Heart Attack Man have embarked on a headlining Freak of Na-Tour across the United States to mark the release of their third full-length record, Freak of Nature, released on May 26, 2023. On May 31, with support from up-and-coming Ontario-based emo band Arm’s Length, Heart Attack Man brought the Freak of Na-Tour to New York City’s […]
Heart Attack Man have embarked on a headlining Freak of Na-Tour across the United States to mark the release of their third full-length record, Freak of Nature, released on May 26, 2023. On May 31, with support from up-and-coming Ontario-based emo band Arm’s Length, Heart Attack Man brought the Freak of Na-Tour to New York City’s Racket.
Arm’s Length play New York City amidst their rapid rise to the forefront of modern emo and on the heels of their debut record, Never Before Seen, Never Again Found, released on October 28, 2022 via Wax Bodega. The band’s raw emotion, combined with quintessential twinkly guitar melodies and thick chords, made for a moody but energetic set that had concertgoers moshing, crowd surfing, and singing along to every song. The band’s eight-song setlist was well crafted, featuring their most popular songs from their 2019 EP What’s Mine is Yours, their 2021 EP Everything Nice, and their debut full-length record. The set included fan-favorite “Watercolour”, the track that propelled the band forward after going viral on the popular social media platform Tik-Tok back in 2021. Since then, the band has continued to grow in popularity and it shouldn’t be long before Arm’s Length are headlining tours and taking on larger stages.
Heart Attack Man returned to New York City to celebrate the release of Freak of Nature, their third full-length record. Heart Attack Man’s 14-song setlist was filled with tracks new and old, including standout tracks “Like A Kennedy”, “Stick Up”, and “C-4” from Freak of Nature. The band opened their set with the title track, “Freak of Nature”, an anthemic track glaringly reminiscent of early 2000’s pop-punk, featuring classic pop-punk power chords, whiney and monotone vocal delivery, and an infectious chorus: I’m a freak of nature / Broke out of my cage / I’m on my worst behavior / Freak of nature. As the first verse began, vocalist Eric Egan appeared from side stage wearing a ghillie suit, befitting of the track’s opening lyric: What the fuck are you looking at? Heart Attack Man ripped through their set, and there was no shortage of stage invaders two-stepping and crowd-surfing to nearly every song.
Amidst the pop-punk chaos, the band took a few moments to banter with the crowd. Egan teased about concertgoers’ personal hygiene at pop-punk shows to boast the band’s cheeky, exclusive Freak of Na-Tour deodorant available at their merch table and bragged about his hydration and the consequent clarity of his urine while on tour. These elements, Heart Attack Man’s carefree, “I don’t give a fuck” attitude and their catalogue of pop-punk bangers, is what fans have come to know and love about the band and their shows. I saw Heart Attack Man for the first time this past Fall at the Warsaw in Brooklyn when they were opening for beloved pop-punkers Tiger’s Jaw, and I immediately took notice of the thrilling synergy created by the band and the crowd. Despite there being a barricade between the stage and the crowd at the Warsaw, fans were nearly pouring over the barricade. At the Racket, this dynamic was in full-force once again, with Heart Attack Man giving fans their all and concertgoers giving it right back with mosh pits, stage-invading two-steps, and crowd surfing throughout the night.
Setlist:
Freak Of Nature, Pitch Black, Low Hanging Fruit, Sugar Coated, Out for Blood, Old Enough 2 Die, C4, Late to The Orgy, Stick Up, Like A Kennedy, Fake Blood, Cut My Losses, Cool 2 Me, Leap Year
Don’t miss Heart Attack Man on the Freak of Na-Tour!
Put your hands up if you follow me on Instagram. Okay, cool. Well then, you know that I also attended and took some pictures at the show. Because why the fuck not? If you don’t follow me on Instagram, you missed some epic stories last weekend. So, let us begin. Thanks to England’s public transportation […]
Put your hands up if you follow me on Instagram. Okay, cool. Well then, you know that I also attended and took some pictures at the show. Because why the fuck not? If you don’t follow me on Instagram, you missed some epic stories last weekend.
So, let us begin. Thanks to England’s public transportation and their great job at CANCELLING trains, I missed The Meffs, and most of Get Dead, which I looked forward to but arrived at the end of the set. Oh well, another time – I hope. To be honest, Get Dead sounded so fucking good. I need more Get Dead in my life.
Iiiiiiiiiiiiiiii have to admit that I’ve never given this band the attention that they rightfully claimed Sunday the 28th in Hatfield. Now, for those that aren’t familiar with Comeback Kid, their sound is hardcore punk. But not the annoying kind; they actually know how to play instruments, and Andrew Neufeld knew how to grab the attention of fans when he decided to go down in the crowd and make noises. To be honest, I’m pretty sure a dude broke his leg during their set. And to be honest, I was enjoying the nice view of people going apeshit in the pit. Would I see them again? I mean, I actually would as long as it was outside, at a festival, with friends. Surprise! I’m now a Comeback Kid fan…but I’m never joining that fucking pit.
… I love Anti-Flag. That’s all, folks. I have nothing more to say about this. It’s Anti-Flag. And if I recall, I’m the only reviewer on this planet that actually gave Lies They Tell Our Childrena positive review. Okay, maybe not. But to be fair, I really liked that album and still do. But I’m about to ramble – here’s a fun little anecdote; Anti-Flag played in Copenhagen last year. I had bought tickets but forgot about the day; I did something else instead. I just remember the day after when I got a text asking where I was… I was actually very annoyed the whole day. But no more! Because I saw them, and it’s better than I expected (sorry A-F. Lol, as if you’ll read this)
Back in July, more preciously July 31st, I saw Lagwagon play in Copenhagen; honestly, that was trash. So, I’ll admit I was nervous about their performance… But they aced it. And now I’ll say THIS was my first time seeing Lagwagon because it was really good! And funny and sentimental… and the setlist was fucking awesome!
STORY TIME! Nearly seven years ago, on 15.06.2016 (very specific), NOFX played in Copenhagen. Yay, or… actually, not for me. Because I. Went. Into. Labor. And as a sensible 24-year-old, I decided that it would be a stupid idea to try and enjoy a concert while having contractions and maybe/maybe not having a baby in the middle of a NOFX concert. I mean, THAT could’ve been a fun story too. But…no.
