to Stay”, which shows they’ve kept with what works best for them, sounding similar to their other songs, but there’s a little bit of growth also noticeable in it. Their final was “Drunk On Hate”, which is arguable the most powerful out of those new ones, and brought things to a strong finish for them.

I really don’t remember much about them from the first time I saw them, other than really enjoying their music and their live show. The music was still great this night, even better than what I recalled, but the live show… Well, they did what they good, and it wasn’t really their fault. There was a full backline this night, and out of all the bands, Thrown had the least bit of room on stage, and Greg, Brad and TreVice were pretty limited on where they could move, and basically had to stay in the same place for their entire set.

You could tell they were wanting to do more in terms of their performance, too, but just couldn’t.

That aside, it was a really good show, and I’m glad to see that the band is back in action. They had a lot of promise when I first saw them and they still do, so if you have a chance, go see them live. Also, you can buy their first album in ITUNES.

The second act of the night was Awake In Theory, who hails from all over the D/FW metroplex, and honestly, I was surprised they were going on now, because I thought they deserved the third slot. Oh well, they’ll get there in due time.

The band through me for a loop by beginning with a song that is atypical when compared to the other shows of theirs I’ve seen, “Playing the Villain”. It worked better than I thought it would, throwing everyone right into their barrage of Alt/Rock sounds, and for a show like this, you do need to get people’s attention right off the bat. As it ended, guitarists, Brad McCain and Terry Kimmel, drummer, Raymond Chambers, and bassist, Adam Garcia , fired up their next song, while Eric Hawkens offered an explanation of sorts about it. “This song is for anyone who had to do what I had to do this past year, and that’s taking someone you love to rehab.” Said the bands frontman (or at least something along those lines), as they got underway with “Let Go”. It was with that song that deals with some of the hardships of life where their show really came to life. As with all the opening acts, they suffered from some cramped conditions on stage, but they utilized what little space they had, with Eric stepping back when he wasn’t singing, allowing the instrumentalists to get to the front of the stage and entertain the onlookers. After finishing it, Eric mentioned that this was their first time playing the Trees. “…But we’d play here every single night if it meant we could play in front of all of you…” he added, before stating the title of their next track, “Innocence for the Innocent”, a song where Raymond gets to really show off some of his drumming skills. Before their next song, Eric informed the crowd it was one they don’t play too often, which had me curious as to what it was. He couldn’t keep a straight face for long, though, soon admitting, “I’m just kidding, we play it all the time.” Terry then opened up “Barely Breathing” with some haunting and stellar guitar notes. This is the song they’ve opened with the two previous times I’ve seen them, and it’s still my favorite of the bands, plus I just love the line, “…I’m barely breathing, but I’m still healing from this war…”. Their next song was dedicated to everyone who serves in the military, and Eric asked everyone if they see a member of the service to go up and tell them how much they’re appreciated. That led them to “Hero You Hate”, and upon finishing it they had one last song in their 28-minute long set. It was their single, which they recently laid down in a studio, becoming the first song they’ve recorded together, and it’s called “Daddy’s Little Girl”.

It was an incredible show they put on this night, and while they’ve been very solid before, you could tell they stepped up their game for this show. They were wanting to make an impression, and they most certainly did.

They’re a badass rock band who puts on a strong performance, and if you haven’t heard of them already, take a few moments to get acquainted with them.

They have a few shows on the books, beginning with April 27th at ARNETIC in Fort Worth. You can catch them at Six Flags in Arlington on May 4th, and they’ll be in Dallas on May 10th at Wit’s End. They also have another gig at Tree’s scheduled for June 15th.

After their set, I wondered out onto the patio, running into Marc, who plays in the band, The Circle, whom I talked with for a little while.

By the time I went back in, the instrumental trio known as Son of Swan was into the last half of their set.

I’ve only seen the group once before, and even though I only caught a little of their set this night, they managed to blow my mind even more.

Band founder and guitarist, Neil Swanson, is a virtuoso on the guitar and plays it with sheer ease. I’m not even a fan of instrumental music in the least, but music this spectacular doesn’t need lyrics to entertain. And along with the out of this world skills that he, bassist, Steve Wilson, and drummer, Billy Walker, posses, they also can put on an exciting live performance.

