New single & music video arrive alongside album/tour announcement.
By Bryan F. Ahearn
Yesterday, Mark Tremonti announced the January 10, 2025 release of “The End Will Show Us How,” the sixth album by Tremonti—the 4-piece band bearing his namesake and trademark rock metal grit.
And if the first single “Just Too Much” is any indication, the band’s sixth album will have more than enough to keep fans interested, and likely grow new ones as well.
The 3:46-minute track starts off as a distorted, plodding, march—almost at a heartbeat’s pace, before tearing resiliently into the deep-thoated lyrics, “To love/to pain/to thrive again.”
Mark’s vocals, coming right out of the gate in that powerful upper register of his, bring about almost a brightness to this track (reminiscent to “Take You With Me), yet set against with that slow, stomping, almost dirge-like rhythm, provide an intriguing blend for the metal listener.
Light and darkness, co-existing at once, and it’s a thing of beauty. It’s almost hypnotic to listen to, and to think about, and it’s what I find most intriguing about this track.
References to personal accountability, control and fate abound throughout the lyrics, culminating into a chorus that confesses, “Sometimes, it’s just to much,” and, is where fell in love with this song.
Because when one of your heroes—one with so many accomplishments and such immense talent—admits that sometimes, something can be too much, suddenly, he became more human to me—more accessible and, an even bigger inspiration.
If that’s even possible.
Of course, snapping out of it and tearing myself away from thinking about some of my favorite lyrics in quite some time, I returned to find in that song, as expected, incredible musicianship laced throughout.
Eric Friedman throttles a great rhythm guitar, while Tanner Keegan’s bass rumbles alongside the rhythmic thundering of Ryan Bennett on drums. And yes, (spoiler alert!) yet another awesome guitar solo by Mark Tremonti himself.
Couple this new track, alongside a new music video, tour announcement, and of course all sorts of album pre-orders featuring the brilliant album art work by Dan Tremonti, and I found that “Just To Much” has, somehow, given me much more than expected.
Nary a breath existed between the 23-song setlist.
That the Foo Fighters were playing their largest-ever concert in the United States after 30 years was not lost on frontman Dave Grohl Saturday night in Denver, as the vivaciously energetic frontman froze, on more than one occasion, at the sheer size and attendance at Empower Field—home of the NFL’s Denver Broncos.
But, as always the case with the Foo, lapses in energy and emotion that night were hard to come by, as one by one, the band proudly upheld the band’s 30-year tradition as one of the hardest working, entertaining, and accomplished, artists of our time—and quite possibly, the biggest rock and roll band in the world today.
The band opened at dusk, where before the first song even started, Grohl charged to the front of the stage and remarked with his trademark howl, “Whoa, sh-t! That’s a lot of people!!”
The opener “All My Life” then brought the crowd of just over 50,000 out of the fading stadium shadows and onto their feet, from front row to top deck, for what would culminate into an almost 3-hour, 120-decible jukebox that spanned the outfit’s entire 30-year discography.
Several song’s later, the band really spread its wings with “The Pretender,” the first of fist-over-fist alt-rock mega hits from the rock band’s repertoire to make an appearance, before mellowing out with “Walk,” against a backdrop of thousands of lit cellphones.
That scene, as was the case all night, was something out of a dream, one that was not lost on Grohl, as set to a swirly, cosmic-sounding synth organ that blended into “Times Like These,” he began by narrating that “You know…this is the biggest American Foo Fighters show we have -ever- played in 30 years.”
“And you know what? By the end of the night, we’re going to be best f-ckng friends. It’s true!”
And he wast right.
Was. He. Ever. Right.
Ever the perfect host, where no soul is ever turned away, Grohl set off self-DJ-ing the best rock and roll party this side of the galaxy, with of course “My Hero,” and my personal favorite “Alandria,” where the clean tones he was pulling out of his signature Pelham Blue Gibson, right before the second verse especially, were some of the coolest I heard all night.
Bright, sparkling, and all-out rejuvenating, that moment—those simple guitar tones during that one song from 2011—finally…summed up what I hadn’t quite been able to put into words about that night: Grohl had brought several generations of fans together in what was turning into the Super Bowl of playlists at an NFL venue.
One of “These Days,” followed—perhaps with a few tears of my own as I was hearing thousands scream along to “Easy for you to say: Your heart has never been broken! Your pride has never been stolen!”
Chills. Chills that Grohl, who knows more heartache than one deserves to know in two lifetimes, spoke for us, and invited us to sing along.
“It’s not Beethoven!” he quipped. “If you don’t know the words, just look at the guy the next to you in his mid-50s and do what he’s doing.”
However, for all the playlist pageantry that adorned our ears that evening, it was the memory of one Foo Fighter who adorned our hearts: the late Taylor Hawkins.
“Tonight I saw something flying by, and whenever I see something flying by, I think ‘Oh, sh-t!’,” Grohl pulled in a darting breath (which just had to have been between held-back tears) and said, “I feel like he’s here.”
Of course that lead into “Aurora,” and what Dave called one of Taylor’s favorites, complete with that beguiling drum outro that rolls and rolls and rolls, until it…much before we were ready for it to…just stops.
And in that night of Mile High Magic, that moment, and that song, stole the show.
Indeed, that’s life’s wonder, and what lies entrenched in Dave’s artistry: Not being sad that it’s over, but happy it happened in the first place.
It’s why 60,000 fans bought tickets, to share in something they could say happened, and that if anything could ever feel this good again, they’d have this show to compare the feeling to.
Yes, of course the band ended with “Everlong.” And of course, barely anyone left before it was over. Several days later, something tells me plenty of people are still there.
Indeed, if everything could ever feel this real forever, it would be August 3rd, 2024 in Denver, Colorado.
On their third album, “MASS,” Friendship Commanders—the Nashville rock duo of vocalist/guitarist Buick Audra and drummer/bassist Jerry Roe—return with gale-force grunge anthems and cathartic, tear-down lyrics, fashioning this album into a restoration project for the ages.
Album order info/Fall tour dates below!
Score: 5/5
On the surface, MASS is described as a concept record about memory, language, and the state of Massachusetts. Dive deeper, though, and this is one of those albums that could apply to anyone, anytime, anywhere. And, all over again.
MASS is an exploration of devastation, reclamation and beauty, set amidst a backdrop of grunge-drenched chords and powerhouse female vocals. Yes, it’s every bit as good as it sounds—and the lyrics read.
Opening with the buzzy guitar-chorded “Blue”, Buick begins her spellbinding sway of lyrical prowess, set against mounting currents of deliciously frothy guitar distortion and dusted with Jerry’s perfectly droning drum rhythm. As Buick smolders “there is something dangerous about the narrative that a life is only measured by what’s surrounding it”, she soon erupts into:
“The sky was blue in Massachusetts, the sky was grey inside my head.”
Similar uprising follows in “Fail”, where Buick threads her way through soul-bearing verses before crashing through with a “and we fail a little at a time we fail who we love” stomp-box of a sing-a-along of a chorus, before “High Sun” showers us with some of Buick’s more uplifting tonality, a refreshing dynamic to a complicated wealth of emotions throughout the album.
“Vampire” rises next from the track list, with plenty of guitar fuzz to conceal the fangs of its sharply-defiant chorus “if the blood flows, you rely on me!”; where “Still Life” rolls through with pummeling, Foo Fighters-esque drum lines and trademark fantastically soaring vocals that have well-taken hold halfway through the album.
The standout track “We Were Here,” follows, an unbridled moment of vulnerability and power, as Buick howls:
“I lived in constant fear I was unlovable.”
All this, against a bubbling cauldron of guitar buzz, rolling drum punches and then the rapturously soaring bridge “and the history calls my name (I hear them) and I’ll never be the—“.
One could one guess the missing word was “same,” as with “Distortion,” “Retraction” and “Move,” that songwriter/author Buick was who she once was, but “the distortion lies in feeling that I need to be okay.”
And this is the beauty in her artistry: A rise-from-the-ashes moment from an album that in all honesty, delivers them in spades through some fantastic soundscapes, and, shows listeners a way out, or, at the very least, a place at the table.
Because as Buick rations in the closing track, “Dissonance,” in spoke word:
“(I wanted to show you): How two things can be true at the same time. How doing your best and living your worst can coexist in the same second, same breath.”
It’s an amazing concept when artists inspire a sense of belonging, in this case, even among, non-Massachusettsans. Buick Audra and Jerry Roe do just that when they arrive triumphantly to shore with MASS—a resounding, well-produced sonic-canvas of wickedly-affirming grunge, and it’s a must-add to your 2023 Best-Of-Rock lists.
PARKER, CO—Even if only for a night, Stephen Pearcy, the original voice of RATT, brought the picketed white fence, soccer field-dotted Denver suburb of Parker, Colorado, down into the grittiest, filthiest, dirtiest, most glamorous Sunset Strip gutter one could imagine.
And it absolutely rocked.
Behind a gleaming pair of silver aviator glasses, enrobed in a studded black leather jacket, and clutching a brass knuckled microphone, Pearcy passionately delivered a blistering set of all things RATT for nearly 90 minutes Thursday night to the jam-packed Wild Goose Saloon—one of the cleanest, best-sounding rock clubs I’ve ever been to.