So, finally, it was my turn to see NOFX. On this stop, they played So Long and Thanks for All the Shoes and White Trash, Two Heebs and a Bean in full. Worth it, but sad at the same time. But honestly, it did actually feel like a final show. And that alone was bittersweet… But what a fucking party it was on a Sunday. I just want to see them again to compare the crowds because this was mind-blowing and fun. Everyone’s mood was high, and they ran the festival well without any large mistakes. There wasn’t even a queue to the bathrooms, bars, or food. Kudos. This was a HUGE success. Can we do it again, NOFX?
Dear Diary, I’ve returned from England. And damn, let’s talk about Slam Dunk and maybe talk about some of the things that need improving for next year. But first, we should thank Slam Dunk for getting me accredited this year. It was awesome. The weather was terrific; it was sunny and bright, which many English […]
Dear Diary,
I’ve returned from England. And damn, let’s talk about Slam Dunk and maybe talk about some of the things that need improving for next year. But first, we should thank Slam Dunk for getting me accredited this year. It was awesome. The weather was terrific; it was sunny and bright, which many English people didn’t expect – so towards the evening, as the sun was going down, there were a lot of sunburnt backs and faces. Even I, the ginger that lathers in sunblock, had a bit of red, but it disappeared. Amazing company! Okay, before I get into how I loved sharing important bands with some of my favorite people…the cell reception sucked and we lost a friend somewhere and didn’t find each other until the end of The Offspring and Enter Shikari’s set. Goddamn! But she was still there. But yes, they are amazing people to watch some of my favorite artists with and share some memories with, even on the shuttle to the afterparty. So, you know, we lost one friend, but a different team of Danes was there as well, and we also spent some of the day trying to find each other. This is ironic because we spent most of the time at the same stage. BUT, happy ending, y’all, and weird moment during Slam Dunk, we all found each other on the same shuttle bus. Friends, all ended well. As for what could be worked on for next year? Well…let’s begin our review of Slam Dunk ’23! Be ready.
So, Sincere Engineer came up at 11:30 in Kerrang! Tent Right Stage. Zand and The Tyne played in different tents, so the crowd wasn’t huge. But it was awesome enough because those who were there were there to see Sincere Engineer in action. Like me, because let’s be honest, this band will be playing big venues in due time. So, starting with no difficulties on the stage, Sincere Engineer played a bit for everyone in those 30 minutes, which I discovered for myself wasn’t enough time. But they did manage to play the bangers, of course. The setlist included, which is not in a particular order, “Overbite,” “Fireplace,” “Trust Me” and “Corn Dog Sonnet No. 7.” They even played the new single, which I didn’t get the name of!
But overall, the best band to kick off Slam Dunk ’23 for me.
Hehe, my biggest guilty pleasure band was on site! And to be honest, I was super excited to see them. I might have been even more excited to interview them after their set, hear who they were excited to see at Slam Dunk, and find out if they’ll ever visit Copenhagen, Denmark. So, what did Travis Mills and Nick Gross say to me after their set? Well, we’ll get to that, but first, let us discuss their set.
And, huge thanks to my friends for watching them with me even though they aren’t fans.
Their set was good. The set list was excellent and varied, mixing their first record and newest EP. They have much energy and could’ve benefited from being placed on the Kerrang! Stage, but that’s my opinion. The fact is, they came and served. Now let’s get to the interview because that was a true highlight of my trip, and as a bonus, I’ve added a nice picture of me and the lads below. And yes, my dear DyingScene readers, I am forcing pop-punk on you.
When I asked Travis and Nick about their tour with Avril Lavigne during her EU tour, Travis said, “It was mindblowing, a dream come true, and she’s the best.” Following up with the question that they started the band two years ago, Travis corrected me and replied, “Two and a half years ago”, leading me to the following questions, what they did before this and how they met; “I had a solo project, and Nick has been in bands since he was a teenager. He played drums for one show for my solo project, and we never played music again. And then we started girlfriends.” Travis told me. I asked Nick which bands he was a part of and boy, we know him. “girlfriends, and Goldfinger” but if you google him, his CV is more impressive than mine. I complimented the chemistry between Travis and Nick, as it genuinely seems they’ve been playing together their whole lives. The boys cracked some jokes about dating, and that’s why the band is called girlfriends, and that’s fine with me.
So, who were they going to watch at Slam Dunk? Travis had the following answer when I asked: “to no surprise, it’s the homies The Maine, The Hunna, we definitely gotta watch JXDN, Sueco, we’re just trying to catch all our homies”. To my curiosity, where was the name, Charlotte Sands? Well, that’s their girl, so no doubt they would catch her set. As lovely as I am, I’m also extremely cheeky in that I may have asked if they knew who DyingScene.com was, but they didn’t. But now they did, and it’s MEEE. So I asked what they had to say to fans. “One, thank you for listening and giving our band a chance. Two, there’s a revival going around (on the scene), as in the early days when bands had friendships and real relationships. And that’s what the scene was missing, and it’s cool to see it come back around” and while some of you readers will disagree, please remember to have a friendly tone about it. Aaaaand to end the interview in the best way possible, I hope this can give the Danish fanbase some hope for some time. I did ask if they had any plans on coming to Copenhagen – but in my defense, I didn’t ask when. But here’s what girlfriends had to say. “We must come to Copenhagen. This isn’t even a question. We must do it, Copenhagen here we come.”
…. Words can’t describe this set. But it’s fair to admit that I am a massive fan of Spanish Love Songs. As soon as the first note from “Routine Pain” started, I started crying. But not sad tears. Okay, both happy and sad tears, but seriously this band is fantastic. They also played “Haunted” from their upcoming album No Joy. Eight songs played, and off the stage they went. Along with The Menzingers – but we’ll get to them, their set was probably the one that seemed like it flew by the most.
Fireworks
I may have forgotten that Fireworks also had a set and actually randomly stumbled upon them outside. So this was an impromptu show between Spanish Love Songs, interviewing girlfriends, and catching Charlotte Sands. It was a good show, and it was just a shame that the microphone seemed to be a bit too low. But overall, I didn’t leave disappointed. I’d like to see them again. And people in the crowd were talking about how they looked forward to seeing Fireworks and how they liked the album they released this year.