I never thought I’d even remotely enjoy, let alone love an instrumental band, yet those are my feeling for Son of Swan.

This show also served as their CD release gig for their debut album, which you can purchase at any live show. That said, they have a few coming up, including April 26th at The Curtain Club in Dallas and May 24th at The Rail Club in Fort Worth.

Serving as the main support band for Adrenaline Mob (not only at this show, but pretty much every single date of this leg of the tour) was San Antonio’s own, Nothing More, and out of all the bands on this bill, I was most excited about seeing them.

When the curtain opened on them, it looked like it was going to be interesting given the bands setup, specifically singer Jonny Hawkins’ drum set, which took up a lot of the space at the front of the stage. They didn’t act like it was much of a hindrance, though, as Jonny  ripped into it, while primary drummer, Paul O’Brien, was seemingly inches behind him, also delivering some hefty beats, which led into “Gone”. That song is always a great one to get started with, but they seemed to be putting more effort into it than usual (which I didn’t think was even possible). Perhaps it was because after being on the road for a while, they were glad to be back in their home state, where every show they did was essentially a hometown show. After all, they’ve been cutting their teeth in the clubs in this area for the better part of a decade, and had several fans singing right along with every word, which I’m sure just added full to the fire. They finished that tune much like it began, with some more epic, aggressive drumming, until Mark Vollelunga suddenly took the spotlight with his roaring guitar riffs of the brief instrumental number, “Under The Eyes of Selene”. Unfortunately, he was stuck on far stage right, out of the way from where I stood and it wasn’t easy to see him, but that was one point of their set where I made sure to give him my full attention. It quickly gave way to the song it’s a prelude to, “Sixty Second Affair”, and while it is the oldest song they currently do (it’s from their ’05 album “Save You/Save Me”), it’s also one of the most forceful of their set. “…Through all the tears, these wasted years, my phoenix fears in you rise again…” Jonny sang, spacing the words just far enough apart to add a real gravity to them. It, too, ended with some duel drumming, and after announcing to everyone who they were, they pulled out one of their new songs, which surprisingly enough was the only new one of their set. I believe the song is called “Friendly Fire”, and you know you’ve seen a band a lot when you can sing (mostly) along to a song solely from hearing it at their past shows. The audience seemed really into this one, and how could you not feel the adrenaline rush while Jonny shouted/sang the chorus, “I’ll keep breaking, breaking, breaking your pride… Until you realize you are no J-J-J-Jesus Christ…” (Note: Those lyrics could be wrong, but that is what I hear at least.) Thus far it had been a very abbreviated NoMO set, but there were two things that I knew would be staples, one which would come later, and the other was their little bass trick. After walking into Tree’s this night, I saw and talked with Mark for a bit, who casually said, “Oh, we worked up a new bass line.” “Cool.” I thought, thinking it would be pretty much the same old thing… It wasn’t. The rod that holds the bass was placed in the wrought iron case that surrounds Jonnys’ drums, Daniel Oliver put his bass in the holster and, with the bass facing the crowd, proceed to play some notes while standing beside it. It was cool, and while Dan was doing that, Jonny was manning the pedal board for the bass, adding some effects to it, while Paul kept some beats going throughout it. It started getting good when Mark stood on stage left of the bass, also plucking at some strings, but that was all still similar to what is done at every Nothing More show. As much of a spectacle as it is, I still was under the assumption I knew where it was going. A few minutes into it and they suddenly both jumped back, as Dan swung the rod holding the bass, sending it spinning around, before stopping with the bass now straight up in the air, but upside down. Jonny then joined them, standing on his bass drum, while Dan stood on a, I’ll call it a small step ladder to reach the bass, and while Mark and Dan held down the stings, Jonny played the bass by using some drumsticks. I should also note they kept the notes from it in perfect synch with the beats Paul was churning out at times, before spinning the bass in a complete 360 a few times, then finishing the piece. Not only was it the highlight of their set, but it was the highlight of the entire night. I also loved it because I had gotten used to the old piece they did, and while it still dazzled me, it felt fantastic getting to watch it through brand new eyes for the first time in a VERY long time. (Note: Check out that action for yourself in THIS video.) By the time they finished that, they were down to their last song, which was the fan favorite, “Salem”. They weren’t done blowing the crowds minds just yet, and near the end both Dan and Mark grabbed some toms, moving towards center stage, while Jonny spun around, playing those two drums as well as his kit. It was a little different from what they usually do, simply because they didn’t have room on stage to go all out, but it still awed. And is the song wound down, they even got the audience to shout the chorus, “Burn the witch!”, back at them repeatedly, concluding their 26-minute long set.

