On September 23, 2024, Till Lindemann, the iconic frontman of Rammstein, brought his solo tour to The Fillmore Detroit, turning the historic venue into a chaotic, immersive spectacle of music and provocative visuals. With a setlist featuring a mix of his solo projects from Skills in Pills to Zunge, and some shocking theatrics, the audience was immersed in Lindemann’s unapologetically raw universe.

Opening with support acts Twin Temple and Aesthetic Perfection, the stage was set for a night of genre-bending performances. Twin Temple’s satanic doo-wop perfectly juxtaposed Aesthetic Perfection’s dark electro-industrial vibes, but it was Lindemann’s entrance that truly captured the night. Starting early at 9:15PM, he dove into a set filled with industrial metal carnage, performing tracks like "Platz Eins" and "Ich Hasse Kinder"​.

Aesthetic Perfection : By Chris Balow

Till’s notorious live performances are renowned for their shock value, and Detroit was no exception. Backed by dummer and Rammstein opener Joe Letz on drums and Danny Lohner (ex NIN) on guitar; Industrial metal fans have a lot to rejoice in here. Constance Day on keys and Jes Paige on guitar aide Till in some of the extended song shenanigans. Between flame cannons, grotesque props, and his firing of herring and mackerel out of an air cannon, Lindemann transformed the evening into an intense experience. Songs such as "Golden Shower" and "Praise Abort" provoked gasps, but also raucous cheers, as fans reveled in his dark humor and boundary-pushing antics​.

As the night progressed, the German musician's powerful voice commanded the room, amplifying the tension and thrill of each track. By the time he closed the set with "Schweiss," the crowd was left exhausted yet exhilarated. The concert wasn't just a musical event—it was a visceral, in-your-face performance art piece that lingered in the minds of attendees long after the final chords were played​.

For fans of Till Lindemann, Detroit's concert was a testament to his mastery in blending music with theatrics to create an unforgettable sensory experience. Check him out on the rest of the band's North America Tour! 

By Chris Balow 

Clarkston, MI — Pine Knob Music Theatre, one of Michigan's most iconic outdoor venues, was buzzing with energy as Cage the Elephant and Young the Giant took the stage on a memorable summer night. Fans from all over the state gathered under the stars to witness an unforgettable double-header concert filled with powerful performances, nostalgic hits, and an unparalleled display of rock energy.

A Blend of Genres and Generations

The atmosphere was electric well before the first note was played. Pine Knob's lush, natural setting provided the perfect backdrop for an evening of genre-defying music. With a crowd that ranged from die-hard rock enthusiasts to casual listeners, the concert was a blend of generations, all united by their love for alternative rock.

Young the Giant, the California-based indie rock band known for their melodic and introspective sound, kicked off the night with a spirited set. Opening with "Jungle Youth", "The Walk Home", and then their smash hit "Cough Syrup," the band immediately had the crowd in the palm of their hand. Lead singer Sameer Gadhia’s powerful vocals soared through the amphitheater as the band delivered a masterful mix of tracks from their catalog, including fan favorites like "My Body" and "Mind Over Matter."

Their performance was polished, yet intimate. The band’s chemistry was evident, with each member feeding off the energy of the crowd. Gadhia frequently interacted with the audience, expressing gratitude for their support and reminiscing about how they have evolved as a band. "Early on you draw from your musical influences, but over time you learn to focus your mind on the environment and your surroundings" said Gadhia before diving into "Mind Over Matter." The only thing that could make their set better would have been the inclusion of "Something to Believe In".

Cage the Elephant Takes It to the Next Level

As the sun dipped below the horizon and the stage lights took over, Cage the Elephant prepared to unleash their signature brand of frenetic, high-octane rock. Known for their electrifying live performances, the Kentucky-based rockers did not disappoint. From the moment frontman Matt Shultz emerged in a flamboyant, multi-colored outfit, the crowd knew they were in for a wild ride. 

Opening with "Broken Boy" from the album Social Cues, Shultz’s theatrical antics and raw energy immediately captivated the audience. His erratic, unpredictable moves weren't limited to the fact that he broke his foot about a month ago. I've never seen anyone rock out that hard on a knee scooter. Brad Shultz immediately jumped off stage and started playing for the fans on the rail, as 8ft tall flames burst from the stage. During "Spiderhead" Brad seemed to be having some technical difficulties with his guitar which he promptly smashing into pieces. As he was passed a new axe, he was laughing and smiling hanging out pieces of the guitar to the audience in the pit.  The band seamlessly transitioned between their more recent tracks off Neon Pill and older hits, sending fans into a frenzy with songs like "Cigarette Daydreams." and "Ain't No Rest for the Wicked" which had it's guitar solo cut due to a technical problem. Matt told the crowd that Nick's solo was "too good to miss" so they played it three more times which added a fun comedic element to the evening. 

But it wasn’t just about the hits. Cage the Elephant used the platform to experiment with their sound, delivering extended jams and breakdowns that highlighted the musical prowess of each band member. Guitarists Brad Shultz and Nick Bockrath led the charge with blistering riffs, while drummer Jared Champion kept the energy levels high with thunderous beats.

Shultz’s vocal performance, raw and full of emotion, brought a palpable intensity to the show. During the performance of "Trouble," he slowed down the pace, allowing for a more introspective moment, as fans sang along in unison. The night reached a fever pitch during the final encore when the band exploded into "Come a Little Closer," leaving the crowd in a state of exhaustion. 

An Unforgettable Night

The concert was more than just two bands playing their hits. It was a celebration of alternative rock, of live music, and of the connection between artists and fans. Young the Giant’s melodic introspection paired perfectly with Cage the Elephant’s chaotic energy, creating a dynamic contrast that kept the audience engaged from start to finish. 

As the final chords echoed through the amphitheater and fans slowly filed out of Pine Knob, there was a sense of shared experience in the air. The night had been a reminder of the power of live music — a spectacle of sound, emotion, and human connection that left a lasting impression on everyone lucky enough to score a ticket.  Cage the Elephant and Young the Giant had delivered one of the most memorable performances of the summer at Pine Knob. 

Photos & Words By: Chris Balow 

Weezer, the iconic alternative rock band that has been delighting fans for over three decades, "drove" into Pine Knob Music Theatre Sunday night with their Indy Rock Road Music Tour. From humble beginnings in the early 1990s, Weezer quickly gained recognition for their distinctive sound and introspective lyrics. With their geek-chic image and catchy melodies, Weezer became a mainstay of the alternative rock scene. We caught their 2021 tour with Green Day in the scorching summer heat, but we now had the opportunity to see them as a headliner in full control of the setlist. 

As the Indy Rock Road Music Tour kicked off, fans were treated to an immersive experience, reliving the band's journey through their extensive discography. From the crunchy power chords of their early works to the polished pop-rock of their later albums, Weezer brought their signature sound to life on stage, captivating both longtime devotees and newcomers alike. 

One of the highlights of the night was the band's masterful performance of two tracks off their acclaimed second album, "Pinkerton." Initially met with mixed reviews upon its release, the album has since gained a cult following and is regarded as a pivotal moment in Weezer's musical evolution. The raw emotion and introspection poured into tracks like "El Scorcho" and "The Good Life" resonated deeply with fans, who were overjoyed to witness these songs performed live with an unmatched fervor.

Weezer paid homage to a wide variety of tracks from their catalogue. Some of the standout performances of the night were "Island in the Sun", "Perfect Situation", and "All My Favorite Songs." This cross-pollination of styles demonstrated the band's commitment to pushing the boundaries of their genre and their desire to bridge the gap between generations of music lovers. Each night of the tour, Weezer selects a special song to play for the fans. It's a fairly difficult choice considering the volume of songs that they have to select from. Fans were treated to my personal favorite song "In The Garage" which frontman Rivers Cuomo tells everyone was about him carpeting over the door of his garage because he didn't want anyone to see him performing. It's quite a bit of performance irony now that 19,000 plus fans are watching him perform the track live. 

Weezer's Indy Rock Road Music Tour was not just about the music; it was an immersive visual experience as well. The band's massive vehicle dashboard (complete with rear-view mirror) design and windshield made the crowd feel like they were on a journey. Cuomo asks the crowd "How do you like Weezer's driving?" several times trough-out the set as he traverses up from the front of the stage to a microphone on top of the dashboard next to drummer Patrick Wilson.  Weezer's stage presence was nothing short of entertaining. 