Charlotte Sands
“I’m throwin’ a tantrum, coming in so chaotic…” and that is precisely what she did! Okay, the sound could’ve been better. But she isn’t the sound tech, so it’s not her fault. But damn, her pipes came and conquered! When I describe her to people who haven’t heard about her, I call her Michelle Branch if MB is emo. But in reality, Charlotte Sands is much more than that. And I think her performance at Slam Dunk was good; the mistakes that happened were out of her control. But her performance is so energetic, and her talent did shine through.
No hello, The Menzies come out and pop things off with “Charlie’s Army,” which is one of my favorite songs by them. And, uh, what a set. They performed the goodies like “Good Things,” “America (You’re Freaking Me Out),” “After The Party,” “Midwestern States,” “House on Fire,” oh fricking hell…they spoiled us with a new song from their upcoming album! The song was called “There’s No Place In This World For Me” and I wasn’t expecting anything new, so my head exploded! I cried a bit, but let’s face it…this wouldn’t be the last time I cried a bit during Slam Dunk. The Menzingers were flawless, but now I need that new album!
“My eyes can’t believe what they have seen…” as William Beckett jumps around like he hasn’t aged. Sure, the brown locks have a hint of grey in them. But to be honest, I’m okay with that. As a few might have read, TAI does have a special place in my heart, an inside joke between my deceased uncle and I kept going up until last year. And now I saw them, which was emotional and overwhelming at best. Sadly I didn’t return home with a TAI tattoo, but I did return home with bragging rights that I’ve shot concert pictures AND screamed along to their songs. Can we all agree that they were exceptional?! Hands down, one of the best performances on Kerrang! Left stage.
Did you know that next year BFS turns 30? Yeah, I did not. I thought they came around in ’98, but it was ’94. Oh well! It looks like Dying Scene will again be finding its way to the UK to celebrate that anniversary. So, what can I say about the show? It was fun! This took place at the Dickies Stage, and what a turnout it was. They played the hits and had fun on stage. I enjoyed being in the photo pit, singing along to the bangers, and dancing. Most of all, let’s be honest – this band is a bit iconic to us that grew up in the ’00s. Being from ’92, they had their fair share of love from me during my early years. So I was genuinely excited to see them (finally). As a bonus, here is a private photo of me and Jar. See you in Feb, fellas.
Second time seeing Yellowcard perform live; I’ll admit that the first time wasn’t as good as this time. Maybe because it was in 2015, and those I went with weren’t big Yellowcard fans. But this band was entertaining on stage, and the photo pit was exceptionally crowded. Hence, it was hard to move around without stepping each other over the toes, meeting the hands of fans tapping your shoulder, or nearly assaulting security with the front of your camera. Okay, the last part was a joke, but honestly, having a band that size in the Kerrang! Tent was just silly planning from Slam Dunk. But oh well, it didn’t change the fact that they, once again, blew me away. Damn, I regret I didn’t get any of their merch. Let’s move on to the last bands. Yes, bands.
So, we weren’t allowed to take pictures of The Offspring. Hm, thanks for that, guys. But I did manage to go listen to four songs before they decided to… disappoint a little bit. Firstly, I DON’T MIND THE NEW ALBUM. But I love the old with this band; they served all the good shit at the end. Next time fellas. And please, no bloody cover songs?
But I do not like having my time wasted, so my friend and I decided to go see watch Enter Shikari was up to. And that was… Actually fun, but the volume was a bit low. And actually, can we just take a minute? This is my formal complaint. Dear Enter Shikari, a 2023 updated version of “Sorry, You’re Not A Winner” is not acceptable. Let’s try again another day. But hell yeah, they were a party.
I’m lowkey alright about catching the first half of The Offspring and the last half of Enter Shikari. Overall they all sounded good. I had a great time. So, same time next year?
The Menzingers came to party at The Palladium in Worcester, Massachusetts on Saturday May 6 with a stacked lineup of support featuring New Bedford, MA’s own A Wilhelm Scream, Ramona, and more MA locals Have Fun! The Menzingers seem to love Massachusetts quite a bit, being the city they sing about the second most after […]
The Menzingers came to party at The Palladium in Worcester, Massachusetts on Saturday May 6 with a stacked lineup of support featuring New Bedford, MA’s own A Wilhelm Scream, Ramona, and more MA locals Have Fun!
The Menzingers seem to love Massachusetts quite a bit, being the city they sing about the second most after Philly. It is clear that Massachusetts loves them right back– the crowd singing along to every word of every song. The energy was joyous and undeniable.
It is always a blast to get to shoot Massachusetts’ own A Wilhelm Scream. This band can get a pit going in any room they play. They were a perfect fit on this bill with The Menzingers.
Ramona originates from Philly but their members are scattered all over the US now. They still manage to absolutely crush it when they do get together to play shows, like for this tour.
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Local openers Have Fun! did indeed have fun kicking off this show for us!
Check out some photos from the show in the gallery below!
Bouncing Souls returned to Chicago’s Metro on Thursday, May 11, 2023, as a part of its Ten Stories High tour. Solid support on this bill was provided by Samiam, Swingin’ Utters, and Pet Needs, adding up to quite an enjoyable evening. As the lights dimmed for the headliners, fans were singing “Ole” from Bouncing Souls’ […]
Bouncing Souls returned to Chicago’s Metro on Thursday, May 11, 2023, as a part of its Ten Stories High tour. Solid support on this bill was provided by Samiam, Swingin’ Utters, and Pet Needs, adding up to quite an enjoyable evening.
As the lights dimmed for the headliners, fans were singing “Ole” from Bouncing Souls’ 1999 album Hopeless Romantic. Of course we featured that tune near the top of our Dying Scene’s World Cup Anthems playlist on Spotify. The band hit the stage to the iconic Simple Minds theme “Don’t You (Forget About Me)” from The Breakfast Club, the John Hughes film set in a Chicago suburb. The crowd, many of whom were either not yet born when the classic 1985 film was released or were too young to see it at that time, sang enthusiastically along.
The tour derives its name from Bouncing Soul’s new album Ten Stories High, released this past March and the New Jersey crew got right down to business at the Clark Street located venue. Lead singer Greg Attonito bounded across the stage and to the edge of it. Pete Steinkopf, shredded through both the well-known and newer tunes. Bryan Kienlen held court stage right with his powerful bass playing. In the back, Greg Rebelo tore it up behind his drum kit.