Being completely objective, Nothing More was hands down the best band on the bill. Every band this night had different degrees of passion, but with Mark, Jonny, Dan and Paul, their passion bleeds through every single second of their time on stage, putting it on display for all to see, which makes it very easy to see that this is what they love doing. Hell, it’s obvious it’s what they were born to do.

To me, that’s what always makes them so enjoyable, and I didn’t see any of the other acts leave it all on the stage like they did.

You can find their records in ITUNES, and they also have a few shows coming up, starting with April 24th at the Lizard Lounge in Wichita, Kansas. The 26th they’ll be at Click’s in Baton Rouge, Louisiana, and the following night you can see them at Rock ‘n’ Blues in Covington, Louisiana. Oh, and be back at Trees on June 21st. Why? Because that’s the day they’ll be doing a Dallas CD release show for their new album.

You usually don’t think of an opening act topping the headliner, especially when the headlining band is comprised of veteran musicians, all of whom have been playing for at least two decades if not longer, but Nothing More did in my opinion, and I doubted that they could be topped.

Now it was time for Adrenaline Mob, who is of course a super group featuring Mike Portnoy, Russell Allen, Mike Orlando, and John Moyer. They had definitely brought the people out this Sunday night, and it was next to impossible to even move around in front of the stage.

Perhaps I’m being a little too finicky, but I felt too much time passed before the band finally took the stage, at which point what excitement I was feeling had turned into just wanting them to hurry up and just get it over with.

Let me explain. A stagehand issued a reminder that video recording was not allowed during the show. That was said after the sound check was pretty much complete, which I took as meaning the band was going to start in mere minutes. Instead, no less than fifteen minutes passed, and then the bands intro song started. It wasn’t just one song, though, and part of another followed it, before suddenly stopping as the curtain opened and the band members descended the stairs from the green room.

I was probably the only person there who felt this way, but at this point I was fed up with waiting and felt like they had stretched things out too long. I realize it might not have even been the bands felt, but regardless, that process should have been sped up a bit.

They played practically everything from their 2012 debut album, “Omerta”, kicking off their 70+-minute long set with “Psychosane”. It was great song and a good opener, and upon finishing it, Mike P. hopped up from his stool, standing on his massive drum kit and surveying the crowd. It was a cool moment to say the least. The fans were pulled further in with “Feelin’ Me”, where Mike O. and John raced around the stage, and while performing his guitar solo, Mike held it so the fans could see as his fingers danced up and down the fret board. “Down to the Floor” was my personal favorite song of theirs, but by the time it was over, I was starting to feel like it was the same old song and dance. The songs were sounding fairly similar to me, and they all had crazy guitar solos in them. I thought maybe they were free styling the live versions of the songs at first, which would have been fine, but after listening to their recorded music, I learned the songs are like that, which gives the impression that the solos are there for the purpose of being flashy and showing off. This was also the third song that after finishing, Mike P. again jumped atop his drum kit. I’ve never seen any drummer to that, and it really was cool the first time, but to repeatedly do it, especially so close together, it makes it lose appeal, and rather quickly at that. They did a couple more original songs, which were “Angel Sky” and “Indifferent”, and after the latter Russell turned things over to Mike Portnoy, who talked with the fans for a few minutes. One thing he did was call attention to his drum tech, who slowly stood up from behind the drum riser. “…Did anybody see my first ever show in Dallas twenty years ago?” he asked, informing everyone that this guy set up his kit then, and has stuck with him for all these years. It turned out it was the tech’s birthday, and at the request of Mike everyone sang happy birthday to him. Soon after, Mike got to talking about their newest EP, “Coverta”, saying that each night they had been playing different covers from it, and also mentioned that Tree’s was the first ever venue to get the Adrenaline Mob “hat trick”, or in other words is the only venue in a city to host them three times. When they got back to the music, Mike O. started them in on a very Metal rendition of the Heart classic, “Barracuda”. It was a good cover, but I felt they more just put their own spin on it, rather than taking it and making it completely their own. That was the only cover they did at this point, returning to their original stuff with “Believe Me” and the fast paced “Hit the Wall”. Once they finished it, some acoustic guitars were brought out for Russell and Mike, while John and Mike P. left their posts, retreating up the stairs. Before their next song, Russell told a detailed story about his son, and how one day he and his wife realized something seemed off about him, and after taking him to the doctor found out he had autism. That’s what their next song was about, and he said he wanted to write a song that was meaningful and dealt with something real, which was when “All On the Line” was born. It was a very moving song, and the acoustic beginning made sure the words carried the weight they deserved. That’s not to say it was lessened when Mike P. and John rejoined them, though, turning it into a full-blown rock song. After ditching the acoustic guitars, they got back to the specialty, loud Metal, by cranking out “Come Undone”, while the lead track from “Omerta”, “Undaunted”, ended the main set.