Before the band launches into the mega-hit "Say It Ain't So," Cumo tells the audience "Even Michigan potholes can't stop this road trip." Cumo wishes the dads in the audience a Happy Father's Day as he pulls out his Polaroid camera. "It's not an official road trip until Dad takes a photo," he says. With the strumming of first couple chords, the crowd erupts in cheers. They're happy to sing the chorus with an overwhelming volume. 

As the night came to a close, Weezer left an indelible mark on the indie rock landscape. Their music has become a soundtrack to the lives of millions, and their live performances continue to ignite the hearts of fans worldwide. Weezer's Indy Rock Road Music Tour exemplified their enduring legacy, proving that their brand of alternative rock remains as relevant and impactful as ever. It was a thrilling celebration of the band's evolution and impact on the indie rock genre. With a diverse setlist spanning their illustrious career, the tour showcased the band's versatility, artistry, and unwavering dedication to their fans.  As the final chords of "Buddy Holly" echoed through the venue, it was clear that Weezer's Indy Rock Road Music Tour is one to not miss this summer! 

TAS Rights Management TAS Rights Management

By: Chris Balow | Vital Radar Photos: TAS Rights Management 

Taylor Swift, the iconic singer-songwriter, has embarked on a groundbreaking tour that celebrates her evolution as an artist, aptly named the "Eras Tour." This tour takes fans on a mesmerizing journey through Taylor's diverse discography, spanning her career's various eras. With each era representing a unique chapter in her life and musical style, the Eras Tour offers a visually immersive experience, showcasing Taylor Swift's growth as an artist and captivating audiences worldwide. A packed 60,000 seat stadium at Detroit's Ford Field was full of Swifties awaiting their 44-song sing along. Here is what happened in each Era! 

Lover Era: Starting off the night we are launched directly into the Lover era. The stage blossoms with colorful visuals as dancers parade with peacock like fans, surrounding Swift who is elevated on a platform in the center. Taylor enchants the audience with heartfelt performances of tracks like "Miss America & The Heartbreak Prince" and "Lover," creating an atmosphere of love and celebration. The Lover era emphasizes Taylor's personal growth and maturity, leaving fans in awe of her ability to connect through her deeply personal songwriting.

Red Era: This was Taylor's ode to love, growth, and moving on to a new turning point in her musical journey. Fans are sining along in sync with the opening and closing of a magic red box that ultimately launches a band of balloons that traverses up the huge video wall. The Swifties are awash in a sea of crimson hues, creating an atmosphere reminiscent of the era's emotional intensity. Swift's performances during this segment showcase her transition from country to pop, as she flawlessly delivers hits like "I Knew You Were Trouble" and "We Are Never Ever Getting Back Together." The energy is palpable as the crowd sings along, reveling in the nostalgia of this transformative period.

Folklore and Evermore Eras: A cozy Intimacy of trees and moss has Taylor beginning an enchanting dive into the folk-inspired eras of Folklore and Evermore. During the set she mentioned that this was one of four albums that she began creating from her home at the start of the pandemic.  The stage transforms into an intimate setting, adorned with fireflies and massive knotty tree like something out of Game of Thrones. Taylor's stripped-down performances of soul-stirring tracks like "Cardigan" and "Willow" create a profound connection between the artist and her audience, evoking a sense of introspection and vulnerability. The Folklore and Evermore eras represent Taylor Swift's ability to adapt and experiment with new genres, solidifying her status as a musical powerhouse.

1989 Era: A Pop spectacle next, the Eras Tour transports fans to the vibrant world of Taylor's 1989 era. The massive stage undergoes a dramatic transformation, reflecting the colorful and energetic "Style" of Taylors orange outfit. Throughout the night she's swapped outfits with a magician like precision.  Swift mesmerizes the audience with captivating renditions of chart-toppers such as "Shake It Off," "Blank Space," and "Bad Blood." The 1989 era showcases Taylor's mastery of pop music and her ability to reinvent herself, leaving the crowd in awe of her evolution as an artist.

Reputation Era: Unapologetic Artistry The Eras Tour then delves into the enigmatic Reputation era, characterized by its darker themes and edgier sound. Clad in a black and red bodysuit, a massive snake slithers across the screen. The stage transforms into a spectacle of darkness, illuminated by mesmerizing visuals and pyrotechnics. Taylor's performances during this segment exude a fierce confidence, as she belts out anthems like "Look What You Made Me Do" and "Delicate." The Reputation era exemplifies Taylor's willingness to take risks and challenge her own image, and is a stark contrast to the music that was from the earlier eras.

In perhaps one of the most exciting parts of the evening, Taylor elects to join the fans at the end of the stage for the two tour-debut songs of the night. First up was an acoustic version of "All You Had to Do Was Stay." Then quickly a piano emerges up from the floor of the stage, and Taylor does a beautiful rendition of "Breathe." She then does a swan dive into the open hole in the stage as the video seamlessly transition Swift as if she is swimming back to the front of the stage. 

Midnights Era: The evening ends with the newest record Midnights. A ladder quickly disappears into a 40ft. cloud, as the stage of "Lavender Haze" begins. Everything is perfectly curated and timed so that the audience never loses focus on the performance. The crowd is pumped up and ready to sign loudly during "Anti-Hero." Many of the homemade shirts we saw had this tracks lyrics all over them. Other standout songs here are "Midnight Rain" and the evening's closer "Karma". 

Taylor Swift's Eras Tour is an extraordinary celebration of her artistic evolution, encapsulating the essence of each era through mesmerizing performances and breathtaking stage designs. From the country roots of Red, to the pop spectacles of 1989, and the unapologetic seductiveness of Reputation; this is THE definitive ticket of Summer 23'.

Years from now, if the walls of Saint Andrews Hall could talk, they'll still be crooning about The Blue Stones and The Velveteers ripe with so much talent; yet playing such an intimate venue.

The Velveteers were first up on Friday night, with their amplifiers covered in hot glued sequins, and mannequin parts strewn all over the stage. The Velveteers are a band who are redefining the concept of a power trio. Though their jaw dropping sound features a baritone guitarist and two drummers, conjuring a boomy but stripped-down attack, with Demi Demitro's lead vocals the sole concession to high end. The end result is a gut punch of of garage rock sound engulfed in chest thumping percussion. They are one of those bands that if you showed up late for their set, the venue would be buzzing with a few jaws still on the floor.

The Velveteers are touring under their first full length album "Nightmare Daydream" which was produced by Dan Auerbach of The Black Keys. The doubletrack drums gives their whole performance this very primal sound. Visually, it's incredible intoxicating to watch the duo of Baby Pottersmith and Jonny Fig smash the skins in tandem. I feel like I am listening to the guitar groove of Queens of the Stone Age on their track "Charmer and the Snake" but with Queens being fronted by Grace Potter. Demi has incredible stage presence climbing on top of the drum kit, ripping through a riff while on her knees, and raking the guitar strings over the lip of the stage to completely finish off the end of their set. It's an impressive 9-song performance that had me transfixed during every song. 

The headliner for the evening are the duo from Windsor, Ontario The Blue Stones. Drummer Justin Tressier and guitarist/vocalist Tarek Jafar are no stranger to the Detroit music scene. Rapidly moving their way up from playing smaller venues like El Club and The Shelter, this is their first headlining gig at Saint Andrews Hall. Jaffer commented multiple times during the set that the duo "dreamed of playing this room after watching some of our favorite acts as patrons here for many years." It's certainly a well deserved upgrade as the original show was to be held in the The Shelter below Saint Andrews but sold so many tickets that it needed more space so it was moved to the venue above. 

The Blue Stones are touring under a 3rd full-length studio album called "Pretty Monster" released last November. The album is striking departure from their 2021 record "Hidden Gems" which still makes up over half of the songs played this evening. I enjoy both albums equally because they weren't carbon copies of the same style regurgitated and spilling over from one record to another. The duo opens with the track "Healing" from "Pretty Monster" and primes the crowd for tennis match between these two great records. Standout tracks like "Stay With Me" and "Good Ideas" were exciting to hear live for the first time. Tarek revealed that he wrote "Good Ideas" as a recollection when he struggled with writers block and was concerned that he wouldn't create anything good again. In one of the best performances on the night, The Blue Stones launched into the groovy riff on "No Angels" and it had the crowd moving. 