Of course, the real crown jewel of the night was indeed Stephen Pearcy, and the setlist closer “Round and Round,” the chart-topping rock anthem that ruled the hard rock airwaves of the 1980s. But for the hundreds in attendance that night in Parker, every one of the 15 songs came off with equally searing aplomb, magically melding a different era into present day, and leaving a star-struck crowd breathless in its wake.
Wall to wall, gutter to gutter, the hits came all night. Indeed, Pearcy remains to this day a wanted man—with tracks from RATT adorning rock radio almost once hourly—as often as any other other 80s rock counter parts Def Leppard, Motley Crue and Poison.
But while bands from this era share likeness, what distinguishes Stephen Pearcy from the aforementioned three bands is that while these bands re-formed original lineups to sell out stadiums (in one of the most popular summer tours in years, might I add) Pearcy, for the most part, has had to start his journey all over again—of course, with the help of a stellar supporting band that was on fire all night.
Note for note, this band provided the perfect, quintessential canvas for Pearcy to tag with his white-hot rock voice and scorching lyricism.
Unabashed and adoringly unapologetic, Stephen Pearcy and his band absolutely pummeled and laid out the crowd with hits that somehow seemed laced with even more resolve and rebellion than ever could have possibly come off with in their heyday, some 40 years ago.
Aged like fine wine. A really dirty, sweet, addictive form of fine wine.
If you know, you know.
“Slip of the Lip” was particularly intoxicating, as Pearcy tantalizingly leaned into the crowd, flashing his brass-knuckled mic over the audience for boisterous “SLIP! SLIP!” chorus sing-backs.
Pearcy getting up-close and personal with the audience was a resounding theme all night. Through a tangled maze of stage-front high fives and fist bumps, Pearcy engaged (somehow) tirelessly with the audience the entire show.
Where his energy came from (and how!) during “Lay It Down,” one could only hope will be replicated by rock artists 40 years from now. For, mark my words, Stephen Pearcy is not only the rock hero we need, but the RATT we deserve.
“Lack Of Communication” inspired chant-like sing-alongs from a crowd that somehow seemed to have something to prove that night as well, and “I Want A Woman,” was 100% throwback goodness to what once was—and in the hearts and ears of many in attendance—still is.
Indeed, it was all about love Thursday night, fittingly, for lyrics that draw much raw inspiration from relationships and passion. No politics. No metaphors. No holds-barred. Just love, appreciation, and a never-say-die resolve.
In that spirit, “Back For More” towards the end of the set came off with an even more acidic revolt, as the crowd seems to be saying they weren’t just standing there for Stephen Pearcy that night, but standing right there…beside him, and for him.
In that once immaculately clean, Wild Goose Saloon (now turned sweatbox several hours later that night) perhaps Stephen Pearcy wasn’t doing it alone after all.
With Pearcy remarking frequently, and very genuinely, throughout the night, how appreciative he was that he could still do this, and thankful we were still coming to their shows.
When all was said and done, perhaps Stephen Pearcy wasn’t doing it alone. And after the music he brought last night, neither were we.
Neither are we.
So go buy that ticket. Go support your rock heroes, still, and be a hero to yourself the morning after.
Rock-on, flashbacks. Rock-on, dreams and memories.
RATT…and roll, for life.
Stephen Pearcy —Parker, CO (02-23-2023)
Opening Bands
Poison’d: A Denver-based band that covers Poison hits. Great sound, engaging backup singers, really good lead vocals and probably the best female, 80s-inspired shred guitarist I’ve ever seen live. Catch them around Denver!
The Fuzzheads: A Denver-based classic rock cover band. Ozzy, Hendrix, Led Zep…all there with a high level of bluesy-rock musicianship and a super fun stage presence. All three guitarists can really, really play…and sing, and if you like crazy-good drumming, check it! Catch them around Denver!
Venue Review: A +. All venues can be special based on the bands and staff. But this Wild Goose? It’s one of those “Am I dreaming?” places. Reminiscent of an upscale, House Of Blues found in a metropolis, this venue in small-town Parker is a legitimate contender to be the crown jewel rock venue of south-Denver, period. The staff seemed to be friendly, professional and engaged. Parking was even fine. And the smoked barbecue smelled insanely good. All. Night. Long. Holy moly. Made it tough to concentrate on the awesome music at times, but I muddled through. (I should have gotten there earlier to eat. What time do they open for lunch today??)
World-renowned rock legend brings his iconic hits to a small suburb in Colorado, in a rare, up-close acoustic performance. Don’t miss out if Kip Winger ever visits your area.
For any other performer, the pandemic of the last 16 months may have just been an average pause in the action.
Not for Kip Winger.
Not since the age of eight—Kip remarked to the crowd gathered Wednesday night in Parker, Colorado—had he gone more than a year without a gig.
For even at age eight, his talent must have been that apparent—foreshadowing a career as a bassist with Alice Cooper, and as one of the founding member’s of MTV’s rock and roll generation with his band Winger, and a successful solo artist and composer. (Did you know Kip is a Grammy-nominated composer of a ballet score?)
Fast forward 40 years later past the prime of MTV, past the hair styles, past the shredded jeans and past the spaghettified guitar solos of the era, and you’ll find Kip Winger, still delivering on every ounce his standard of expertly arranged rock melodies.
And you’ll still also find scores of loyal fans, as he did in Parker Wednesday night, eagerly awaiting the return to Kip’s pitch-perfect, upper registry behind the mic, calculated guitar rhythms, and a list of impactful songs almost too long to mention.
On this night, his fans got that and more, as Kip delivered nothing short of a compelling performance at Deep Space, presented by Artist Plus Entertainment.
In a clean-cut venue more suited for Main Street, U.S.A. than the L.A. Sunset Strip, an indoor concrete staircase led fans down to a well-ventilated, air conditioned basement complete with a spotless bar and surprisingly well-maintained restrooms more fitting of a spa than a rock and roll venue.
But that’s where the clean stopped, and the grit began, as Kip Winger and his musical companion Robby Rothschild layed down one of the best shows I’ve been to of any genre, at any place.
Because great music is just great music. No matter the time. No matter the place.
Throughout the evening, Kip strummed his 12-string guitar with exuberance, while Robby thundered along mightily across a pair of bongo drums and floor stomps—a surprisingly invigorating translation of 80s rock staples.
Of course, the hits from Winger—the band of Kip’s namesake—were on full-on mode, and it was a mood.
Winger hits such as “Easy Come, Easy Go,” and “Headed For A Heartbreak” we’re particularly astounding when performed acoustically by Kip, with Heartbreak’s post-chorus, twinkling acoustic guitar interlude providing a requisite pause in energy, and perhaps reflection, from an amped crowd drawing from emotions that perhaps spanned longer than the last 16 months.
“Headed For A Heartbreak”
And there was “Can’t Get Enough,” where Kip implored the crowd to sing the refrains back as he moved the song to its rousing finish.
Sometimes, great music is just great music. No matter the time. No matter the place.
In fact all the songs sounded great, with Kip’s voice was relentless in it’s ferocity, precision and intricacy—somehow all at once.
Probably one of my favorite moments was an entrancing rendition of “Pages and Pages,” as Kip took the seat behind a keyboard for one of the most amazing and mesmerizing pieces of music I’ve ever heard.
“Pages and Pages”
So moved was I, that I sought out Robby Rothschild after the show to find out the name of that song, that ended up being from one of Kip’s solo albums, From The Moon to the Sun. Without hesitation, Robby was able to answer. So in-step with Kip that it must have been part of the reason the two came off so well together.
“Seventeen” with bongos is a vibe!!
Kip Winger is one of those rare, landmark musician who is still great at what he does, and deserves equal mention along other influential frontmen of the genre such as Jon Bon Jovi (Bon Jovi) and Brett Michaels (of Poison).
Kip’s commitment to his craft is unwavering, as evidenced by his inclination to not start his set until he thought his sound was just right, even after soundchecking earlier in the day.
To the crowd, though, everything sounded just right, and were eager to sing along to favorite hits such as “Madeline,” “Down Incognito,” and yes, “Seventeen.”
Perhaps the most memorable moment of the evening, however, was Kip entertaining a request to play a song called “Daniel” from his solo album This Conversation Seems Like A Dream.
This, after retorting to a fan that yes, he would play it. Only tomorrow night.
In Wyoming.
Kip, in fact, did play “Daniel” after all, that nignt—in Parker, Colorado—along with every other classic he played, and then some—no matter how long the pause lasted.
Because Kip’s music has lasted, whether 16 months or 40 years.
Because great music is just great music. No matter the time. No matter the place.
Lucky for us, great music came to Mainstreet, U.S.A., if only for one celebrated evening in Parker.
And with any luck, it won’t be the last time great music visits Deep Space.
Whoa, Canada!! It was the great-sounding performance (without borders) that rock n’ roll needed, when rock n’ roll needed it.