As noted above, the setlist was comprised of old and new songs. About midway through the set, Attonito asked for two song suggestions from fans, at first telling them he would pick one.
Of course the band performed both nominees, “Bullying the Jukebox,” also from Hopeless Romantic, and “Quick Chek Girl” from 1995’s Maniacal Laughter. Joyous cheering and crowd surfing ensued. The band also performed its very popular cover of Avoid One Thing’s “Lean on Sheena,” which the Bouncing Souls recorded for The Gold Record from 2006.
And finally, being from the Empire State, born and raised east of the Big Apple and having spent a whole lot of time annually, in the City That Never Sleeps I have a certain affection for “East Coast! Fuck you!”And I was more than happy to whisper-chant along,
“Punkers should be pale and pasty Pizza here is fierce and tasty East Coast! Fuck you! East Coast! Fuck you!“
That second cited line I especially love and will preach its truth to the willfully deaf ears of friends in my adopted city of Chicago. The struggle to live in a place devoid of a truly great New York slice is indeed real (before anyone takes exception, struggle is sarcastically noted).
Samian appeared to have drawn a large portion of the crowd to the show. The Berkeley, CA band released Stowaway, in late March 2023 and played several cuts from it including, “Crystallized,” “Lights Out Little Hustler,” and “Lake Speed.” Samiam also delivered robustly with “Sunshine,” “Wisconsin,” and “Paraffin” from 2000’s Astray, among tunes from other releases. It was an enjoyable set and perfectly placed between Swingin’ Utters and Bouncing Souls.
I first saw Swingin’ Utters in 2009 at the now sadly defunct Frankie’s Inner City in Toledo, OH, days before moving from the Glass City to the Windy City. I wasn’t documenting the show, just enjoying the evening in my going away week with close friends from my work as a housing legal advocate at Legal Aid of Western Ohio. They were playing in the middle of the bill but of course stood out and I am glad my eyes and ears were open to such a great band.
Fourteen years later, I am still immensely impressed by how damn good they are. Lead singer Johnny “Peebucks” Bonnel, at times, whipped the microphone cord so furiously I was worried for his safety and the safety of those around him, Seriously, though, he commanded the stage whilst Darius Koski dominated on lead guitar. At the other end of the stage, Alex, from Toyguitar, contributed on guitar as well. Tony Teixeira, on bass and Luke Ray, added the powerful backline.
The band tore through “As You Start Leaving,” “The Librarians Are Hiding Something,” Windspitting Punk,” “No Eager Men,” “Kick It Over,” and “Deranged.” As the set closed out, Swingin’ Utters ruminated with “Five Lessons Learned,”
“Five lovely lessons learnt today Coating my throat with the dust of a new day As the saints pray their lonely way They’re dead weight lays the passion to waste.”
Pet Needs, from Essex in the United Kingdom, is on only their second tour of the USA. The band’s debut albumFractured Party Music, was produced and mixed by none other than Frank Turner. Turner, both a friend and fan of Pet Needs, also produced its sophomore record Primetime Entertainment.
Crowd members who arrived in time were treated to a killer of a set by musicians whose captivating performance exuded an infectious enthusiasm for their off-stage experiences. Blasting through a set list including “Lost Again,” “Ibiza in Winter,” and “Kayak.” The band also performed “Punk Isn’t Dead, It’s Just Up For Sale.” Whether the band is trying to be ironic or not, I did find it clever that Pet Needs was selling t-shirts with that declaration emblazoned across the front and sported on stage by drummer Jack Lock.
“Doors open With eyes unfocussed You coast past the clones of the blokes You swore you’d never become And then you catch your reflection.”
Lock and bandmates, the Pet Needs founding brothers Marriott – Johnny and George – and Rich Gutz, made sure to take in take advantage of the close proximity of two Chicago icons. Those being Metro Chicago, and its neighbor a few blocks down, Wrigley Field. The lads took in an afternoon watching the American pastime day earlier, watching the Cubs raise the W against the St. Louis Cardinals, 10-4. Johnny Marriott described his excitement at the prospect of sporting a large foam finger and his surprise that the only ones seemingly sold were to him and two of his three bandmates. But still, the delight in being able to drink beer out of a bat was too good to pass up.
After the set, Jack Lock described how, while taking in a game at the Friendly Confines was wonderful, there was one aspect he found weird. Unlike the football (soccer to those of us in the land of the red, white, and blue) matches in his native land, baseball fans can sit together, no matter what team they follow. Lock, who roots for Ipswich Football Club (congrats on the promotion lads!) was referring to the fact that in football stadiums across the UK, supporters of opposing clubs are prohibited from sitting nearby each other. Or at least, those wearing visiting club kits (jerseys) and those wearing home club kits may be in close proximity to one another during the match. Things tend to get a bit rowdier across the Pond. But in the States, he reported to me, everyone was so welcoming and friendly to each other, no matter which team was preferred. Or even if no preference.
In fact, several English Premier League Kits were spotted in the audience and nary a hint of conflict witnessed.
Hopefully, the next time Pet Needs is visiting these US shores, they will be greeted by larger crowds. The band deserves it and those who missed it, really missed out on something special.
With three highly popular veteran bands and a fourth beginning its breakthrough, I would have predicted a pretty packed venue from the moment of doors opening. Disappointingly, that was not the case. Well, not at the start. Very few people were in the audience by the time the very good opening band, Pet Needs, from the UK, took the stage. This means a whole lot of ticket holders missed out on really fun set with a lot of terrific music performed by charismatic artists. There was also a surprisingly sparse crowd when the legendary Swingin’ Utters kicked off its great set. I know a few who missed it due to reasons beyond their control but surely more could have gotten there in time?
Please see more photos from the show below. Thanks Cheers!