The "Hidden Gems" tracks resonated well with audience too. "Grim," "One By One," and of course the closer on the night "Shakin' Off The Rust" proved that these Canadians have graduated to the big time. In an oversaturated genre, The Blue Stones stand out by luring you in with their rocking riffs, but stand out by showing your their incredible versatility. 

This is one of the best tours on the road right now, so make sure that you get out and catch these two bands before they're rocking arenas. 

See the full image gallery here: Blue Stones Full Gallery

The Blue Stones Setlist 

Healing

Hear Me Out

Be My Fire

Grim

L.A. Afterlife

Oceans

Stay With Me

Magic

Don't Miss

Rolling With The Punches

Lights On

Good Ideas

No Angels

Happy

Encore:

Careless

Black Holes

Shakin' Off The Rust 

All Words & Photos By: Chris Balow 

Industrial music may not rule the commercial end of the music world these days.

But you wouldn’t know that from the crushing success that Nine Inch Nails had over the past few days. On Friday, the band stopped by the Rock N’ Roll Hall Of Fame to celebrate their 2020 induction. They did a two-hour Q&A session for select fans with some of the group’s most important ex-members. Keyboardist Charlie Clouser,  drummer Chris Vrenna, guitarist Danny Lohner, and guitarist Richard Patrick were all in tow to celebrate their contributions to the band over the past 34 years. I’ll get to more of their involvement in a minute. 

This special one off show from the current U.S. 2022 Tour featured special guests Nitzer Ebb, and a band that Trent often cites as his inspiration to start NIN, Ministry! Al Jourgensen is no stranger to the NIN camp and commented throughout the years that you can hear Trent’s influence from Ministry’s music. Yet no matter the influence, the music ends up coming out sounding like Nine Inch Nails. There are of course similarities, but Trent Reznor always puts his own imprint on the music.

Ministry began the night chugging through their 9-song set covering a bulk of material off of “The Mind is a Terrible Thing to Taste” and “The Land of Rape And Honey.” Veteran guitar players Monte Pittman (Madonna) and Cesar Soto (Man The Mute) power up “Breathe” as the opening track while eyeballing the crowd through the cyclone fencing erected across the front of the stage. Roy Mayorga (Soulfly, Stone Sour) drums with perfect percussion as Al stalks the front of the stage. Jourgensen now has ditched his illuminated cross for a new mic stand emblazoned with a Khonshu bird carcass adorned in a base of human skulls. One of my favorite moments is their cover of Black Sabbath’s “Supernaut” and before you blink their 45 minute set is over.

And now for the headliner!

Nine Inch Nails return for the first time since the end of 2018; part of a string of dates ending with this hometown show. Reznor and company pride themselves on being able to play their entire catalog of music. The opening song for this night is the opening track from 1999’s “The Fragile” the blistering “Somewhat Damaged.” The fog and strobe lights are punishing, breathing in and out like a set of lungs. Then over the next 8 songs the audience gets a triple dose from “The Downward Spiral” with “March of the Pigs,” “Piggy,” and “Heresy.” 

Reznor left most of the talking at the Rock N’ Roll Hall on Friday but noted, “We finally fucking made it here! Thank you for coming out tonight. I love this place, and I have so many memories here as I grew up down the street. So thanks for being here!” 

But it was the return to “The Downward Spiral” with the track “Eraser” that sent the crowd into an absolute frenzy. A second drum kit emerges and so does Chris Vrenna. Danny Lohner struts on stage and takes position next to Ilan Rubin. Charlie Clouser mans a keyboard near Atticus Ross. Finally, with a little bit of extra flair and suspense the cameraman follows Richard Patrick to the stage as he positions himself near the mic stand. NIN is now performing as a 9-piece group with some of its most influential members of all time.  

The band steamrolls through “Eraser” with Patrick taking over on a majority of the vocal duties. “Sin” was then played for the first time on this tour. For an extra special NIN debut, Blossom Music Theater patrons were treated to a cover of Filter’s “Hey Man, Nice Shot” with a full NIN backing band. For the grand finale (which is usually “Hurt”) this nonet of performers tear through “Head Like a Hole.” 

And that is the end. No Encore. No Goodbye. Nothing else needed to be said. Nine Inch Nails absolutely crushed this show and left nothing else on the table. An absolutely incredible performance! 

NIN Setlist:

1. “Somewhat Damaged”

2. “March Of The Pigs”

3. “Piggy”

4. “Heresy”

5. “Less Than”

6. “The Lovers”

7. “Reptile”

8. “Sanctified”

9. “Copy Of A”

10. “Shit Mirror”

11. “God Break Down The Door”

12. “The Perfect Drug”

13. “Closer”

14. “The Big Come Down”

15. “Burn”

16. “The Hand That Feeds”

17. “The Frail”

w/ Richard Patrick, Danny Lohner, Charlie Clouser & Chris Vrenna:

1. “Eraser”

2. “Wish”

3. “Sin”

4. “Gave Up”

5. “Hey Man Nice Shot” (Filter cover)

6. “Head Like A Hole”

The Grammy winning pair of Tyler Joseph and Josh Dun have been entertaining audiences across the UK and Europe this summer, but they landed in Detroit last night with the Icy Tour. The ski mask clad duo emerged from the blue door in the floor the stage determined to impress the maximum capacity crowd at Little Caesar's Arena. The fans came from all around the USA, some even camping in tents for three days before the show just to be on the barricade. One young woman on the barricade even told me that she is alive today because of the bands inspiring messages. It's refreshing reminder that music is able to provide a path for focus and healing. 

TwentyOne Pilots brought all their collective hits paired with second stage in the middle of the arena to get up-close and personal, Josh’s iconic drum island, Tyler’s smoking mask, and multiple flips and stage jumps. It's the kind of performance where if you take your eyes off the duo for a second you're bound to miss something incredible. When the band exits the main stage and moved to the back of the arena (sorry campers) Tyler trades of lyrics with the crowd who came well prepared and knows all the words. 

The setlist is chock full of songs opening with latest album Scaled And Icy’s opening track "Good Day", before dropping the classic hits like "Guns For Hands" to "Addict With A Pen" and "Ride". They finished with a fantastic run of "Shy Away", "Car Radio" and their most famous mega-hit "Stressed Out." I know many Detroit area fans who are surely going to want to double-down on this performance at the end of the month in Cleveland. 

August

20 Detroit, MI – Little Caesars Arena
21 Cincinnati, OH – Heritage Bank Arena
23 New York, NY – Madison Square Garden
24 Elmont, NY – UBS Arena
26 Montreal, Canada – Bell Centre
27 Toronto, Canada – Scotiabank Arena
30 Cleveland, OH – Rocket Mortgage Fieldhouse
31 Pittsburgh, PA – PPG Paints Arena

September

2 Philadelphia, PA – Wells Fargo Center
3 Washington, DC – Capital One Arena
4 Charlotte, NC – Spectrum Center
7 Nashville, TN – Bridgestone Arena
9 Kansas City, MO – T-Mobile Center
10 St Louis, MO – Enterprise Center
13 Dallas, TX – American Airlines Center
16 Phoenix, AZ – Talking Stick Resort Arena
17 Anaheim, CA – Honda Center
18 San Francisco, CA – Chase Center
20 Salt Lake City, UT – Vivint Smart Home Arena
22 Portland, OR – Moda Center
24 Seattle, WA – Climate Pledge Arena

Photos & Review: Chris Balow 

Puscifer, the theatrical extra-terrestrial themed rock band, hit the stage in Rochester Hills, Michigan to a packed pavilion. Fronted by Tool singer Maynad James Keenan, multi instrumentalist Mat Mitchell, and singer Carina Round, came to bring their comedic take on alien life and it’s presence in the Hollywood landscape. 

They have ditched their nacho libre masks and boxing ring from past tours for a spaceship.  The patrons are greeted by a video of agent Dick Merkin (Keenan) explaining that the trio are tracking down space creatures, who themselves are in pursuit of the recurring Puscifer character. We quickly learn that the Hollywood actors and actresses  are byproducts of a secret alien cloning program. The show is packed full of aliens and comedic satire wrapped in heavy synthesizer music.