By Bryan Ahearn
Big Wreck’s Ian Thornley (left) and Chris Caddell (right) perform during a screenshot of the Super Crawl livestream Thursday night.
For those of us in the United States, if you keep driving north and just keep going and going, you’ll get to a with more land than people, more stars than street lights–enveloped in a patchwork of lakes, mountains, open fields and forests.
You’ll be in a place called Canada, a place that, for over 25 years, has housed arguably the greatest rock and roll band to have rarely set foot on U.S. soil, let alone been heard much on U.S. airwaves: Big Wreck.
Formed in the mid 90s, Big Wreck is a Canadian-American rock band—founded by singer/songwriter Ian Thornley and his friend, the late Brian Doherty in Boston, MA.
After a hiatus around the turn of the millennium, the band returned almost 10 years ago—with all the viscosity, fervor and rock grooves that have drawn Big Wreck favorable categorizations to rock icons such as Soundgarden and Led Zeppelin.
Ian Thornley’s stratospheric vocals and ear for layering well-crafted melodies across his thought-provokingly original brand of song structure is the stuff of legends.
On Thursday night, however, it was time to just sit back and enjoy the talent that is Ian Thornley, and the musicians that form Big Wreck. And for almost 60 minutes across 11 songs, that’s exactly what was made possible, thanks to a great-sounding live stream performance presented by Super Crawl as part of the Bridgeworks Livestream Series.
Just another great screenshot of Ian Thornley of Big Wreck from the Super Crawl livestream. Great imagery was in abundance.
Shot in a gleaming black/white/silver imagery, and appearing brilliantly across a virtually flawless stream, Thornley (vocals/lead guitar), backed by Chirs Caddell (guitar), Dave McMillan (bass) and Sekou Lumumba (drums) delivered on a smoldering setlist spanning nearly 25 years.
Opening with the band’s latest single, “Middle of Nowhere” a down-home-sounding, road-trip worthy rock sing-a-long (the studio version features Chad Kroeger of Nickelback), Big Wreck went full-throttle with zero let-up.
With no in-between banter between songs, the full time was left for songs—and the songs alone—as Thornley performed fretboard wizardry throughout, as during the chugging, roller coaster outro found in “Too Far Gone,” and of course, the quintessential “That Song,” the band’s mainstay hit from their 1996 debut album, In Loving Memory.
Of course, we also got the groovy bass lines in “Ghosts”—complete with it’s “Another One Bites The Dust”-esque outro set amongst the whistles and squeals of Thornley’s surgical prowess across all six strings—which at times, somehow—sounding like he was playing more than six strings at once.
Throughout the livestream, Sekou Lumumba thundered his way across his drum kit, while stolen glances across the room revealed bassist Chris Caddell and bassist Dave McMillan starring in beguiled wonderment at the musical prowess of one Ian Thornley.
And who could help them.
The breezy and soaring “Albatross” served as a harmonic escapade across a melody that was at once both mournful and optimistic—likely by coincidence, but quite likely—all by design.
Ian Thornley is that good.
Big Wreck sounds that good.
The performance struck the perfect balance between live freestyle and studio-quality sound, allowing for 100% enjoyment of what each song could uniquely bring to the table when performed live.
It was the performance we needed, when we needed it–at a time when concerts are just coming back into the fray, yet cross-border travel remains in flux.
However uncertain, on the eve of the return to concerts, one thing was certain Thursday night: The livestream was a reminder of just how great Big Wreck still is, and will be when live shows return.
Can’t wait? Can’t travel? Can’t forge (errr, obtain) a vaccination card? If you bought tickets to this stream prior to the broadcast, you can still rewatch the show for the next 24-48 hours. Check your ticket link for details.
Can travel? Well then, “Middle of Nowhere” just might be That Song, all over again.
Second solo album from acclaimed singer-songwriter Myles Kennedy is one for the ages, and a must-have record for rock/blues music fans around the world.
By Bryan Ahearn
Cover/album photography by Chuck Brueckmann. “Ides Of March” is available at independent record stores or online
The discovery of gold on Earth took 200 billion years.
It took Myles Kennedy less than a year to record a rock and roll album of equally stunning brilliance.
The resulting element? Sonic gold that should be in every Album Of The Year conversation.
Enter The Ides Of March (released May 14, 2021), the latest solo offering from singer-songwriter Myles Kennedy—a considerably more electric guitar-rooted album than his acoustic guitar-influenced solo debut, Year Of The Tiger (2018).
In his sophomoric release, Ides further brings about the adventurous exploration of Kennedy’s deep, and seemingly limitless, songwriting acumen.
Combined with honest lyrics that add just enough realism to their “keep calm, carry on” undertones, and you have an album that owes to Myles Kennedy’s authenticity as a human first, and an artist second—albeit a supremely gifted (and very humble) artist at that.
With this album, Myles Kennedy deserves mention alongside Bruce Springsteen and Chris Cornell as one of the most important American songwriters in years.
In writing The Ides Of March, Myles Kennedy somehow, in the midst of a heart-wrenching pandemic, managed to craft a distinctive album that at once embodies our collective heartache, resolve and yes, even triumph, like no other album few of us have ever experienced before.
This album is that rare.
Such is the alchemy of Myles Kennedy: Taking a grim period of uncertainty and isolation in 2020, and transforming it into a timeless, 51-minute, 11 song gem-of-an-album.
And in doing so, Myles Kennedy’s project of isolation blossomed into one of hope and realism, bringing joy to thousands around the world, overseas and across borders, at a time when it may be needed the most.
“On behalf of Myles Kennedy Junkies, I’d like to say that this album is a true masterpiece. The raw, authentic sound and message that was captured is outstanding. Absolutely brilliant!”
Alexa Fatum, Canada 🇨🇦 (Alexa is the daughter of the late Jamie Nolan, much beloved founder of the Myles Kennedy Junkies FB fan page.)
“Best album of the year.”
Jason Adams, USA 🇺🇸
“Been playing non-stop and gets better with every listen! Magically written and an immersive album from start to finish.”
James Witheridge, UK 🇬🇧
“The song ‘Love Rain Down’ is exquisite. The melody is so moving and stirring right in my core.”
Aileen Schiffman Lyons, USA 🇺🇸
“Myles Kennedy is a genius when it comes to lyrics. So beautifully written.”
Joshua Reeves, UK 🇬🇧
“I just heard ‘Worried Mind.’ I smiled as he (Myles) started singing, and kept smiling the whole song.”
Kathleen Hardy, USA 🇺🇸 Quotes used by permission of owners.
Courtesy Janus Music Mgmt. Used with permission.
Behold, The Ides Of March.
To be sure, Ides Of March is unmistakably a rock genre treasure trove, infused with driving guitar rhythms and soulful lap steel guitar blues, accentuated by poetic lyricism across a vocal airshow.
Accompanied masterfully by Zia Uddin (percussion) and Tim Tournier (bass), and expertly crafted by reknown producer Michael “Elvis” Baskette, Ides is a refreshing wanderlust through the world of guitars—the perfect landscape for Kennedy’s soaring and diving vocals and thoughtfully constructed lyrics.
The album starts off powerfully with “Get Along,” a cautionary anthem complete with a triumphantly layered chorus of “Why can’t we all just get along,” followed by “A Thousand Words,” which enters with brightly strummed acoustics and is punctuated throughout by the creative, start-stop drumming of Zia Uddin—before Kennedy closes diminutively “In times like this, we must live and learn.”
Such is the theme of the album—one of growth and perseverance—as is echeoed throughout “In Stride,” the first single from the album, as it chugs and slides its way through guitar lines dirty enough to leave listeners wiping mud off their speakers, a mood underscored by the growling bass lines of close friend and manager Tim Tournier. “It ain’t no crime to behold a little beauty sometimes,” Kennedy contends throughout the chorus.
And contend this album should—for album of the year.
Delicate tracks such as the title track “The Ides of March,” and “Love Rain Down” showcase Kennedy’s daft ability to craft vast soundscapes, ranging from the Spanish guitar influences within “Ides,” to the shimmery “Love Rain Down” with its sparkly guitar picking and gleamingly soft chorus adding extra glisten to Kennedy’s already-stellar lyric passages:
There’s a thirst inside of me I can’t control
There’s a desert underneath that cracks my bones
There’s a river that runs dry within my heart
There’s a distance to your light that seems too far
“Love Rain Down”
To my ear, Myles Kennedy may be at his solo best during the album’s quieter moments, but his capacity to go from 0-60 in no-seconds-flat (and absolutely flawlessly), sets him apart as a generational talent, not to mention songwriter.
As showcased mightily on “Tell It Like It Is,” Myles wrote an anthem begging to get played lakeside, with its soaring, Joe Walsh-esqe guitar-leads nestled perfectly between hand clap/foot stomp laden verses. But despite it’s playful-sounding undertones, Kennedy isn’t kidding around about the song’s leanings (and possibly about the last 12 months):
Johnny come lately
Step aside
You had your fun
Now say goodbye
Let the people take the wheel
It’s time to let the grown ups drive
“Tell It Like It Is”
Indeed, this album in its entirety is Kennedy’s turn to drive, and that he does just that—to far and away places, such as on “Moonshot” is a introspective slide guitar slowburn that culminates into a courageous-sounding chorus.