There’s a thing that happens when you grow up in a music-appreciating household and then you reach middle school or junior high or whatever you call it in your neck of the woods and discover a new band or a scene that becomes YOURS. They’re generally a generation or so older than you – or […]
There’s a thing that happens when you grow up in a music-appreciating household and then you reach middle school or junior high or whatever you call it in your neck of the woods and discover a new band or a scene that becomes YOURS. They’re generally a generation or so older than you – or at least 10-ish years or so but it just SEEMS like a generation when you’re 13. They’re not your parents’ music – and in fact are probably a rebellion to your parents’ music – and they aren’t little kid music or cheesy pop music, but they become YOURS and they teach you about life and growing up and all sorts of things that seem so cool and almost mystical when you’re a youngster and they serve as the riverbed for whatever scene’s waters you end up dipping your toes into.
But then there’s another thing that happens when you’re in, say, your mid-twenties and you discover a new band. They’re still maybe a handful of years older than you, and they somehow take the musical influences of your parents – which really weren’t that bad or worthy of rebelling against at all – and some of those musical influences from the first bands that you fell in love with and it becomes something that’s new and different and it impacts you on a personal level because they provide a roadmap for a lot of the things that you have been through and will go through in this thing called “adulthood,” and so you have similar experiences and reference points. For the duration of my adulthood, the alpha and the omega of that latter phenomenon has consisted of two bands (with, coincidentally, an overlapping band member in their collective history): Lucero and The Hold Steady. The former celebrated their 25th birthday last month, and the latter are in the midst of celebrating two decades as a band throughout this year with a series of one-offs and weekenders at a variety of locations both at home and abroad.
The two- and three- and four-day weekender that’s been part and parcel of the last half-dozen years of The Hold Steady’s touring schedule was eschewed for the Boston stop on this particular “run.” Instead, the six-piece (frontman and occasional guitarist Craig Finn, dueling lead guitarists Tad Kubler and Steve Selvidge, keyboard/multi-instrumentalist Franz Nicolay, bass player Galen Polivka and drummer Bobby Drake) chose to use this stop for what I’m pretty sure is their largest one-day area headliner to date. It was held at the sparkly new Roadrunner music hall in Boston’s Brighton neighborhood (more specifically in the newly-christened Boston Landing neighborhood, which is also home to the sparkly-new practice facilities for the Bruins and the Celtics and a sparkly-new and giant New Balance flagship building). The sweet part of the city it’s not, necessarily; but obvious grievances about gentrification and the loss of smaller and especially independent music venues in a theoretically world-class music city aside…Roadrunner is a pretty sweet venue. Still, that’s all a topic for another time.
Set to the musical backdrop of the thematically-appropriate Boston classic, “Rock And Roll Band,” the band took to the stage at Roadrunner at about quarter-til-ten and, after a brief introduction, ripped right into the opening chords of “Constructive Summer” from their 2008 album Stay Positive, which happens to be the album that vaulted THS into my own personal stratosphere. The song and its theme of hope and of collective positivity served as an ideal segue into the festivities that would come over the next hour-and-forty-five-minutes or so. Two dozen songs followed, representing seven of the band’s nine studio albums – no love for the underrated duo of hiatus bookend albums, Heaven Is Whenever (2010) and Teeth Dreams (2014)on this particular night.
It would be a little too on-the-nose to say that a Hold Steady headlining performance is what a resurrection feels like, but I’m not sure the fact that the reference is on-the-nose makes it untrue. When the band launches into the familiar opening notes of longtime crowd favorites like “Sequestered In Memphis” or “Your Little Hoodrat Friend” or “Massive Nights,” the crowd takes on a celebratory, almost spiritual tone, a sort of mutual catharsis, really. Enigmatic Craig Finn leads the show in his traditional, chaotic manner that evokes notes of both a hardcore band frontman and an exuberant preacher leading the flock during a Sunday sermon. Nicolay and Kubler flank the stage adorned in shirts and ties and jackets and, in the former’s case, a bowler hat that I can only describe as “spiffy.” Selvidge and Polivka both ooze a sort of rock and roll that combines 70s swagger with mid-Gen X shrug. Bobby Drake is about as rock-steady and, for my money, underrated as you can get behind the drum set in this scene, effortlessly bracing the changing tempos and swirling guitars and keys and extended, celebratory jams.
The Hold Steady released their ninth album, The Price Of Progress, earlier this year, and the new tracks that found their respective ways into the setlist for this gig were equally well-received, particularly “Carlos Is Crying,” which is a song that I think I called “the most Hold Steadyish song on the record” when I reviewed the album back in March. While I’d certainly call The Hold Steady a rock-and-roll band for lack of a better and more finely-tuned descriptor, it’s easy to tell that many of the bands members grew up on the punk rock and hardcore scenes of the 1980s (and not just when Mosh Pit Josh assumes co-frontman duties for the breakdown of “Stay Positive,” the main set’s penultimate song).
The four-song encore was a compilation of a bunch of old-school THS songs that continued the revelatory nature of the evening. Lead guitarist (co-lead guitarist?) Tad Kubler brought out the double-neck Gibson SG that you see pictured there on the right for “Lord, I’m Discouraged” and the first verse of “Banging Camp” before trading it out for his more traditional 345. “Chips Ahoy” and of course “Killer Parties” closed out the evening, the latter with an extended jam that seemed to indicate a reluctance to actually leave the stage and bring the celebration to a close. On this night, as with on many nights dating back over the course of the last twenty years, we were, indeed, all the Hold Steady.
Massachusetts’-own alternative rock legends Dinosaur Jr. served played a 75-minute direct support set. THS frontman Craig Finn, who was notably raised in Minnesota but was born a stone’s throw from Roadrunner at St. Elizabeth’s Medical Center and returned to the area for four years as a student at Boston College in nearby Brookline, told a story of mountain biking down to Newbury comics to by Dino’s 1991 classic Green Mind the day it came out, so it made perfect sense for the local trio to play an extended support spot on such an occasion. The trio opened with “Thumb” from that very same Green Mind album and proceeded to steamroll through a sixteen-song set that represented most-if-not-all corners of their nearly 40-year career as a band. A Dinosaur Jr. set really is a sonic assault in the best possible way, a tsunami of sound emanating from frontman J Mascis’ wall of Marshall full stack cabinets adorned in vintage Marshall Super Bass and Hiwatt heads.