Merkin also makes sure that the audience knows their role in the story. They need to be awake, attentive, and (most importantly) not inhibited by their mobile device. He goes on to explain that if anyone from the audience is caught using their cell phone, that they will be tossed into a giant meat grinder only to become the spicy additive in SPAM. The agents even point out a planted concert goer who is quickly extracted from the audience for grinding. “SPAM, SPAM, SPAM!,” they chant. Even the highly coveted poster from tonight is the many-armed Indian God, Durga, depicted as an alien. That’s really the whole point of a Puscifer show, to have fun and be weird.

But let’s not forget that there is music too!  Songs like opener “Bread And Circus” and “The Underwhelming” are dazzling electro-pop works, with the latter mixing robotic keyboards with a sludgy guitar one moment, before switching for a more relaxed groove, and then back again. It’s cool, difficult not to get caught up in, as you partake in all the visual accompaniment on stage. It’s a vibe that continues through Gray Area, in which Maynard sings of ‘An age of confusion’, which, quite honestly, could be talked about almost any time, but seems to be even more relevant over the last several years. 

A Perfect Circle guitarist Billy Howerdel lent his talents as a warm up to Puscifer, touring his new music from the album “What Normal Was.” Co-produced by NIN contributor Danny Lohner, the songs are a solid offering highlighted by some of Billy’s biggest influences like Depeche Mode. Standout tracks like “Selfish Heart” and “Poison Flowers” show that he has command of his craft and the audience seemed to love the set. 

The beauty of a Puscifer show is that it can be taken any way you like depending on how you look at them. It is more than enough that the music on Existential Reckoning is fantastic. If you attempt to get a look under the covers  there are many riddles to discover with this band. You’ll never totally figure them out, but Puscifer is best left as weird and unexplained. 

Puscifer Setlist: 

1.) Bread and Circus 

2.) Postulous

3.) Fake Affront

4.) The Underwhelming

5.) Gray Area

6.) Thoerum

7.) UPGrade

8.) Apocalyptical

9.) The Remedy

10.) Personal Prometheus

11.) A Singularity

12.) Indigo Children

13.) Humbling River

14.) Bullet Train to Iowa

15.) Man Overboard

16.) Conditions of My Parole

17.) Bedlamite

Failure, the L.A.-based trio of Ken Andrews, Greg Edwards and Kellii Scott, have been considered one of the more influential alt rock bands from the 90’s. This under the radar trio showed up in Pontiac, Michigan at the Crofoot Ballroom to showcase smatterings of their new record Wild Type Droid. 

In replace of an opening band, the group chose to showcase a short documentary of musicians and actors that were heavily influenced by the music of Failure set to release in 2023. Hailey Williams (Paramore),  Justin Medal-Johnson( NIN), Butch Vig (Garbage, Producer), and of course Maynard James Keenan (Tool/Puscifer) all discussed how influential the band has been with respect to their personal musical progression. Medal-Johnson acknowledged the band’s 16-year hiatus only to suggest that he “couldn’t think of another artist that could take that much time off, come back and make a record as influential as the first three.” The overall short was bookended by Failure tunes and some Ren and Stimpy….What’s more 90’s than that?

Greg Edwards and Ken Andrews swapped back and forth between guitar and bass duties. Drummer Kellii Scott is also prominently featured in the center of the stage, parallel with his bandmates which is unusual for live music giving the viewer an easy view of the whole group. It seemed as if the drum placement was symbolic such that all members of the band are equally important. The arrangement also served as a percussion powerhouse as the band powered through a very heavy setlist. 

From the first two tracks, “Submarines” and “Mercury Mouth,” Failure takes you with them on a journey that contains a slew of big wave riffs, underlying progressive tones, and layered vocals from Ken Andrews. Both of these tracks highlight exactly what Butch Vig mentions in the video that “Failure is a band that goes into the studio with the idea to make songs completely different, yet the end product always sounds exactly like a Failure song.” Failure takes risks and trust that the audience will be hooked into the new tracks amongst the other songs. It almost seems as if the new tracks are a continuation of the older tunes blended and intertwined throughout the setlist. 

Wild Type Droid does have several songs that sound a bit different from anything the band produced before. The incorporation of acoustic guitar during its beginning and end on “Bring Back The Sound” accentuates the song’s sonic explosions, yet still has a carefully crafted structure that is essential to the familiarity of the sound. 

Failure transported me from 2022 back to the early 1990’s last night and proved to me and the fanbase that quality music never really fades away. 

Failure Setlist - The Crofoot Ballroom 6.28.2022

1.  Submarines

2. Mercury Mouth

3. Macaque

4. Wonderful Life

5. Frogs

6. Atom City Queen

7. Counterfeit Sky

8. Distorted Fields

9. Force Fed Rainbow

10. Bring Back the Sound

11. Bad Translation

12. Half Moon

13. Headstand

14. Segue 3

15. The Nurse Who Loved Me

16. Another Space Song

17. Stuck On You

18. Heliotropic

19. Daylight

It’s not often that you see a concert with one band fronted by a physiotherapist and the other by an attorney.

Fans of the Blue Stones and Des Rocs witnessed a mesmerizing high energy rock show at the sold out Shelter in Detroit, Michigan on June 11, 2022.   Both bands tested the structural integrity of the building which recently underwent repairs to the floor of Saint Andrew’s Hall, which is just above the Shelter.  The floor almost buckled under the weight of jumping patrons during a Baby Keem’s concert last March.  No need to call Sam Bernstein.  There is already a lawyer on site.

The evening started out with newcomer, Clay Melton, who played a bluesy four song set which was very well received by the audience.

Des Rocs took the stage next deferring the headline spot to the Blue Stones, which was essentially a hometown show for them since they hale from just across the Detroit River in Windsor, Ontario, Canada.   Windsor fans in attendance were not deterred from heading across the northern border by having to use the ArriveCan app.  Perhaps a few of them swam to avoid humming "Oceans" by the Blue Stones to themselves along the way?

Imagine a whirling dervish from New York with an electric guitar channeling Elvis and issuing aural summons to those gathered, commanding no less than a frenzied response.  That would be Des Rocs. Esquire.

The band is composed of Danny Rocco aka Des Rocs, lead singer and guitarist, Eric “Doc” Mendelson on bass,  and Will Tulley on drums.  The trio delivered an eleven song set of unrelenting intensity starting with “Why, Why, Why” from their latest LP “A Really Good Person in a Really Bad Place.”   They also played, “HVY MTL DRMR,” which is a song so massive, you would need to buy three vowels and then capitalize them all in order to give it supreme justice. 

A cover of Queen’s “We Will Rock You” featured a volunteer solicited from the crowd, who unbeknownst to Des Rocs, was drummer Jed Thibeault, from Avalon Black, a four-piece band from Flint, Michigan.  Jed is a longtime fan of 4 years and it was his first Des Rocs show and it won’t be his last.  Well, maybe not as a guest percussionist?

Canadian rockers, The Blue Stones were greeted by the ecstatic throng, who were now ready to receive treatment for compulsive enthusiasm and systemic rowdiness.

A stellar live performance comes standard with the purchase of a Blue Stones ticket.

The dynamic duo, Tarek Jafar on vocals, guitar and keyboards and drumsmith and backing vocalist, Justin Tessier, turned up the ultrasound to eleven with what could be a greatest hits set list.   

Tarek Jafar of The Blue Stones: Photo Chris Balow

Every song featured addictive hook-laden grooves including “Grim”, “Be My Fire,” “Rolling with the Punches” and “Shakin’ of the Rust.”  The fans sang along to every chorus and resoundedly applauded.  A new single called “Don’t Miss”, was an added bonus.  It contains the best lyric to epitomize the Blue Stones’ songwriting, “Cuz it’s hit, hit, hit.  I don’t miss, miss, miss, uh huh.”  The Blue Stones continue to churn out 

It was a hot and humid affair and Tarek described his bandmate Justin as a “Sweaty, sweaty boy”, while perspiring profusely himself.    The aftermath of the show was like “hitting the wall” after running a marathon.   Exhaustingly satisfying and infused with endorphins. If you don’t have the time to run 26 miles, just go see the Blue Stones in concert. Five out of five physiotherapists recommend it.