However my favorite exploration of the album’s sonic resonance occurs during “Wanderlust” which evokes a homebound, traveler’s romance through fluttering bongos (Mexico?), laid-back slack key guitar (Hawaii?) and layered vocals (oh geez, outer space??) –everything I need to stare carefree out the window in planning my next trip…to wherever.
We can head down to the border
We can sink into the sea
Behind the mystery of every waking dream
Is a constant craving to be free
“Wanderlust Begins”
The Ides Of March blends everything an already accomplished Myles Kennedy does so well–from his acoustical solo album offerings, to the lead-guitar-driven motifs of Slash (Featuring Myles Kennedy and the Conspirators), and to the anthemic bridge transitions of Alter Bridge. Song after song, Ides delivers more than enough punch to pique the interest of fans of rock, blues, country—and even soul music.
In fact, if Stevie Wonder had set his multi-genred and other-worldly talents to an electric guitar, this is very well the type of awe-inspiring and soulful album he could have made. The musical talent and vocal range of Myles Kennedy is that breathtakingly apparent—and we’re just happy to be along for the ride, wherever Myles takes us next.
Surprisingly, it was when Myles was confined to his home, that Myles ended up taking his moonshot—and then some. With The Ides Of March, Myles Kennedy reached for the sky, and managed to bring us down a few stars—at a time when just about anyone could use a little extra light.
After all, it was (look it up) stars that led to the discovery of gold—which is exactly what this album sounds like between the headphones at home, and soon enough, between amps on stage as fans will undoubtedly sing along—together.
Written in memory of the late Jamie Nolan, a Myles Kennedy super fan, whose “In his own words…” posts (on her Myles Kennedy Junkies FB page) brought fans closer to Myles, and each other. Jamie, thank you for supporting one of our heroes so lovingly. We miss you. 🐘
Fresh off the acclaim of 2019’s Billboard-charting album “Walk The Sky,” hard rock mainstays Alter Bridge were set for the third leg of their US tour and a slate of fast-selling European rock festivals later in the year.
And then? 2020.
Never a band to rest on their laurels, Alter Bridge is a band known for their intense work ethic, and just the type of band built to not only survive 2020, but perhaps even grown stronger in its face.
Enter Alter Bridge’s latest release, Walk The Sky 2.0, an assembly of 6 live tracks and one new track custom-built for riding out the pandemic with rock fists raised high.
A follow-up to 2019 studio recording, Walk The Sky, the 2.0 version was compiled by the band earlier this year after an abrupt halt to the entire concert industry.
And Walk The Sky 2.0 truly takes flight in grand fashion, with the band’s new single, Last Rites, both a resounding—and fitting opener.
Myles sings, “See me laughing now, as embers fall like snow,” a searing rebuke to those unwilling to change—or far worse: unwilling to at the very least, pay attention to change.
With its grinding Alice In Chains undertones, thought provoking lyrics and flat-out brilliant timing for a release in 2020, Alter Bridge took a song any hard rock band would have settled for as a b-side—and, by waiting until just the right moment—made it one of their most monumental tracks for years to come.
WTS 2.0 then settles into a grove of 6 unreleased live recordings. Unlike the grandiose-sounding Live At Royal Albert Hall—the recordings were taken from a string of dates played to three, smaller (~2,000 capacity) venues in the United States—the first such Alter Bridge tracks to be recorded and released in the US.
The result? Clean, well-balanced, muscular recordings that will tide over fans until they can Walk The Sky again.
“Wouldn’t You Rather” leads off the set, much like any show from the 2019-20 WTS tour. Wickedly thunderous drums set fourth by Scott Phillips part ways only for the legendary rock voice of Myles Kennedy. And just like any AB show, you can feel that Myles is only warming up his voice as the song progresses, lending itself to a highly sincere listening experience as you realize that Myles—the (super?) human, and not an some auto-tuned soundboard, is going to carry your adrenaline over the next two hours.
“Pay No Mind” does anything but that, with the opening, synth wave trickle drawing instant intrigue and hollers from a crowd excited to take in this new and diverse song from Alter Bridge. Crunchy guitar riffs, Brian Marshall’s growling bass throughout and the singalong bridge of “Still we hear you screaming give me more, give me more” escalate into a hand clapping that is all-at-once infectious and overflowing.
“Native Son” is of course superb, with Mark Tremonti’s backing vocals during “I’m a Native Son in a foreign land” seeming to take center stage, akin to live versions of “Crows On A Wire.”
“Godspeed” also showcases Mark’s brilliance, only this time as a rhythm guitar player, of course. Known widely as guitar soloing-virtuoso, this live version provides a listening perspective where you feel like you can literally hear Mark’s fingers on each and every string, driving the very melody of the song at every turn—a vantage point not always gleaned from the studio version.
“In The Deep” is a colorful rendition, and a breath of fresh air, as Myles’ live lead guitar is amped up, parlaying itself into this fresh, Satriani-esque “Summer Song” vibe you can hear swooning (and building) in the crowd throughout the opening verse, until Myles launches into the pre-chorus of “Every breath leads the way, my escape, it is never far…”
“Dying Light,” may be the best of the live versions, though. Seemingly stripped away from this live rendition were the swirling harmonics found in the studio version, leaving nothing to the imagination in this live version—and everything to the heart.
In fact, the live version of “Dying Light” feels like it has much more immediacy in this regard, something Alter Bridge has always prided themselves on. And something their fans have and always will take pride in Alter Bridge for, no matter when live shows resume.
Myles Kennedy is no stranger to connection with his fans.
And nowhere was that more apparent, or more welcomed, than during last night’s (April 15th) “Behind The Mic” series performance, presented by American Songwriter.
In just over 40 minutes, Kennedy delivered a masterful setlist, spanning his illustrious career across several bands—and more importantly, providing his trademark resolve during uncertain times.
Because just like his fans, Myles has experience with uncertainty first-hand in the most personal way possible—his own upbringing—losing his biological father at a very young age.
And if anything is clear from the comments of the over 8 thousand fans tuned in, last night, they were all more than appreciative to hear from Myles, and his rich library of songs.
From his self-professed “man cave,” where Myles says he does most of his writing, the walls are adorned with relics of his already accomplished career with multi-platinum selling artists Alter Bridge and Slash. But herein lies the brilliance of his set last night:
Armed with only a single guitar and a single voice, Myles went far beyond what could have ever been expected.
Never one to rest on his own laurels, Myles dug deep into his song choices. Like, really deep. The songs, the stories, the introductory riffs that teased later development of songs that would become staples of his catalog.
In unprecedented times, Myles Kennedy simply delivered a performance for the ages.
Beginning with his solo title “Year of the Tiger,” Kennedy unfurled his signature howl within the outro that left no doubt that he was 100% going to be “in” on this performance (remember the ‘man-up’ moment from RAH?).
Myles then proceeded to harmonize his way into the “Standing In The Sun,” also demo-ing the signature Slash guitar riff that chugs its way into the opening verse. (Of note, Myles spoke of the difficulty of a chorus—which on this song, just happens to be one of the best of any within the Slash w/ Myles Kennedy and the Conspirators.)
These interludes, where Myles spoke of his song-writing process, is what sets this performance apart as a stand-alone, even among die-hard Alter Bridge fans.
Sure, most fans have heard the story of Blackbird. Or perhaps some of the other key Alter Bridge songs (most recently, Godspeed).
But where this performance entered uncharted territory itself, was when Myles expanded the history behind some of the deeper cuts.
“All Ends Well” even made an appearance—a track, that up until this point had only appeared on the Myles Kennedy solo tour, and has never been played live by Alter Bridge, though Kennedy reflects that there is something that is “special” about that song.
Of course, we got the classic “Watch Over You” which hinted at the brilliant collaboration—even in the early stages of Alter Bridge—between Myles, as a gifted lyrcist, Mark Tremonti, as a master songsmith and Elvis Baskette as an elite producer—talking about how powerful it was during the pre-production of the Blackbird album.
Honestly, the story within the context of this song was the highlight of the night for me. Names like Ian Thornley, Tom Petty and even Dan Fogelberg—were referenced by Myles—demonstrating an acute respect for astute rock history that is every bit as authentic as the music he plays.
Myles was even able to name (some almost 20 years later) the exact track number that he was a guest vocalist on Big Wreck album featuring Ian Thornley in 2001. Track #10, “Breakthrough,” if you are keeping track.
“Love Can Only Heal” closed the night, fitting for the times, in many ways. No other words can be said to adequately describe the feeling of that performance—you need to experience that for yourself (40:02).
If Royal Albert Hall was the scene of Alter Bridge’s finest performance, Myles’ “man-cave” may very-well could have been the scene of his.
Within the context of social distancing, last night’s broadcast offered not only Myles a chance to reconnect with his fans, but, for his fans the chance to reconnect to each other.
For the entirety of the Facebook broadcast, comment after comment scrolled by among familiar, but now socially-distanced faces:
Thank you for doing this, Myles!” or “Beautiful Song.” “We sooo needed this!” And simply, “Sing!”