Somehow Lou Barlow’s ‘lead bass’ attack still finds a way to carve out its own space in the mix, which is no easy feat. Murph’s razor-sharp drumming provides at least a semblance of structure to the whole onslaught, particularly useful during Mascis’ epic, fuzzed-out solo wanderings. Getting J and Lou to switch instruments and have the latter take over both guitar and lead vocal duties for “Garden” from 2021’s Sweep It Into Space was a particular highlight of the three songs that the four or five of us in the spacious photo pit got to shoot to kick off the set. A later highlight occurred when the trio was joined by Scott Helland on bass for a “cover” of the Deep Wound song “Training Ground.” For the uninitiated, Deep Wound was a pre-Dino (so, very early 80s) western Massachusetts hardcore band that featured Mascis on drums, Barlow on guitar, Helland on bass and Charlie Nakajima on vocals.
Apologies go out to Come, the local alternative rock icons who played the role of lead opener on the three-band bill on this night. Due to a combination of Mother’s Day festivities, traffic, and being unfamiliar with the area, we missed the photo-pit portion of the band’s set. Check out more shots from the Dino and THS sets below!
With the sheer quantity of shows I’m seeing these days, very seldom do I recognize mid-performance, or even after the fact, that what I’m witnessing ranks among the best shows I’ve been to. Sure, somewhat recent examples may include my first experience with Frank Turner, or photographing Daikaiju inducing utter mayhem in a wall-to-wall packed […]
With the sheer quantity of shows I’m seeing these days, very seldom do I recognize mid-performance, or even after the fact, that what I’m witnessing ranks among the best shows I’ve been to. Sure, somewhat recent examples may include my first experience with Frank Turner, or photographing Daikaiju inducing utter mayhem in a wall-to-wall packed club. But this Codefendants show may rank higher than both of those, holding a more significant spot than almost any show of my recent memory, and for a variety of reasons.
I’ll be the first to reveal that, initially, I wasn’t super fond of Codefendants, for no other reason than I didn’t give them the time of day. I’ve mentioned in the past that my musical preferences are extremely closed-minded and, for the most part, I’m very set in my ways. So when I first caught wind of the project featuring the trio of Fat Mike-Sam King-Ceschi Ramos, I didn’t have much interest in exploring the newly termed genre of “crime wave”. It wasn’t until close to three weeks after their full-length, This Is Crime Wave, hit streaming that I gave it a chance. And when I say this record may be a game-changer for me, I’ll be surprised if anything dethrones this thing from the top spot on my ongoing Records of the Year list. Even now, nearly a month after finally giving This Is Crime Wave a fair shot, I find myself listening to it on the daily.
With this record came a newfound respect for all the artists featured on the release. This release, more so than really any others in my recent recollection, showcases an insane amount of songwriting dynamic, displaying a kind of musicianship that appeals to fans of genres that have seemingly no similarities to punk rock. I found myself holding the songwriting of Sam King, Ceschi Ramos, Fat Mike, and even Stacey Dee, to a higher regard, as well as diving into the legendary career of the DOC and digging into what Onry Ozzborn’s extensive catalog has to offer. This is one of those records that I can cite as helping to expand my musical taste a little bit further outside the strict confines of punk, a feat that is becoming more and more difficult to achieve.
After recognizing the grasp that this release took on my airwaves, I was already looking forward to this show. Any chance to hang with the Zeta dudes is time well-spent, especially getting to see them back a band that’s gaining significant momentum. Additionally, this would be my first in-person run-in with both Ceschi and King, two guys whose prior projects I’ve followed pretty closely as well.
This show had it all, blowing every expectation I had out of the water. Codefendants, featuring their mesh of hip-hop, punk, and just straight-up lyrical-badassery, had two openers that fit right in with fans of hip-hop or punk rock.
Rap Ferreira leaned more towards hip-hop, but gave me major Chris Farren vibes with his one-man-band type of performance. Armed with only a microphone and what I can only assume was a small table full of electronics that do tons of cool stuff that I don’t know shit about, Ferreira achieved a stage presence and flair that rivals many full bands I’ve encountered.
I continue to enjoy Zeta‘s live show more each time I come out, even with this being my fifth show of theirs in the last year, with at least one more scheduled for June. They’re a killer bunch of dudes that have poured their life into playing music and I envy the hell out of their dedication and motivation. I was beyond pumped when the announcement came of them playing this tour, and I was even with Juanchi (featured right) when the announcement came through.
Their musical style is hard to pin down, but I’ll settle on the experimental-punk label. I mean it’s hard to pin a band down to one genre when all their shows end with each member playing different percussion within a drum circle. But I hope to not spoil too much as I’ve got an interview with 50% of Zeta due out very soon.
Holy shit were these guys good. Codefendants sounded as professional as anyone I’ve seen and I was in pure awe watching some true professionals go to work.
What stuck with me more was seeing their emotion shine through, reinforcing how much they had previously revealed that these songs meant to them (interview due out very soon as well). I found myself once again realizing that punk’s honesty and genuine nature are what I truly love about the world’s greatest fucking genre.
Having had the pleasure of catching Codefendants first ever tour was one for the books, and I’m still riding a high from this show as I’m doing this write-up. Both Zeta and Codefendants are absolute workhorses, so do yourself a huge favor and catch them live. Codefendants has been on all the Punk in Drublic dates and were recently announced as openers for Avenged Sevenfold as well, so catch a show and have a ball just like I did. Zeta has an upcoming full US tour with recently announced Festers Sparta, so go say what’s up to four of the nicest dudes I’ve ever met.
As always, thanks for checking out the site. Cheers!
Liar’s Club played host to two Minneapolis-based bands, Sparrowhawk and Petty Larcenists on April 23, 2023. The Arrivals‘ “Little Dave” Merriman, opened up with a solo set and his fellow Chicagoans, Off With Their Heads‘ Ryan Young and Kyle Manning, jumped on the Saturday night bill to provide closing local support for their friends from […]
Liar’s Club played host to two Minneapolis-based bands, Sparrowhawk and Petty Larcenists on April 23, 2023. The Arrivals‘ “Little Dave” Merriman, opened up with a solo set and his fellow Chicagoans, Off With Their Heads‘ Ryan Young and Kyle Manning, jumped on the Saturday night bill to provide closing local support for their friends from the Twin Cities.
Sparrowhawk, out of the Twin Cities (Minneapolis/St. Paul, MN), gave a soaring performance. The band flew through its set which included, “Take A Bow,” “Colony Song,” “Blackberry Brandy,” Queen & Country,” and “Fool’s Mercy.” Ok, no third bird pun, I promise but it was a terrific showing.