See more Blue Stones in the gallery here: 

Tool began their night at the sold out Little Caesars Arena in Detroit with the self-titled track from their latest offering ‘Fear Inoculum’. The grinding 2-minute intro before the first lyric has been sung, is a satisfying way to unite the crowd’s collective focus to the music. As Maynard James Keenan begins to sing “Immunity, long overdue, Contagion, I exhale you” it feels as if it’s the perfect metaphor for the pandemic we have all gone through over the last several years. Tool’s music is the purification and purgation of all these emotions through dramatic art and visuals. It is simply cathartic.

The show visuals are all encompassing, with a balance of aggression and control that matches the thematic ideas of their music. A giant heptagram is the main focal point for the stage with an accompanying laser light show that pairs with the music perfectly. Patrons are asked to keep their phones put away so that they, along with their seat mates, can indulge in the performance without the temptation of distraction. And it works! There is so much going on visually that it feels like a betrayal to text or take photos. 

Maynard stalks the right side of the stage in his leather Puscifer jacket sporting a triple-row spiked mohawk. From the shadows, he pounds his chest to the beat of Justin Chancellor’s bass guitar licks. “Michigan I know you’re not going to embarrass me in front of the band”, he rhetorically asks the crowd. It’s a reminder that he is one of us as he spent most of his formative years in the state. Tool continued into their set, going back to ‘Undertow’ for the song “Opiate”, then into “The Pot” and “Pushit.” MJK’s vocals were pushing harder and harder through the older material. He can easily switch to the left side platform on the other side of drummer Danny Carey which serves as a guide to keep focus on the performance.

Tool are clearly masters of their music and their own environment. The rhythm section and guitar mastery is worth the price of admission alone. Chancellor and guitarist Adam Jones often face inward as if each is transferring energy to each other. Jones plays at a frantic pace without much body movement as if he is channeling a spiritual power to his body from above. Chancellor begins to swirl his pelvis as if he is invisible hula-hooping, taunting the front rows to give him more energy. The crowd happily obliges. Danny Carey is truly a spectacular drummer and his ability to switch between tempo and time signatures is truly unmatched. 

In the biggest surprise of the night, the band launched into another self-titled album track with “Undertow.” The song had not been played live since April, 29, 2002 for more than 20 years. It was a perfect replacement for me as they left my favorite song “Right In Two” off the setlist tonight. 

After a ten minute intermission, Carey reemerges behind the drum kit to smash a solo that leads right into “Chocolate Chip Trip” reminding the crowd to keep focus for the final three songs of the encore. In a way that feels like MTV’s unplugged, the band gathers in the center of the stage as they begin the penultimate “Culling Voices.” Carey shows you he is not only a master of his impressive drum rig, but also plays guitar with his fellow bandmates. It’s just another way to draw the crowd’s attention back from their realities. The final song of the night was “Invincible” and the exhausted crowd seems to have had a holy experience that can only be felt if you were in the arena. It is simply cathartic.

SETLIST: 

Fear Inoculum

Opiate

The Pot

Pushit

Pneuma

The Grudge

Undertow (First time played since 2002)

Descending

Hooker With a Penis

Encore:

Chocolate Chip Trip

Culling Voices

Invincible

My first introduction to Reignwolf aka Jordan Cook was from someone who sent me his Live on KEXP performance on YouTube. It’s an exhausting, sweaty performance that draws the listener into the world of one of the most talented rising stars in rock music today. It’s the kind of performance that is so passionate, it makes you pissed off when someone tells you “there is no good new music. It’s 27 minutes of raw power rock music with an engrossing cover of Fleetwood Mac’s “The Chain” embedded in the middle. He plays two different guitars, keeps the beat with a kick drum, and sings the whole set by himself.

Reignwolf brought that same energy to The Shelter in Detroit 8/21/2019 which is the same venue that hosted the early rap battles from Detroit artist Eminem. It's his third time at this venue, and he played the guitar so hard the first time he bloodied himself all over his guitar. The show is pure fire from the minute the band hits the stage. Unlike his solo KEXP, Reignwolf brings some help with Joe Braley smashing the skins and S.J. Kardash on the four string. The show begins with Wolf slithering between the support beams while blasting through songs “Over & Over”, and “Hardcore.” The temperature in the room is rising; and the front row is beginning to share in sweat exchange as Reignwolf drips exhaustingly from above. He flips the microphone stand around backwards and tears the mic off with a swift maneuver. The band launches into their third song as Reignwolf slowly beings to wrap the mic cord around his neck while simultaneously plays the riff to “Are You Satisfied.”

The crowd is singing along and really engaging to the point where the band decides to break down the whole set and move into the pit area. First the snare drum, then the mic stands, then the bass drum all gets lowered into the floor from the stage. The whole show is now played in the round surrounded by fans. It’s not enough for the band to give you a show, they are determined to give you a memory that makes you want to clear your schedule for the band’s future performances. There is no way anyone in this audience will not come back! Cook announces that the whole band has never played on top of a bar together. So out of the pit they travel, another 15 feet to the top of the bar to play the finale “Palms to the Sky.” Jordan is first on top after hoisting his amplifier. The joined by Kardash and Braley who are not sure how to quite position themselves just yet.  The band jams out an extended version of the song to every excited person in the crowd. This is a fantastically intimate performance that no one in the audience will ever forget.

When someone tell you that all new music is crap, ask that person if they have ever heard of Reignwolf. If they haven’t make sure to send them a link to the current tour dates. The band will be touring across Canada and throughout the end of October. Do not miss the show in your area!

Have you ever seen a lead singer doing a handstand in front of the drum kit wearing a full leopard print onsie? Well neither had we until we witnessed the chaos that The Darkness brought to the Majestic Theater in Detroit on Friday the 13th. Lead singer Justin Hawkins moved like a whirlwind on stage - switching out guitars, sliding on his knees, and doing upside down jumping jacks. The band seemed unabashed to rip though their 90 minute set for their new "Tour de Prance" U.S. Leg of this tour. 

Cage The Elephant launches into their 2008 hit “In One Ear” as a follow up to the opening track “Cry Baby” and the crowd responds with a wild sing along. A steady stream of crowd surfers (missing articles of clothing) streams over the barricade as the ebb and flow of sweaty moshers sets the tone for the evening. Matt Shultz then sprints across the stage in his purple suit jumping on the back of his older brother Brad. Brad seems unfazed, and he and the band continue to jam out the guitar solo, as if this behavior is routine. The Kentucky foursome is here in support of their new album “Tell Me I’m Pretty,” which was produced by Dan Auerbach of The Black Keys. Launching into “Mess Around” you can hear Auerbach’s influence on the track, and Shultz begins to swing his hips and use the mic stand as an imaginary dance partner. It’s a fantastic album and gives the band a fresh set of tunes that plays extremely well with their older material.

The crowd is doused in sweat, with concertgoers looking like they have been in a ten-round fight. Shultz jumps off stage to reinvigorate the faithful on the barricade who showed up early to get the best view. His body is now lost in a see of arms and cell phones; but you can hear him singing the words to the hits “Back Against the Wall” and “Come A Little Closer.” I can’t help but to think that the band sounds as good as they do in studio as they do on stage.

The show ends fittingly with the song “Teeth” which sounds a bit like something that Jack White might have wrote. White owns the Masonic Temple now, yet it’s Matt Shultz and Cage that are channeling White’s punk rock energy for this closing tune. Please get yourself a ticket to one of their shows as they are stretching out tour dates into June with a couple of mixed in festivals along the way. Cage The Elephant is just entering their prime as musicians, but you shouldn’t miss seeing them while they are this entertaining!

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The show is gripping and really something to behold. Swift plays just a little over a 2 hours set which features synchronized glow bracelets timed to her songs, 12 foot pyrotechnic sparklers, and a catwalk that transforms into both a mega-ramp to the nosebleed seats as well as a 360° rotating catwalk that scissors upward spinning over the whole main floor. The main goal that Taylor wanted to achieve on this tour; was to make a stadium show that makes everyone in the building feel like they had an intimate and personal experience.  She and her team have really outdone themselves with the production. Once the catwalk began to rotate every fan in the lower bowl had to feel like they were getting a real world personalized concert with Taylor Swift. She had an unparalleled connection with her fans on this night and they thanked her with a near 35-second scream fest that got Taylor a bit choked up.