Once again, Myles—and the music of his bands Alter Bridge, Slash, and Mayfield Four—defied all odds brought people together from all over the world, when everyone needed it most.
And for 40+ minutes last night, you couldn’t help but feel that our hero, Myles Kennedy wasn’t just singing for us, but fighting for us andcheering for us, all at once.
And there’s no other voice we’d rather hear it from, and it’s a broadcast you’ll want to re-watch again and again.
For 15 years, Alter Bridge has fused superb songwriting, soaring vocals and blazing guitar riffs on the road to well-crafted rock anthems that not only have the power to take you somewhere, but bring you back. After all, every bridge has two sides.
The bridge. That beautiful and unique song element that offers a crossing between thematic worlds.
Often occurring only once per song, a bridge can lead into a guitar solo, or out of one. It can slow the pace of a song, or quicken the pulse.
Think bridges, and Alter Bridge fans will often think Blackbird, and that “Someday too, I will fly and find you again,” moment.
Or, that chill-inducing “Oh, oh, ohhh,” moment of Open Your Eyes, that when experienced live (or even heard recorded live) can inspire the best kind of tears—as many fans can attest. And, as many car dashboards can attest.
With or without words, a great bridge can bring complexity or added resolve, as the song returns for its closing moments.
Thankfully, Alter Bridge has been writing great bridges for 15 years, taking you somewhere with every song, and bringing you back–possibly changed. Possibly improved. But definitely, feeling.
Simply put, Alter Bridge writes the best song bridges I’ve experienced in any genre of music. Ever.
Thus it was my fascination with bridges that led me down this road of not only exploring every bridge in every Alter Bridge song, but ranking my Top 10 bridge transitions.
This exploration truly turned into a labor of love, inspiring me to write more than I have in years. Which, turned into one of my favorite writing experiences, ever.
If I’ve learned anything from artists, its that when something hits you that hard, and moves you that much, you are driven to share it, often with courage that comes unexpectedly.
Not being a musician myself, the courage to share your passion—not matter what it is—is something I’ve become more comfortable with, thanks to artists like Myles Kennedy, Mark Tremonti, Brian Marshall and Scott Phillips.
Without a doubt, that courage has carried over to many other Alter Bridge fans as well, inspiring artwork, a fan-led podcast and even a project uniting musically-inclined fans from around the world in performing Alter Bridge cover songs during this unique time.
So, it is here that I share with you my passion, my writing and my exploration of the Top 10 Bridge Transitions by Alter Bridge.
Because we all uniquely get just how much it hurts to miss this. All of it.
Ironically, whatever takes us away, will be the same to drive us on, as one day, we’ll discover the dusk of the day has reached its dawn–and we’ll be out enjoying live music once again.
And there’s no group or group of fans that I’m more excited to share that moment with when it does happen. And it will.
Until then, enjoy the review. And, remember to look inside yourself…before tomorrow comes. 💙
Note: Start times for the bridges referenced are noted in brackets, offering an immersive reading experience when used with the YouTube videos.
10. “One By One” from Blackbird – “And they gave it all.” (2:41)
Both enduring and transformative, “One By One” hints at the triumphant soundscapes yet to come from Alter Bridge over the next decade. The song itself is a showcase of the band’s vast potential to deliver heart-felt topics within the mass-appeal-oriented arena of post-grunge rock. This bridge is a coming-of-age moment for the sophomoric band that is now proving to be taken very seriously on their own merits, as this album would go on to unfurl one particular song that would take the world by storm.
Lasting Line: “We will honor you forever more.”
9. “Lover” from Fortress– “Should you have to throw it all away?” (2:24)
This bridge ignites the already smoldering wreckage of this song’s subject matter into a raging inferno. Pound for pound, this bridge delivers some of the most blistering and pointed lines of any AB has offered in the course of 15 years, leaving the listener gasping for air though a torrent of emotions. The bridge repeats, slows, and sets the listener up for a feeling of hardened acceptance to close out the song.
Lasting Line: “Did you have to fall so very far?”
8. “Forever Falling” from Walk The Sky – “Are you now lost?” (2:56)
Clever and athletically striking, this bridge stops, cuts and turns on a dime amidst the brutalizing track written and sung by lead guitarist Mark Tremonti. In just a few lines, this swaggering bridge emerges unscathed from the jackhammered frenzy of the song’s pulverizing riffs and growling bass grooves set forth by Brian Marshall, and confidently sets the song up for it’s powerfully closing moments.
Lasting Line: “Bury the fool, the wretched and his habit died.”
7. “Burn It Down” from One Day Remains – “Whatever takes us away.” (3:43)
Four songs into Alter Bridge’s 2004 debut album, fans get their first real taste of the super-human voice that belongs to Myles Kennedy, as he soars and swoops effortlessly through verse and chorus. And in that bridge, sure, you get the elongated note during the “Remember to carry on…” part. But, it’s really a clever set up. Because the song’s outro provides a second chance to take in that vocal talent. Only this time, set against the searing backdrop Mark Tremonti’s white-hot fret work, Myles holds that last note long enough to leave the listener gasping for air.
Lasting Line: “Whatever takes us away, will be the same to drive us on.”
6. “Native Son”from Walk the Sky – “Fractured and cut off from all we had.” (2:51)
One of the most requested songs on the “Walk The Sky” tour also contains one of the most visceral and prophetic bridges to date: “Fractured and cut off from all we had/severed all that’s sacred, now we stand.” The song offers a dark reminder that humans have gone through troubled times long before these ones. Thankfully, the song’s stomping drum rhythm, brought on by Scott Phillips, serves audible courage to those that continue to wander a world they don’t understand.
Lasting Line:“Severed all that’s sacred, now we stand.”
5. “This Side of Fate” from The Last Hero – “What have we done?” (2:58)
Probably the most fun of all bridges, the massive songwriting capability of Alter Bridge is on full display throughout this sprawling, adventurous and deliciously resounding multi-level bridge. Prog-metal fans will rejoice at the intermingled bridge-bridge-bridge interlude offered starting at about halfway through the song. It’s utter brilliance, and fitting this intelligent arrangement also appears on the band’s Live At The Royal Albert Hall recording.
Lasting Line:“Don’t turn away, we need you now.”
4. “Blackbird” from Blackbird – “Ascend may you find no resistance.” (3:58)
This song is best song of all-time territory. Not just by Alter Bridge, but of any band. As the song ebbs and flows amongst the vast, deep ocean canyons of emotion that can only be experienced by loss, Myles takes us to the surface for a breath of air, “Ascend, may you find no resistance,” before his sympathetic guitar howls give way to the cathartic plunge of Tremonti’s storied guitar solo.
“Someday, I too, will fly, and find you again.”
3. “In Loving Memory” from One Day Remains– “I’m glad it sets you free from sorrow.” (3:28)
If Blackbird displays the heroism of Alter Bridge helping millions of fans let go and move on, then “In Loving Memory” touches upon the delicate nature of cherishing love within the moment. Fifteen years later, despite the interviews I’ve read about the song, and the great conversations I’ve had with fans online and at shows, to me personally, I’m still torn whether this song is about a conversation with someone about to leave, or someone who’s already left. But, I can’t escape the optimism of being able to love something more tomorrow. Even if I never have the opportunity to understand it today, or know if I’ll ever experience it ever again.
Lasting Line:“I’ll still love you more tomorrow.”
2. “Words Darker Than Their Wings”from AB III – “Go, never to ask why.” (3:06)
The most determined of bridges, WDTTW captures the full essence of AB at their finest. “Go, set out towards the sun, Let the new begin,” is the most enchanting of AB’s bridge offerings, providing the listener with an encouraging send-off. As the bridge culminates into the delightfully blinding rays of the song’s closing chorus, the might of AB’s songwriting is once again on full display, with Kennedy’s soaring vocals and Tremonti’s confident backing vocals and steep guitar dives.
Lasting Line:“Go, set out towards the sun, let the new begin.”
1. “Walking On The Sky”from the album Walk The Sky (2:51)
“Here you stand all alone, above the crowd the air is cold; Losing balance where you can’t let go. Here and now, in the clouds, you have found your escape. For all you give it’s worth the risk. At least you lived your own way. You’re on the line, walking on the sky”.
Standing on the brink of swirling, symphonic atmospherics and chasm of the song’s emotion, “Walking On The Sky” holds you high above the sixth album’s title track—providing a mesmerizing vantage point of the band’s 15-year modus operandi: “For all you give it’s worth the risk, At least you lived your own way.”
This bridge beckons to be crossed. It disregards self-manufactured fears and defies gravity, needing neither suspension cables or concrete beams.
“‘Walking On The Sky” is not only beautiful, but also seems conscious of its own beauty.”
Once again, Alter Bridge works its remarkable magic—offering the listener yet another courageous moment and the resolve to move forward.
Just like always.
And, just when we need it most.
Lasting Line:“For all you give it’s worth the risk, At least you lived your own way.” Alter Bridge: Top 10 Bridge Transition Playlist (Apple Music)Alter Bridge: Top 10 Bridge Transition Playlist (Spotify)
It just isn’t natural for one band to be this good for so long.