Sparrowhawk is prepping to release its self-titled debut album this summer. Looking forward to it for sure.
Petty Larcenists, also from the City of Lakes, were rowdy and loud, and in the midst, pilfered the hearts of the crowd (hey, not bird related). Tunes included “The Last Time,” “Loud and Ugly,” “The Kids Back Home,” and “I Can’t Get High,” from its 2019 release “Stolen Chords and Lifted Riffs.” Oh, and the group has an of amusing set of “stolen” band logos too, including homages to the TV show, Law and Order, and the English Premier League among others. Check them, and the band, out now.
“Little Dave” Merriman, of The Arrivals, played a terrific solo set to kick off the evening. Armed with just his guitar, the set was both fun and tender. That latter adjective because Merriman has written several tunes for his just- turned-one-year-old daughter, including her theme song, “J.E.M.”
“Who’s that girl? / Right over there / What’s her name again? / It’s Josephine / Elisabeth / Merrrriiiiimaaaaan“
In another of the “Jo Songs,” “President of Space,” the proud papa lets his little girl know that the sky’s the limit,
“You don’t have to be the President of Space / But I know you have it in you / You could if you wanted and I think that you’d do great.”
Getting verklempt at a punk show isn’t the most common expectation. However, it happened here and there isn’t really a need to discuss this in a “Coffee Talk” format. Merriman gave a very moving set while standing very still. But this Lullaby punk was neither syrupy nor cloying in the slightest. Just pure sweetness. Such a treat.
Merriman also performed “I’m Going Up Again,” and “You Know,” from his 2014 solo record, “Odd Bird,” on which he wrote all songs and played all instruments.
Merriman is working on a new album, or maybe two.
“I’m going to do another one [solo record] and it will have children’s songs on it. Or I’ll do two separate releases.”
Whichever way he decides to release the new material, Dying Scene will be there for it. I know I will be.
Ryan Young and Kyle Manning, from Off With Their Heads (OWTH), played a freewheeling closing set. In a Facebook post, OWTH described the show this way,
“Oh yeah! We caught word our friends from Minneapolis were playing our friends’ bar in Chicago and didn’t have a local band. Sounds perfect to jump on.“
There was a physical set list on the stage, though the musicians didn’t really follow it in any organized manner. No matter, because everyone seemed to be having a good, laid-back time as Young and Manning closed out the night among pals.
Just days after this show, OWTH kicked off the first leg (USA/Canada) of the “HOME Ten Year Anniversary” tour in Detroit, MI. Several stops have already been sold out. Make sure to grab tickets as soon as you can.
Please see more photos from the show below. Thanks & Cheers!
If you search back through the annals of Dying Scene history, there exists the very real possibility that Frank Turner and The Interrupters and Chuck Ragan would each individually rank pretty high on a retrospective “top ten most photographed artists” list. I’m pretty sure I’ve shot them a collective two-dozen times myself. And so obviously […]
If you search back through the annals of Dying Scene history, there exists the very real possibility that Frank Turner and The Interrupters and Chuck Ragan would each individually rank pretty high on a retrospective “top ten most photographed artists” list. I’m pretty sure I’ve shot them a collective two-dozen times myself. And so obviously when it was announced that the trio would not only be touring together but that that tour would find its way to Boston’s MGM Fenway Music Hall on a Sunday night, of course yours truly would be there! (Editor’s note: Laura Jane Grace was slated to appear on this bill as well but had to bail semi last-minute. Jesse Malin was a late add as a replacement and an even later cancellation due to an unexpected injury.) Unexpectedly chaotic traffic-related issues aside (seriously…not entirely sure who made the executive decision to sync up the ending time of Northeastern University’s graduation ceremony inside Fenway Park with the doors-open time at the MGM outside Fenway Park, but that person should be fired into the sun), the evening was about as enjoyable and high energy as you’d expect.
Accompanied on pedal steel by long-time wingman Todd Beene (of Glossary and Lucero and Tim Barry fame), Chuck Ragan got the evening’s festivities started off in fine fashion. When an event is co-headlined by not one but two high-energy, full-band acts, particularly when it’s a venue as cavernous as the shiny new 5500-capacity MGM Fenway, you never really know how well an acoustic-based opener is going to translate. Rest assured, Ragan’s trademark road-worn growl was more than enough to not only grab the attention of the decent-sized crowd that showed up so early but to shake the sparkly new building to the rafters.
The bulk of Ragan’s ten-song set was culled from his 2011 release Covering Ground and its 2014 follow-up, Till Midnight, both of which included Beene on pedal steel and backing vocals as a member of The Camaraderie. Coupled with a holler that could raise the dead, Ragan plays his trusty Martin acoustic with the ferocity of John Henry’s hammer, so the subtleties and soaring notes of the pedal steel make for a unique sonic balance. The one “cover” in the set was of the Ragan-penned Hot Water Music staple “State Of Grace,” a nod to the Hot Water fans in the crowd and to the band’s thirtieth anniversary, which will be coming next year!
The Interrupters stormed the stage next for their co-headlining slot on the bill. They kicked off their set with “Take Back The Power,” the biggest single from their self-titled 2014 debut full-length, and spent the course of the next seventy-five minutes in a constant barrage of frenetic energy and positive vibes. The band’s dynamic lead vocalist, Aimee Interrupter, rarely spent a full verse in the same place, instead dancing her way back and forth across the width of the stage, engaging with – and feeding off – the joyous crowd every step of the way.
Not to be outdone, guitarist Kevin Bivona and his bass-playing younger brother Justin frequently danced their respective ways back and forth across the stage and spent as much time airborne as they did with their feet planted to the ground. Jesse Bivona is about as rock-steady a drummer as you’ll find in the scene, serving as the band’s gas pedal and providing harmonies-on-harmonies-on-haronies with his brothers. Touring “fifth Interrupter” and pride of Dover, NH, Billy Kottage amps up the band’s live presence and coolness factor on keys and trumpet.