Taylor would also frequently pause between songs to impart some wisdom with the audience, often reflecting on her own experiences and maturity. She encouraged her fans that you shouldn’t worry if you choose the wrong person to trust, because eventually you’ll start to live your life on your terms. “You’ll feel Clean,” she echoes before launching into the track “Clean” from the 1989 album.

Most of the set list featured the hits from the new album by the same name, while she embraced more of the pop-superstar that she is becoming. She did perform some of her earlier country-esque hits like “Love Story” and “You Belong To Me.” One of the highlights of the night was a surprise guest duet of the sleeper hit “Cool Kids” with lead singer Sideny Sierota from Echosmith.

Taylor Swift is sitting on the pop throne right now and for good reason. The 1989 World tour is a unique concert experience that can really only be experienced by buying a ticket. The Tour de Swift wraps up in Tampa, Florida on Halloween so make sure you secure your tickets for the remaining eighteen dates. We guarantee you won’t be disappointed.

Taylor Swift

See More of Taylor Swift in our Photo Gallery here: http://www.vitalradar.com/p198734866#h58781fc7 

The 1989 World Tour Setlist:Welcome to New York
New Romantics
Blank Space
I Knew You Were Trouble [Remix]
I Wish You Would
How You Get the Girl
I Know Places
You Belong With Me [Acoustic]
Clean
Love Story [1989 Remix]
Style

Cool Kids (Echosmith Cover wsg/ Sidney Sierota of Echosmith)
Bad Blood
We Are Never Ever Getting Back Together [Rock Remix]
Wildest Dreams [Contains elements of 'Enchanted']
Out of the Woods
Shake It Off

“We are really a mash up of the Rolling Stones and the Ramones….with Hank Williams behind the wheel,” explains lead singer Mike Ness to the sold out crowd in Royal Oak, Michigan. On this night, the band needs no introduction. There are so many of the band’s shirts being worn in the lobby, that they outnumber all other concert t-shirts in the whole building. There are bikers, young punkers, tattoo artists, a Wall Street looking suit, and women rocking their best 1960’s pin-up outfits. The overwhelming majority there to share in the down and dirty, punk rock, outlaw country that is Social Distortion.

Social Distortion is here to celebrate their 25^th Anniversary of their self-titled album, while modestly flexing the muscle of longevity in the music business. The format is really well done as the band has decided to play their third album in its entirety yet not in sequential order. It makes the audience clamor with anticipation off every note waiting to cheer for their favorite track to be played.  It’s the anti-Smashing Pumpkins approach, and lets the band throw in other classics for the audience to enjoy.

Ness is already glistening halfway through “Let It Be Me” as the muggy air gets the temperature in the venue surging towards ninety degrees.  Powering through the chords he knows he has the audience hooked as the emergence of a circle pit forms and Johnny “2bags” follow suit with the rest of the rhythm section. He’s true to his influences as the band pays homage to Hank Williams and the Rolling Stones with covers of “Alone and Forsaken,” and “Wild Horses” toward the end of the set.

Before the finale Ness has security lift two young kids up on stage. “What is happening here tonight?” he asks the 8-year old boy. “PUNK ROCK!” says the boy as the whole place erupts in laughter. The band tears through the song that Johnny Cash made famous in “Ring of Fire.” It’s a fantastic display of how staying true to yourself and the music has fans of all generations coming out to support great music. Social Distortion is halfway though an eight-week tour, make sure you buy at ticket to the show near you!

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The Setlist 8-15-2015 was as follows:

     Intro (Gimme Shelter by the Rolling Stones)

1.   So Far Away 

2.   Let It Be Me 

3.   Story of My Life 

4.   Sick Boys 

5.   Ball and Chain 

6.    It Coulda Been Me 

7.    She's a Knockout 

8.    A Place in My Heart 

9.    Drug Train 

10.                 Cold Feelings 

11.                Wild Horses (The Rolling Stones cover)

12.                Alone and Forsaken (Hank Williams cover)

13.                This Time Darlin' 

14.                Misery Loves Company (Mike Ness solo song)

     Encore:

15.                Folsom Prison Blues (Johnny Cash cover)

16.                Ring of Fire (June Carter Cash & Merle Kilgore cover)

The show opens with “Do The Damage” and Gallagher digs into the strings of his red Gibson Les Paul Standard. The prevailing sound is similar to that of Oasis, with many of the tracks driving harder than the others ("Lock All The Doors", "The Mexican" and "You Know We Can't Go Back"). There is excellent guitar work on practically every song, and "The Mexican" has very prominent bass and horns accentuated by three members of the Motor City Horns section. Everyone in the audience seems to be drawn into the stage and the sound quality is superb (tips hat to the sound technician). Gallagher is crafting this spacey dreamlike experience that feels like a breath of fresh air. The show has an immediate timeless quality, as the audience members seem to forget about their cell phones, grocery lists, and Monday morning meetings.

The lyrics too are similar to those of Oasis, mostly ambiguous pop poetry lyrics in the vain of the Beatles. One of the most well thought out tracks “The Dying of the Light” hits with a catchy chorus

“And I was told these dreams were paved with gold, There'd be no time for getting old when we were young…It's alright, if we're dead, we'll meet tonight…We'll fight the dying of the light, we'll catch the sun.” Noel’s self expression seems to echo into the audience and they sing proudly making it easy for the songwriter to feed off the energy. He launches into “Everbody’s On The Run” from his Self-titled debut and there is not a silent voice in the house. The lyrics say “Sing to yourself and hold on,” yet the crowd politely disobeys singing aloud in unison. Noel Gallagher's success is further example that he is doing well without his little brother. He is clearly writing these songs for himself, and when he does the world listens.

Oasis fans got their fill with six total tracks performed during the night. Noel crooned out the mega-hit “Champagne Supernova,” as well as “The Masterplan.” He also mixed in a few rarities such as “Fade Away,” and “Whatever.” The final song of the night seems very appropriate as the horn section returned to play “Don’t Look Back in Anger,” which seems as an appropriate closing song for both the evening’s performance as well as nod to his brother Liam.

Gallagher has created a masterful live performance and two really amazing albums. Don’t miss this tour and pick up a copy of “Chasing Yesterday” immediately!

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This is opening night for Brooks who is playing 6 sold-out shows over the course of two weekends in the Motor City; he is on fire stomping around the circular stage that extends to the back of the arena end—so much so that he is dousing his black cowboy hat with two Aquafina water bottles before he cast the remaining contents on the crowd. The lights over the set begin to simulate lightning --the fog machine pouring in smoke as Brooks launches into “The Thunder Rolls” and the crowd helps him sing every word. Mr. Brooks plowed through all the hits including “Rodeo,” “Two of a Kind, Workin’ on a Full House,” and of course everyone’s sing along bar tune “Friends in Low Places.” He represents the definition of quality country music and it’s really hard to imagine that he has been gone for so long. He even stops to say thank you to the audience for their supportive energy “What you’re doing right now means the world to someone that does what I do,” as he guffaws in disbelief.

During the middle portion of his set, Garth takes a break as his wife Trisha Yearwood comes out to preform 4 songs including her song “How Do I Live” from the movie “Con Air.” The crowd is still blissfully singing along and it’s refreshing not to have to wait for a set change. Brooks and Yearwood  started her portion of the set with a duet “In Another’s Eyes,” and ended the show with a duet of “Walkaway Joe” which is a rare tour treat.

Garth BrooksGarth Brooks and his backing band in a jam session at Joe Louis Arena This will likely be one of the best country events to happen in Michigan all year right next to the Faster Horses Festival. The remaining people that have a chance to see Garth Brooks perform should – as it’s a unforgettable night.

Proving that well crafted music continues to stand the test of time, The Goo Goo Dolls brought their hit songs as well as those from their latest release Magnetic to the Wharton Center in East Lansing, Michigan on Wednesday night. Johnny Rzeznik and Robby Takac decided to hone their craft acoustically, after they just completed their extensive tour last year with Matchbox Twenty. The band has done some one-off acoustic sessions in the past, but never really like this. The ultra-intimate setting of the Peasant Theater feels more like walking into the band's living room for a performance. This was a chance to put a slightly new spin on plenty of old favorites. Rzeznik came out and did the first two songs "Sympathy" and "Two Days in February" solo. Then is joined by Robby and the backing band for "We'll Be Here (When You're Gone)" Run River North, The Korean-American indie folk band, added the accompaniment of violin, guitar, and vocals to the rest of the set once the band played their smash-hit "Name."