Then again, Alter Bridge hasn’t always played by the rules—a playbook that suits their fanbase just fine.
Amidst a snow-flurried evening at nearly a mile high above sea level (5,280 feet), Alter Bridge tour through a fiery set to a packed house at Denver’s historic Ogden Theater.
“There’s just something about this place that we love playing,” lead singer Myles Kennedy remarked to a boisterous crowd, many with cups of the Mile High City’s finest held high between balled fists and rock horns.
But that would be a rare break from the band in a night that saw the band rip through a blistering set list.
Like all sets on the Walk The Sky tour, the show began with the “One Life,” a synth-laiden track awash in swirling guitars and echo-swooned vocals. At only 1:30 seconds, the opening track on the band’s 6th studio album is also both striking (and fitting) in its ability to outlay the perfect canvas 100+ minute masterpiece crafted by a 17-song setlist 15 years in the making.
That singular track is that rollercoaster moment, where you realize you’ve reached the top of that first hill, and that there is no turning back. And you had better hang on.
Down the setlist Alter Bridge tore, hitting fast with the upbeat fist-raiser “Wouldn’t You Rather,” before throttling into the pulsating fury of “Isolation”—a fan-favorite from 2010’s AB3 album, before whiplashing back to “Pay No Mind,” from 2019’s Walk The Sky album.
Lead guitarist/songwriter Mark Tremonti, who with Kennedy, co-wrote much of Walk The Sky, dive-bombed, shredded and cut his way through line after line of death-defying solos—all while supported by the rhythmic craftsmanship of drummer Scott “Flip” Phillips, and the thunderous bass-stylings of Brian Marshall.
Perfected in delivery and effortless in transition, the band’s live set incapsulated tracks from 2019 that interplay brilliantly with hits from their 2004 debut album, as evidenced by the inclusion of “Ghosts” (2010), “Broken Wings” (2004), and book-ended by modern rock hit “Native Son” (2019). (A full listing of album release years can be found in the setlist posted below. It’s quite astounding, and deserved its own section.)
The seltlist continued its “rock” down memory lane, while hitting a full, unabashed sprint towards tomorrow. “Native Son” was followed by “Rise Today”—with the sing-a-long bridge culminating in cathartic harmony as a Colorado flag (singed to the band, from fans in attendance) was raised in the front row, and Tremonti brought the house down with that solo—followed up with “Cry of Achilles.”
As much as Alter Bridge appreciates their past, they’ve never forgotten their future, or their fans, as band loyalists were treated to “Forever Falling”—a song written and performed by the man, the myth the monster, Mr. Tremonti himself—and then peacefully transitioning into “In Loving Memory.”
What arguably every fan waits for at every Alter Bridge show, though, is the solo that has been named time-and-time again one of the best solo’s in rock music, of all time. And as I scan the room at all of us taking in “Blackbird,” having different pain for different reason, Mark—even for just a moment—takes it all away—performing what amounts to fret-board surgery on thousands of broken hearts at one time. Including mine.
What feels great though, is being brought back to life after that song—often with “Open Your Eyes”—as was the case last night. Kennedy remarked that in the 2004 video—the first the band had ever made—he didn’t quite know what to do with his hands. He knew plenty what to do with his voice, however, as the over 1 million combined views on YouTube (studio, acoustic and live versions of the song) can firmly attest to.
And of course, we got “Metallingus,” and a chance to do the “Mettalingus mosh”—Mile High style. Honestly, the crowd didn’t quite get it. No bother, though. The band still came back out and finished out a roundhouse right/left combo of “God Speed” and “Addicted to Pain,” before bidding us all “See you next time.”
The setlist represented a hard rock time warp, as triumphant as it was rebellious, for a band that has courageously faced, head-on, a challenging rock music environment in the United States, while thriving in European markets—drawing 15,000 per night, easy.
However, no matter the venue size and no matter the location, hang around any AB show long enough, and the talk will inevitability gravitate from how great their music is, to how great they treat their fans. From well-orchestrated Meet and Greet experiences offered at each show, as well as songwriting clinics offered by Mark Tremonti, fans are highly appreciative of anything and everything this band continues to do and stand for.
In fact, today, the band announced their third US leg of the Walk The Sky tour.
And fans are already planning to walk the sky, once again, for a band that has fought and naturally—with great music and great experiences—has earned their respect, for the last 15 years running.
What a songwriter taught me about prioritizing my workday.
Tremonti performs at soundcheck as part of the songwriter’s clinic experience.
Mark Tremonti, as the Grammy Award-winning guitarist for alt-rock stars Creed in the 90s, Alter Bridge in the 2000’s and Tremonti (his solo project), has written some of my favorite songs, maintains a (stunningly beautiful) signature line of PRS guitars and, is now a science fiction author—with a television/movie offer in discussion.
Oh, and he’s also the father of two boys and tours nine months out of the year. So there’s that.
So yeah, he is one busy guy. Which makes the fact that Mark invests up to two hours before each concert to offer song writing clinics to his fans that much more incredible.
I recently jumped at the chance to take one of these clinics hosted by Mark, expecting to hear how he did it all—the powerful lyrics, the soaring melodies and the hyper-speed guitar solos. I went into the clinic wanting to ask him: How in the world do you make time for it all?
However, it was actually a series of answers he gave to other questions (asked by other fans) during the clinic that gave me the answer to how he does itall:
Time management.
So here it is, directly from my clinic notes…the ways that Mark Tremonti stays motivated, productive and (most of all) sane, without sacrificing creativity:
Try new things.
A heavy metal guitarist cruising YouTube for 80s-sounding, Miami Vice-esque synthesizer beats? Yup, it happened. Such was the case when Mark decided it’d be fun to try and play along to a completely different genre of music. The resulting song showed that we often find growth when we aren’t exactly looking for it.
Work Perspective: That’s why joining a company-sponsored event or even signing up for a potluck—just doing something out-of-the-ordinary—can result in meaningful connections, boost your creativity and enhance your ability to improvise.
“Improvise, or you’re not getting better.”
One of Mark’s favorite quotes (author unknown).
Prioritize your ideas.
Because who hasn’t walked into work with a million things to do? In listing his to-do list on a spreadsheet, Mark assigns an icon next to each idea—“a flying saucer, if I think a certain idea is out of this world,” he quipped during the 90-minute clinic. He knows that with enough “out of this world” ideas…he may have enough momentum to carry those types of ideas forward into an actual song, riff or even a project—such as a book.
Work Perspective: If think you have an especially good idea, trust your instincts (they’re good—after all, you survived this morning’s commute). Add that new idea to your to-do list. And then give yourself a couple days to look into it further. But, if it ends up not going anywhere…
Cut waste.
Know when to move on. To further boost productivity, Mark actively farms his list of priorities—deleting ideas that never managed to take flight within a day or two. In doing so, he keeps certain ideas from robbing precious time from “flying saucer” ideas that have, in fact, gained traction.
Work Perspective: Going down rabbit holes—to some extent—is inevitable. It’s all part of the creative process in your valiant quest to improve life on earth, or at a bare minimum—on your desk. So while you may have a propensity for going down rabbit holes (you brave & courageous soul, you), that doesn’t mean you have to remain stuck down there forever.
After all, it does not do well for one to be late for tea. Or, just the drive home.
In fact, the more you are deeply invested in what you do—the more the lines between work-life balance begin to blur. But, that is a story for another day–and perhaps, a clinic all its own.
Mark continues with songwriting clinics during Alter Bridge’s tour later this February, in support of the band’s #1-charting rock album “Walk The Sky.”
Where one “flying saucer” idea took an acclaimed rock musician, this is the story of a dream, a gift, and a legacy, that has gone on to touch lives around the world.
For Grammy award-winning songwriter Mark Tremonti, when an idea takes off, the adage is literal.
Tremonti assigns an emoji to certain ideas he makes note of—“a flying saucer (emoji)…if I think a certain idea is out of this world,” he quipped, modestly, during one of his songwriting clinics that he often offers fans before his concerts.
And Tremonti, as guitarist of 90s alt-rock band juggernaut Creed, and more currently rock group Alter Bridge, has had no shortage of “out of this world” ideas in almost 30 years as professional musician.
From the Grammy award-winning “With Arms Wide Open,” by Creed, to countless award mentions for the best rock guitar solo of all time in “Blackbird” by Alter Bridge, to the highly sought-after “A Dying Machine” novel (yes, a novel), co-authored with John Shirley (The Crow, Robocop)— Mark Tremonti certainly has his name attached to some pretty remarkable artistry.
Yet, arguably his most important (and, transformative) project came from an idea that actually took flight a few years ago during the pandemic, and after the Down syndrome diagnosis of his daughter, Stella.
A Rock-Solid Foundation.
From his work with Creed, to his current work with the in-demand hard rock mainstay Alter Bridge, Tremonti has made a legacy out of innovation. During the COVID pandemic, Tremonti spent hours at sports practices for his sons —like many other parents—socially distanced.
An Unexpected Connection.
Yet, Tremonti used this social distance to draw closer to a bygone era that one would hardly expect from a hard rock musician.