Spreading the love for the band’s four studio releases pretty evenly throughout their sixteen-song set, there’s the sense that the band could have easily played twice as long and still kept the audience in the palms of their collective hands. In spite of the high-energy nature of the band’s set, a particularly high note was their performance of “Alien,” from last year’s In The Wild album. The down-tempo song is a bit of a sonic outlier, and is also probably the most personal song on an immensely personal album, and so there are those among us who wondered aloud if it would make it into the band’s set. Yet Aimee’s voice not only never faltered but soared to new heights by the time the song reached its sonic crescendo.
And then it was time for the evening’s closing act, the inimitable Frank Turner and the Sleeping Souls. Obviously Boston is not a hometown show for the Wessex boy himself, but at the very least Boston has become a home-away-from-home over the course of the last decade-plus, as many a US tour have started or ended – or both – in the city proper or in other nearby New England cities. Wielding a Gibson SG as his main axe on this run, Turner and crew (longtime sidemen Tarrant Anderson on bass, Matt Nasir on keys and Ben Lloyd on guitar now joined by Callum Green on drums) immediately ripped into “Punches” from last year’s FTHC album, a clear sign that this was very much going to be a high octane rock-and-roll set.
Turner and crew have played their fair share of epic long shows or, on numerous occasions played two-a-days like a high school football team in the dog days of summer, so being able to play a 75-minute, 17-song headlining set allows them to condense all of that energy into a solid, blistering set. As a result of the countless miles together, the band has long been one of the most locked-in groups around, and that was on full display at MGM. It is probably tempting for some bands to play “just the hits” in such a situation, but The Sleeping Souls did a pretty solid job of featuring the more punk-rock-tinged FTHC (including a scorching rendition of “Non Serviam”) amidst a setlist that featured tracks from eight of his nine studio albums spanning back to 2007’s Sleep Is For The Week. Sorry No Man’s Land…maybe next time.
Check out more photo galleries from the three killer performances below!
Black Flag is the most influential and iconic band I have shot to date. They proved they’ve still got it with a stunning show at Avondale Music Hall in Chicago on April 14th. The legendary quartet played the seminal 1984 album My War in its entirety, followed by a second set sampling the rest of […]
Black Flag is the most influential and iconic band I have shot to date. They proved they’ve still got it with a stunning show at Avondale Music Hall in Chicago on April 14th. The legendary quartet played the seminal 1984 album My War in its entirety, followed by a second set sampling the rest of their catalog. There were no openers for Black Flag, but The Evictions and Shitizen rocked LiveWire Lounge for the official after-party. The result was a night of raw, intense and uncompromising music that left the audience breathless and exhilarated.
The first set was a masterclass in punk nostalgia, as Black Flag unleashed the fury and power of My War, one of the most noteworthy albums in their extensive catalog. From the opening riff of “My War” to the closing feedback of “Three Nights,” the band delivered a flawless performance that captured the anger, frustration and alienation of the original record. The songs were played with precision and passion, as vocalist Mike Vallely spat out the lyrics with his trademark ferocity. Guitarist Greg Ginn picked and strummed his way through the complex and dissonant riffs, while bassist Harley Duggan and drummer Charles Wiley provided a solid and dynamic rhythm section. The second set was a treat for the fans, as Black Flag played some of their most popular and classic songs from their earlier and later albums. The band showed their versatility and range, as they switched from fast and furious punk rockers like “Six Pack” and “TV Party” to slower and heavier sludge metal tracks like “Slip It In.” The crowd went wild with every song, singing along, and starting more than one circle pit. The band seemed to feed off the energy of the audience, as they played with more intensity and enthusiasm. The highlight of the set was a blistering rendition of “Rise Above” which ended with a massive chorus that shook the walls of the venue. They gave the fans a night to remember, and a reminder of why they are legends in the scene. The remaining dates for this tour are on BlackFlag.com.
The Evictions are a Chicago-based fuzz punk band that have been making waves in the local scene with their catchy and energetic songs. They got a chance to showcase their talent and charisma at the Black Flag after-party show at LiveWire Lounge, and they did not disappoint. The band played a non-stop set of high-octane tunes that had the crowd moving and grooving. The band’s sound was loud and powerful, with a solid and driving bass, high-tempo drums, fast, biting guitar work, and confident gruff vocals. The band’s songs were catchy and memorable, with hooks and choruses that stuck in your head. Their performance was tight and polished, but also spontaneous and fun. The stage presence was strong as members slang their bodies around the stage. The band was clearly enjoying themselves, and their enthusiasm was contagious. The crowd at LiveWire Lounge was a mix of Black Flag patrons and dire hard Evictions fans, and all seemed impressed by their performance. The crowd responded well to the band’s songs, slamming, clapping, and shouting for more. The band won over many new fans that night, and left a lasting impression on everyone present at the show. The Evictions showed that they are a force to be reckoned with in the punk rock scene, and that they have what it takes to rock any stage. They deserve attention and recognition, check them out, you won’t regret it.
Shitizen had a tough act to follow, as The Evictions set a high bar for energy and intensity opening up the show. But the band rose to the challenge and proved why they are one of the most exciting bands in the Chicago scene right now, delivering a blistering set of thrashy old-school tunes that kept the crowd moshing and singing along. The band’s sound is a mix of classic hardcore influences, with a touch of metal and crust. The bass was deep yet articulate, letting it stand out in the mix. The drums were swift and furious, pounding out relentless beats that drove the songs forward. The guitar was dirty and cutting, shredding riffs and solos that added some melody to the chaos. And of course, there was Claudia, the band’s unforgettable frontwoman, who stole the show with her aggressive snarling vocals and wild stage presence. She was a force of nature, spitting out lyrics, angry toward individuals, herself, and society as a whole. You could see the madness in her eyes and hear the angst in her voice as she unleashed her fury on the mic. She constantly interacted with the crowd, jumping off the stage, getting in people’s faces, and continuing to sing while slamming in the pit. The crowd loved every minute of it, especially the band’s loyal fans who were up front screaming along. There were a lot of new faces who came from the Black Flag show, curious to see what Shitizen was all about. They were not disappointed, as Shitizen put on a show to be remembered. They showed that they’re a band to watch out for in the punk scene, with their powerful sound, passionate message and energetic performance. They also showed that they can hold their own with any band, even legends like Black Flag.
If you missed this show, you missed one of the best nights of punk rock in Chicago all year. Check out the full gallery below!