By this point, they had played about thirty minutes longer than I would have liked, and I had pretty much checked out at this point, but of course, an encore was coming…

Mike Orlando walked back out on stage first, but no one else followed. The stage belonged to him for a minute or two as he shredded on his axe, doing a guitar solo that everybody ate up. Soon, his band mates joined him on stage, for an encore that was all covers. Led Zeppelin’s “The Lemon Song” was first up, which was were Russell showed his vocal chords do have some range to them, singing in more of a soulful/bluesy voice, rather than the one tone yell he had used for the majority of their other songs. They had a special guest join them on their next song, and John left the stage, turning the bass duty over to Rex Brown, best known from being with Pantera. He helped them tear it up on Van Halen’s “Romeo Delight” and he’s got some serious chops, slapping the bass and rocking out the riffs with ease. John came back out on stage when it was finished, and after they all thanked Rex for helping them out, they closed their show with the song that I believe was the first one they ever covered as a band, “The Mob Rules” by Black Sabbath, which, given the band’s name, is an appropriate track for them to cover.

That was that, and I was glad it was finally over.

I said it earlier and I’ll say it again, I felt like a vast majority of their material (covers included) sounded pretty much the same. As seen on that cover song, Russell is capable of an extraordinary range, but they never really explored that, and instead he maintained pretty much the same deep tone on every single song, to the point it got rather monotonous. I also felt that both Mike’s were a little too flashy. There’s beauty in subtlety, and while Mr. Portnoy did get a little better about not always standing on his kit at the end of each song, he still did it too close together at times. Make people wait for it, instead of having fans (or at least me) thinking, “Oh, cool, he’s doing that again.”

Then you have Mr. Orlando, who did a guitar solo during every single song (covers included), and it didn’t sound like they were thrown in there, but rather that the entire song was built around the solos. Again, there’s beauty in subtlety, and if you do a solo of any type (bass, drums, guitar, etc.) during every single song, it quickly becomes overkill. Besides, personally, some of my favorite guitarists are the one who strum with precision and ease, only cutting loose and shredding periodically, instead of going all-out all the time.

I want to point out I’m not at all questioning their musicianship. I know many drummers who cite Mike Portnoy as one of their biggest influences, and after seeing him live, I can see why. About the same can be said about Mike Orlando, and despite what my thoughts were, there’s no way you cannot think he is one of the best guitarists of this era.

And even though my statements speak to the contrary and are my personal thoughts, being totally objective, I have to say they succeed at putting on an entertaining show.

Oh, and if anyone is wondering why I’ve neglected John Moyer, it’s because out of the whole bunch I thought he was the most well rounded. His talent was impressive, but never over the top, and he just had a good aura about him.

The band’s current tour may be over, but I believe they will be tackling the West Coast in the near future (keep an eye on their TOUR DATES page), and to purchase their music, head over to ITUNES.

Well, the local openers were by far the best in my opinion, and as much as I hated paying $20 to get into a show, Nothing More, Son of Swan, Awake in Theory and Thrown made it more than worth it.