While socially distanced in his car at sports practices for his sons, no doubt with the air conditioning blasting full throttle in the sweltering Florida heat, Tremonti was hard at work, studying YouTube videos of Frank Sinatra. And, learning how to sing like him. And quite superbly, at that.
One Giant Leap, For Kindness.
The result of rock legend Mark Tremonti’s unexpected Frank Sinatra obsession? Two Sinatra-inspired albums (Mark Tremonti Sings Sinatra and Mark Tremonti – Merry Christmas: Classics New & Old), and the creation of a charity—the Take A Chance For Charity foundation. #takeachanceforcharity
A Grand Beginning
Take A Chance For Charity, a new charity “focused on giving folks the ability to get out of their comfort zone, having people use their social platforms to raise funds / awareness for the National Down Syndrome Society,” was born out of inspiration for his daughter, Stella.
Because when Tremonti’s daughter was diagnosed with Down syndrome, his obsession with Frank Sinatra, suddenly, “had its reason,” Tremonti said via his charity’s website, “and the stars aligned.”
Tremonti donates proceeds from his “Mark Tremonti Sings…” albums to the charity, also providing a chance for fans to do the same via ticket sales, along with album and merchandise offerings found on the Take A Chance For Charity page.
Though for all his innovation and re-invention, and the tens of thousands of miles toured around the world (playing some of the best rock and roll this side of the galaxy), Tremonti truly discovered something more far-reaching, right at home: His cause.
Fast forward to October 2023, when Mark Tremonti and his family’s efforts led to the establishment of the SMILE with Stella Tremonti Down Syndrome Clinic—the first lifespan Down syndrome program in the Southeastern United States.
This program fills a crucial gap for some of the estimated 200,000 people in the U.S. with Down syndrome and will allow more children, adults and families to access comprehensive, world-class medical care.
All this, before Tremonti resumes an already best-selling 2024 summer reunion with Creed, as he continues compiling ideas for his next solo and Alter Bridge albums, and surely, filling more lists (and hearts) with “flying saucer” ideas in the process.
But first, Tremonti will give fans a ride on his flying saucer of an idea personally, setting out on a handful of Sinatra inspired concert dates in December and January (backed by members of Sinatra’s original band).
Fittingly, fans are expected to be simply over the moon about it.
And, with good cause.
Ways to get involved:
TAG YOUR POSTS/TALENTS: #takeachanceforcharity @takeachanceforcharity
DENVER—The screams? Deafening. The darkness? Inviting. The masses jam-packed Denver’s Gothic Theater in Denver Friday night.
Waiting. Watching.
And, ready—for their injection of rock n’ roll serum.
Queensryche, the critically-acclaimed rock radio mainstays from the 80s, was about to return.
With a twist.
Admittedly setting out to eschew a setlist full of familiar classics in favor of more of their recent offerings, Queensrÿche pulled off a rousing performance Friday night in Colorado that just might have left few missing the familiar hits of old.
Queensrÿche are that good. Still.
Armed to the teeth with a murderous discography, lethal musicianship and criminally-good vocals, Queensryche pulled off the heist of a century —leaving not a trace of doubt that their modern day catalog could stand out, or at the very least alongside—a lineup of their more familiar classics.
Queensryche opened with “Behind The Walls,” an stomping rock-anthem from 2022’s Digital Noise Aliance, that reigns in a “Did you…ever…love me?” chorus befitting of a rock band rebelling against the notion that it’s best days had past, only to reload to a packed house, where the crowd nearly spilled back to the lobby, leaving hardly a spot to stand in the 1,000-person venue.
Led by vocalist Todd La Torre, Queensrÿche boasts the quintessential rock vocalist that many bands spend careers searching for, and catalogue of nearly 40 years of music from which to draw from.
Todd La Torre
But Friday night was not so much about the past, as it was about the present. The here. The now.
In fact, it wasn’t until about 5 songs in before the crowd tasted one of the bands more deeply familiar tracks, “Spreading The Disease,” from 1988’s widely-heralded album Operation Mindcrime.
The crowd fist-pumped and cheered as lead guitarist Michael Wilton laced his way in and out of the spinning and howling guitar licks that augment the track’s ferocious vocals.
Michael Wilton
And of course, the crowd loudly (and feverishly) stood in for every verse and chorus like not a second had passed—and it sounded incredible. Especially with some of the younger voices in the audience—many 20-something’s who no doubt had been streaming Queensrÿche, likely brought into it by their parents.
It was as if rock and roll was in the DNA of every single audience member that night, so it was almost fitting that the bands strongest moments arguably came from a block of songs from their latest album, DNA—Digital Noise Alliance.
“In Extremis” touched off the DNA portion of the set, with Wilton once again at it—playing lightning to Eddie Jackson’s thunderous bass. Of course, my favorite Jackson moment was when he (so fittingly) took center stage to plug away at the bass-laden intro of “Jet City Woman”—which came much later in the set.
Eddie Jackson
And, for me, the song of the night: “Forest,”from 2022’s DNA album. An incredible and mellow vibe that accentuated the band’s ability to write all kinds of music—very well. Clearly, the slowest and most heartfelt song of the set that I wish I would have had my phone filming—what, with all the rich musical textures and Todd’s soothing and swooning vocals, the stage bathed in blue lighted hues and striped-green lights. A masterpiece in front our eyes.
However, the set itself flew by at warp-speed, proof that the band had not only grown an Empire, but could continue to build one as well.
And of course, we got “Empire,” from 1990s album by the same name—replete with the flashy cymbal and drum kit work by Casey Grillo. And when Wilton once again took over in carrying out his guitar solo, Mike Stone stood in with a rock-hard rhythm guitar, as he did the entire night.
Mike Stone
All in all, this was one of the best pure rock shows I’ve seen in recent memory. A total, sensory throwback. It was all there. The noise. The smoke. The spilt beer The songs. The love.
Casey Grillo
Queensrÿche, clearly, is still loved.
As bands like Ghost, All That Remains, The Devil Wears Prada dot the modern rock airwaves, bands like Queensryche are within their collective DNA, and have their rightful place among gig posters plastered inside venues across the country.
And now, for the good news: Last night was only about the half-way point of the tour. Meaning, there’s still chances to catch (or re-catch), Queensrÿche—primarily east of the Mississippi, for about the next month.
So if you have the chance or want to give someone ear a chance, go see this band.
Take hold the flame that still burns strong, and, Sweet dreams, you bastard.
Setlist is the last photo, in the event you still want to be surprised.
Visions of Atlantis vocalist Clémentine Delauney performs in Denver on 13 February 2023.
DENVER—The year was 2020, and the concert world went into lockdown, resulting in cancelled concerts, dashed hopes, and in many cases…bands not only finding not only having to find their way home, but one day…knowing, that they would need to find their way back.
For artistry is a restless soul, and not all wander are lost…
So perhaps it is with that sentiment that the latest album from Visions of Atlantis, 2022’s Pirates, comes off as sounding triumphant, standing confidently in resolute in the face of the winds of uncertainty that could have prevented their proverbial ship from ever coming to port in the US ever again.
Yet, pirates will return. They always do.
And, indeed on Monday, 13 February in Denver, Colorado at the Oriental Theater, Visions of Atlantis, the pirate-themed, symphonic metal band from Europe, did return (again)—all the way back to the United States for their 2023 Pirates Over North America Tour. And their return could not have been more epic, or welcomed.
“I’ll know I’ll return, one day, to this world I knew.”
– Master The Hurricane
The night opened with “Master The Hurricane,” a metaphoric rock anthem—seemingly for both the enthusiastic fans that had found their way back to Denver’s Oriental Theater in droves, and, for the band that refused to let the pandemic stop them from doing what they love, and clearly, what they are so gifted at doing.
From the fog-ringed blue stage lights, the band emerged slowly, clad in classy, authentic-looking (and highly fashionable) pirate garb, every bit the indominable image called to mind from a band that prides themselves upon the pirate spirit—only with a twist: This band of pirates, in large part, is led by a woman.
Anyone that has seen frontwoman Clémentine Delauney perform can’t help but feel led by her. Anyone that has heard her sing cannot help but be inspired by her. With her poetically striking lyrics, angelic voice and a commanding stage presence that evokes a carefree confidence, the smiles on concert goers proves she is that rare elixir for pretty much anything.
Clémentine Delauney, Visions of Atlantis
“Braving the clock takes its power away.”
— Clocks
Followed by classics “New Dawn,” and “A Life Of Our Own,” the show went to the next level with “Clocks,” with its bouncy chorus and balanced interaction from the band’s talented and charmingly emotive male vocalist Michele “Meek” Guaitoli, playfully interacting with the crowd and imploring the type of ‘Hey-Hey-Hey’ chants that would not be out of place on any pirate ship.
I knew that Meek was one of my favorite vocalists for Visions of Atlantis, and I love how his parts always come in at just the right moment during each song—especially on their Pirates album. But seeing him perform that night in Denver—the way he bonded with the crowd with his fist pumps and playful banter—Meek became not just one of my favorite performers—but one of the best showman I’ve ever experienced. This includes concerts. This includes Broadway. This even includes Disney.