Before playing "Slide," Rzeznik engaged the audience stating that song "was declared the most depressing song of the 90's" The audience seemed to know the darker undertone of the tune. "Then Nirvana came out with a little song called Rape Me.....that was a happy little tune" he chuckled to the burst of audience laughter. You would never have known that Johnny had lost his voice only a few shows before. The band was crisp and on point with their performance. 

Be sure to check out Goo Goo Dolls this summer with Daughtry and Plain White T's on the arena tour circuit, but be really sad if you missed out on this performance.

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Setlist: Goo Goo Dolls - Wharton Center - East Lansing, Michigan

• 1. Sympathy
      
  2. Two Days in February
      
  3. We'll Be Here (When You're Gone)
      
  4. Name
      
  5. Slide
      
  6. Already There
      
  7. We Are the Normal
      
  8. Black Balloon
      
  9. Come to Me
      
  10. Rebel Beat
       
  11. Can't Let It Go
       
  12. Think About Me
       
  13. Better Days
       
  14. Bringing on the Light
       
  15. Happiest of Days
       
  16. Slow It Down
       
  17. Broadway
       
  18. Acoustic #3
       
  19. Iris 
  20. Become

CHRIS CORNELL

It's almost like a first kiss as almost everyone remembers their first one, and their most recent one. The same can be said for concerts. Of course the memorable ones stand out and become legendary, however; for me the first one was really amazing. Tuning into MTV was an event that was happening more each day after school hoping to find new music to percolate my eardrums. I remember seeing the video for Soundgarden's "Black Hole Sun" and thought it was the coolest thing in the world. Crazy people making a rotissarie out of a girls Barbie doll. The band playing in the background as the world seemed to get sucked into this massive black hole. It was November 12, 1996 and I had begged my parents to drive me up to the Palace of Auburn Hills. I was 14, and they were really against me going to a concert by myself at the time. They knew I was responsible enough to handle it, yet they didn't really agree with the lifestyles of the other attendees.  I had just purchased Superunknown on CD for the first time and slammed it into a new discman that featured 10-second skip protection. I don't remember much of the show other than when Chris Cornell came on and did an acoustic version of that song. I also remember that when the encore was supposed to start, (I didn't really know that bands did encores) Chris also had to tell light booth to turn the lights back on. Most people know me for having a really good memory, yet that is all that stands out in my mind regarding this particular show. I also know that I never was able to save the ticket stub, because the inebriated gentleman next to me spilled a whole beer on my pant leg in which my ticket resided. i do remember that I started later saving my ticket stubs to most of the how that I attended. All I know is that I was hooked on music and it would be a source of interest for many years to come for me.

In addition to Alice you'll also get the opportunity to see Jane's Addiction who are still touring under their release "The Great Escape Artist." Dave Navarro shreds on the guitar while Perry Farrell delivers his signature vocals on many of Jane's classic songs like "Mountain Song"," "Jane Says," and "Been Caught Stealing." If you haven't have a chance to check it out yet you need to hear the song "Underground." Sonically, its one of the most interesting Jane's tunes with a heavy churning main guitar with plenty of Navarro solo work intertwined.

Circa Survive will join Alice In Chains, Jane's Addiction, and Coheed & Cambria on the main stage, while Walking Papers (featuring former Guns N' Roses bassist Duff McKagan), Middle Class Rut, New Politics, Danko Jones, Chuck Shaffer Picture Show, and more will slaughter the second stage! 

Under the cover of a media frenzy, Scott Weiland kicked off his solo tour at the Machine Shop in front of an energetic crowd in Flint, Michigan. Did he lie about being terminated from STP? Is it all just behind the scenes drama? Has he even met the band he is playing with tonight? Theses types of water cooler conjectures were thrown around amongst the patrons of the show, as I made my way through the packed house. I peer over the monitor as a roadie tapes the handwritten setlist near Weiland's mic stand. I can't help but to think to myself that this is going to be a great show. House lights turn off and the crowd roars. Two ceiling mounted smoke machines cover the front of the stage and The Wildabouts (Weiland's backing band) begin the opening jam. Weiland emerges like a Bedouin nomad draped in a long green parka, a pair of gold aviators, and several scarves enveloping his head and throat. He has this look on his face that he wants to prove people wrong about his past.

The band launches into "Wicked Garden" and Scott begins to feel the heat emanating from the crowd which just was rocked hard by MIGGS. Within a couple of minutes Scott has disrobed down to an argyle sweater and tie. Minutes later the sweater is now gone and he begins to shimmy to the drum kit to the front of the stage with his patented rattlesnake wiggle. With one swift move he is now perched on the front monitor; belting out the song while smiling and shaking hands with the front row. I forget for a few moments that Dean and Robert DeLeo are not backing. I forget that this is 2013 not 1994. 

"Coming to the first show is a hybrid of a first gig and a rehearsal, so it's the coolest one to go to," said Weiland as he puffed from a cigarette. I have seen the setlist and know that "Naked Sunday" is coming next in the order. "I have not played this song live in about 17 years" admits Weiland. As it turns out, it was a pretty faithful representation to the album version. Nothing about this show is perfect; however, I have to give him credit because he has a lot of soul. 

There is a Bowie cover of "Jean Genie," a cover of Jane's Addiction "Mountain Song," and a cover of The Doors "Roadhouse Blues." I know that Weiland has generated enough music over the years to avoid these setlist choices, but he performs them anyway. The latter of the songs was released by STP in 2000 with Robby Krieger of The Doors playing guitar at the House of Blues in L.A. This rendition pulled patrons attention back to the stage away from their cell phones and conversations. The whole crowd screams in unison "I woke up this morning and I got myself a beer." This show has real souI and I have never seen Weiland smile so much during a performance.

I exited the venue about 1:30a.m. after talking with MIGGS and soaking in the show. Walking out towards the tour buses I see a small crowd gathered and I wonder over. Weiland is there in the same drab green parka he was wearing on stage, discussing all things STP/Velvet Revolver/Life. He is smiling and signing autographs, which I never saw him do when he was with STP in 2000. Instinctively he turns when he hears me talking to his tour manager. He looks right into my eyes and remembers me from years past. He turns back and patiently answers questions and takes photographs. Carefully picking his words he has a slow and deliberate drawl. I let two girls who have waited a long time get their items signed and return to the warmth. Scott invites me over to the tour bus. "You are going to be the last autograph of the night." I talk with him for 10 minutes and then realize that I have nothing for him to sign. Weiland pulls out a sharpie and signs over the front breast pocket of my Machine Shop shirt. "STP S. Weiland" it reads. "There, I have signed your nipple" he finds himself amusing and it's delivered in such a manner I can't help but laugh. I thank him for music and he leaves for bed. Exiting the tour bus I see a stage roadie packing things into the trailer behind the bus. In one had he has the coveted STP megaphone and in the other he is pouring out a teapot onto the concrete. He sees me shutting the door to the bus and I  walk over gesturing towards the hand with the megaphone in it. He gives it to me and I switch it on and do an about face from the bus. Squeezing the trigger I do my best interpretation "I AM SMELLIN' LIKE A ROSE THAT SOMEBODY GAVE ME ON MY BIRTHDAY DEATHBED." Switched back off, I hand it back and just laugh to myself while soaking in the surreal. He had soul.

The Used came to Detroit as the headliners for the Take Action Tour 2013 this past Sunday night, and they managed to tear through a set of their hits. Wave after wave of crowd-surfers streamed over the barricade as punk rock raw emotion wafted into the air. Vocalist Bert McCracken address the crowd from the base of the drum kit and crooned "Everyone belongs at a rock show." As this fantastic double entendre set into the minds of the crowd as Bert pulled the drawstrings of his hoodie taught using it like a makeshift straight-jacket. He positioned his hands as if he was summoning a demon much like a sourcerer. Exclaimed McCracken “If you’re not having fun yet, get the fuck out of here!” which made the exasperated fans explode. Nobody left. The band was spot on with their performance; and they needed to be after the hometown crew of We Are Romans practically blew the roof off the building. Dan Whitesides was making kindling out of his drumsticks from a high riser that Bert had managed to climb upon to the sound of jeers in the balcony.  Looking gruffer than his high pitched singing voice might indicate, McCracken is at times off key, and is rarely pitch perfect- but as true punk music rarely is, which makes The Used so refreshing to watch. All four band members literally dripped with sweat, as McCracken pointed to members of the crowd, demanding they reciprocate lyrics back to him. Whitesides' black tank-top read: "The Used Don't Give a Fuck!" which was merely a slogan on a t-shirt. You can tell that the band closely cares about its fans. They purposefully picked a setlist that appeals to both new and old fans, spanning their five LP's. You need to get out in quick fashion to the Take Action Tour 2013 to see this band tear up the stage. If you want perfect you need to pick another band, however; if you want in-your-face, sing-along, awesome PUNK rock that leaves your through feeling like you swallowed a bag of cotton balls - the GO SEE THE USED! I promise you that it will kick off your 2013 in great fashion.

As most of you know, Butcher Babies have been tapped as the opening band for the “Hey, Cruel World Tour” directly supporting shock-rocker Marilyn Manson. I had an opportunity to sit down with the Butcher Babies: Carla Harvey (vocals), Heidi Shepherd (vocals), and Henry Flury (lead guitar) and interview them at The Fillmore Detroit on 1/22/2013. In the past, they have made headlines with their scantily clad stage appearance, crushing guitar riffs, and flesh covered in fake blood. 

VR: Heidi: In 2001 you prophetically stated that you wanted to tour with Marilyn Manson. Now that it’s happening do you believe that putting that statement out in the universe made the happen?

Heidi: “I honestly do believe that things that you put out into the universe will manifest them themselves if you believe them enough. At the same time I don’t think that us, sitting on out butts would have got us this tour with Manson. It has taken a lot of hard work and dedication from every member in the band.”

VR: Carla: Manson is from Ohio; Alice Cooper and yourself are both from the Detroit area is there something about being from the Midwest that makes people from here start a theme metal band?

Carla: “Honestly what I think is come from sheer boredom. You are trapped inside for a good six months out of the year when it’s raining, snowing, or just bitterly cold.  So literally, all you have it what is your mind. You use your imagination to keep you company and for me when I was a kid I wrote comic books all day, listened to heavy metal, and dreamed of being in my own band. We live in California now and there is always a distraction like going to the beach or doing anything else. Michigan wasn’t really like that. “

VR: I saw that you had interviewed Alice Cooper for Revolver TV; did he give you any words of advice?

Carla: “ He is such an amazing person, and he and I talked about Detroit after the interview. Funny enough he is actually related to my mom, she is an Italian girl and they are cousins.  I didn’t tell him that we were distant cousins but when I was interviewing him I had to stop for a second because I was so tripped out in my own head because I was interviewing on of my biggest idols. It meant so much to me and I was really lucky to have been able to do that.”

VR: It’s been pretty widely documented that Manson collects some weird things; do any of you collect anything out of the ordinary?

Henry: “Skulls, I collect them and so does Carla, but not the real kind. She collects them more than I do.”

Carla: “I had a fan bring us skulls (one for her and Heidi) last night. It’s awesome when our fans know what we love and bring us stuff! Henry collects girls panties that get thrown on stage.“ (Laughter erupts from the group)

Heidi: “When I see Henry in the morning I ask ARE THOSE MINE?”

VR: Are you drawing more female fans to the shows that want to be like you, or is it mostly male fans that want to see you naked?

Heidi: “It’s a complete mix, when we first started we were hoping for the first way and then it swung the other way, but it has been an even mix.”

Carla: “Even age wise we have had such a vast age group of people that like us. Tons of women love us and tons of men too.”

Heidi: “Last night we had a show in Joliet, IL and there were two young girls in the front row who were singing our lyrics. That is why we do this because we were those young girls.

Carla: “ Our songs are for those girls because that is what we were like growing up as misfit girls.”

VR: What is the craziest thing that you have seen on tour thus far?

Carla: “Manson’s DAD! (Heidi & Henry burst out laughing) Seriously!

VR: What is Hugh Warner like?

Carla: “I was trying to explain meeting him to my mom today and I couldn’t even talk about it.”

Henry: “We’ll just say this, he was a very nice guy but he is a very forward man.”

Heidi: “He came over to us after the show and was very complimentary about our band. He is not afraid of anything. I think it’s the weirdest thing that has happened on this tour.

VR: What made you say he is not afraid of anything?

Henry: “He speaks his mind and he is very vocal.  I mean you are Manson’s dad. Mr. Marilyn Manson Sr. you are going to say whatever you want.”

VR: You mentioned some of the younger fans; when writing lyrics today do you feel you have to dial down some of the lyrics because of current events?

Carla: “We don’t really feel the need to we have always tried to keep this band full throttle.  No matter what is going on we are going to be true to our stage show. We are not going to dial it back for anyone or anything.“

Heidi: “We are definitely respectful in anything going on, but there is nothing that we are doing that is disrespectful.”

Heidi stops me before I can ask my next question. She and Carla got dressed separately today and are wearing matching outfits. They insist that I get a picture of them matching in their outfits.

VR: Pick one band right now to open for right now that you haven’t toured with?

Carla & Heidi: In stereo both shout “Slipknot!”

Henry: “In Flames”

VR: Same question in reverse you are now the headliner, pick one band to open for Butcher Babies.

Henry: “Oh man that is tough. I am going to say 9 Electric.”

Carla & Heidi: (after a person sidebar) “We have to take our buddies Thrown Into Exile. We can’t say what it is yet this year but we do get to tour with Thrown Into Exile this summer.”

VR: You talk a lot about writing about thing you are afraid of, what is one thing you have yet to write about that makes you afraid.

Carla: “I think for me that one of the things that was really hard to write about was making a change. It’s coming up on a current song that has yet to debut. It was about growing up and the things that hurt us.”

Heidi: “Carla and I have had similar experiences and it about the things that were wrong in our childhoods that prevented us from growing into the adolescence that we could have.  It’s things about our childhood.”

Henry: “I write riffs that are really just too hard to play. The scare me, I am definitely afraid of those.  I wish they would kind of just go away.

VR: What is something that you learned about Manson that you didn’t know before.

Heidi: “I didn’t know what to expect when I first met him. The first time we saw him was the second show into the tour he was like “Come over here, come say hi” (pantomimes hugging). He has been 100% nice and respectful to us.

Carla: “ That he is a huge fan of the film Django. He has been speaking with the Django voice for most of the tour. He is as big of a personality on stage as he is when you speak with him.  He is in real life who you see on stage!”

Check out images from  the Butcher Babies performance here:

http://www.vitalradar.com/p360186172

Article, interview, and live photography courtesy of Chris Balow of VitalRadar.com

The three things that I found interesting about this whole show:

1.) Jack White (like Picasso's periods to Jack's bands) seems fulling intent on managing color in every aspect of his production.

     Red + Black + White = White Stripes   Yellow + Black + White = The Raconteurs  Blue + Black + White = Jack White Solo

2.) The whole evening show was played by The Peacocks (Jack's all female band) as (Los Buzzardos) carried the matinee duties. I really wanted to see Jack's interaction once they changed from female band to male band or vise versa. I remember seeing Carla Azar (drummer of the Peackocks) open with then band Autolux for Nine Inch Nails on the "With Teeth" tour. Jack seems to be drawn to her for energy, much like he was with Meg in the White Stripes.

3.) I like the choice of venue. The smaller 1,600 seat Scottish Rite Theatre was easily sold out in 3 seconds online, however; it shows that Jack wants to have a personal relationship with his fans. The tickets were for an individual seat however after the opener Alabama Shakes performed, NO ONE returned to their seat. I remained firmly pressed up against the stage for the best view of the performance. I never thought that security would let us stay in the 40 X 8 foot area before the first row of seats. 

One side note: There were no cameras, video, or audio recorders allowed. They were militant with security regarding that issue, but I didn't feel guilty snapping a couple of iPhone shots as I paid $330 for a $48 ticket. That is fan dedication!