Meek even came out after the show, into the audience, personally and genuinely thanked us for coming, graciously taking photos, and having sincere conversations with fans about music, the lockdown, past concerts—whatever.
Visions of Atlantis vocalist Michele “Meek” Guaitoli
“I will tell no common’s man tale.”
— Freedom
Next came longtime fan favorites “The Silent Mutiny” and “The Deep & The Dark,” and also their performance of “Freedom,” –quite possibly my favorite song of VOA ever, and quite possibly, one of my favorite concert moments. Ever.
It’s a moment towards song’s end where time stands still, seemingly hanging over the outstretched arms of the audience that are stretching skyward to join in the sway of the sing-a-long outro, and likely in time with lapping ocean waves thousands of miles away. It is a definitive Visions of Atlantis moment, just waiting to go viral.
Visions of Atlantis delivers a highly-engaging show.
“Broken hopes aren’t forever.”
– In My World
“In My World” saw drummer Thomas Caser playfully mock the song’s flute intro on his drumstick. But do not be fooled: Thomas proved a seaworthy master of his craft, song after song, with impeccable timing that stood toe-to-toe with the heart-pounding rhythms and soul-lifting vocals.
Visions of Atlantis drummer Thomas Caser
Guitarist Christian “Dushi” Douscha and bassist Herbert Glos perfectly ended “In My World” with the quintessential, rock-metal joint outro—standing shoulder to shoulder at center stage, plunging deeply into each chord in unison. Dushi’s scorching guitar evoked moods of Iron Maiden, and he even sets up equipment to stream concerts nightly on his personal Twitch channel, ensuring no pirate is left behind.
And Herbert (“Herb,” he so bashfully whispered to me during our introduction at the Meet and Greet), was the first to look for a chair for a late-arriving fan at one of the band’s storied pre-show acoustic performances as part of the meet and greet. As gentle as his mood, though, heavy was his hand on bass that surrounded Visons’ varied songscapes in a wall of thunder to Dushi’s lightning.
Visions of Atlantis guitarist Christian “Dushi” Douscha (left) and bassist Herber “Herb” Glos
“There is more power in pity, than courage in hate.”
—Mercy
Indeed, the night was becoming a “Journey To Remember” and was showing no “Mercy” towards any ill-effects of the pandemic—with everyone now together again without restrictions.
Those that know the songs know what I just did there.
In fact, “Mercy,” one of my least favorite songs from the Pirates album, turned out to be the perfect example of the power of live music. What started out as just an average song for me, grew into something more after seeing it performed—especially with Clem’s glorious outro of “Over and over, the winds keep returning to me, returning to me.”
“Mercy” is now one of my favorite songs—once that I have revisited several times since that night—and I have the live experience to thank for it.
“The journey’s now or never; Embrace your soul forever.”
– Legion of the Seas
As the set drew towards its inevitable close (for a pirate’s spirit may be eternal, but alas, their bodies are not, har har), we got “Pirates Will Return” and “Legions of The Seas” as closers, as the band took turns waiving a giant, black, VOA flag around the stage.
In my eyes, Visions of Atlantis deserve to waive that flag as many times as they want, and for as long as they want.
For pirates, indeed, have returned, bringing legions of fans in-tow, and undoubtedly, picking up scores of new fans as well.
The strength of Visions of Atlantis lies in the balance they strike between a wide range of emotions and landscapes—an enchanting accord between light and darkness.
Having both an exceptional female vocalist and an exceptional male vocalist, supported by master musicians, delivers on this artistry in a way that few bands from any corner of the world can ever match. And it delivers in spades—and in beauty.
Long live artistry. Long live performers. Long live Pirates.
Don’t miss this great band when they sail into your town!
When Unleash The Archers last left off in Denver in March of 2020, it was to be their last show for almost 18 months. Fast forward to last Saturday night, Unleash The Archers finally returned to Denver, and to their legend that has only grown since.
By Bryan Ahearn
L-R: Scott Buchanan (drums), Brittney Slayes (vocals) and Grant Truesdell (guitar) of Unleash The Archers during their Denver performance.
A singular, terrestrial planet, with diverse lands and people separated by ocean chasms deep and ideals even deeper, found itself adrift in the year 2020, waiting for its moment of transcendence. That singular moment, when fleeting hope would meet its match in renewed awakening.
The pandemic, if anything, has been an awakening.
Rock metal fans in Denver, Colorado were finally able to experience their awakening on Saturday night, thanks to a stunning and ethereal performance by Canadian melodic metal quartet Unleash The Archers at the sold out Marquis Theater. And it was the performance fans around the region had been holding their breath for.
Fresh off the heels of their critically acclaimed and JUNO (Canada’s version of a Grammy) award-winning Rock/Metal Album Of The Year “Abyss,” Unleash The Archers stopped in Denver amidst a 20+ date headlining tour, frequently selling out multiple dates. And with good reason.
Taking the stage to the Abyss-opening track “Waking Dream,” a delicately triumphant requiem, the band emerged slowly, like a vapored mist from the shadowed backstage hallway, before launching into the exhilarating opener “Abyss,” sending fans into a shrieking frenzy as the stage lit to reveal the band all were waiting so breathlessly to receive.
And the deliriously talented front woman Brittney Slayes and her ultra-talented band mates were equally and authentically ready to receive them.
From the onset, Brittney flashed her trademark smile throughout the show—assuredly and confidently—as 1,000+ concert-goers reveled in her complex, four octave mezzo range, set to a backdrop of soaring song arrangements of exhilarating metal and cinema-equse, synth-infused power ballads.
Translation: Brittney Slayes is massively, massively talented, and one of the best vocalists on planet Earth right now—and possibly any planet, anywhere.
Carry me on the winds of a storm
Show me the power of the universe
Give me the strength of wing to soar
Show me the power of the universe
—“Through Stars”
Following “Abyss,” the band led into “Through Stars” and when Brittney sang “Show me the power of the universe,” I couldn’t help but look around as she interacted intricately with both fans and band members—happily air-guitaring with guitarists Grant Truesdell and Andrew Kingsley, leaning back-to-back with bassist Nick Miller—and even air drumming furiously along with drum phenom Scott Buchanan.
Brittney even took time to engage in a (plastic!) lightsaber fight with audience members who had gotten the souvenir as part of the band’s meet and greet.
L-R: Grant Truesdell, Nick Miller and Brittney Slayes.
The power of the universe was right there, in front of me—all around me. In the making, and, in the moment.
The sing-a-long atmosphere continued with “Legacy” and especially “Soulbound,” where Brittney’s high-gloss verses were offset by the playfully demonic growls by guitarist Grant Truesdell—a rare break in motion for his flailing blonde locks that spent much of the night charging across the stage and over to Andrew Kingsley for a bout of guitar wizardry.
L-R: Andrew Kingsley glides through yet another masterful guitar solo, while Nick Miller readies his bass for another round of thunder.
And wizardry it was, as Andrew effortlessly and quietly annihilated his fret board with fate’s precision, during favorites “The Matriarch” and “Cleanse The Bloodlines,” as his atmospherically arranged solos were crafted expertly between Grant’s powerful, guitar stroke and Nick Miller’s thunderous six-string bass.
Setlist, autographed by the band, and handed by Brittney—directly from the stage at the end of the show—to a 7-year-old girl attending her very first concert. So proud to meet her and her parents. More on Brittney this band’s ability to connect later. For now, more on Denver’s awakening…
The song “Awakening” bore particularly rousing sentiments, it was as if drummer Scott Buchannan made exploring every rhythm possible (within the first 30 seconds of the song) his personal conquest in all its beautiful aggression, before taking the requisite pause during the mystically beautiful intro of “Apex”—before re-igniting the cosmic firestorm of an outro.
Scott Buchanan is the beat drummer I’ve heard in years.
And if those song titles seem unique—that’s because they are—as their lyrics rely on almost exclusively fantastical and mythical, space adventure motifs—a welcome reprieve from the last 18 months—or, an odd parallel to them.
I am the wind that shapes the land
Old as time and twice as strong
Oceans arise at my command
I alone can carry on
—“The Wind That Shapes The Land”
The band and crowd delivered incredible vibes all night.
With 2020’s Abyss playing sequel to 2017’s Apex, both concept albums, fans continue to follow the saga between The Matriarch and The Immortal—which turns out to be every bit as ensnaring as Star Wars, but every bit as real and present as rock music and as real as punk.
But what sets Unleash The Archers apart, is their capacity to connect with the fans. Whether it was the hour plus, socially distanced (reminder, 2021) pre-show meet and greet with fans, the constant and sincere eye contact from each band member to almost any fan who looked on stage—in all of its inter-planetary fantasy—this band truly gets the importance of connecting during the here and the now.
L-R: Grant Truesdell’s guitar prowess lays down colossal rhythms to the immense vocal range of Brittney Slayes.
Whether it’s the hundreds of Twitch streams (@granttuesdellUTA) has been streaming almost all of the UTA concerts), or their UTA-specific Discord group, this band—especially in light of the last 18 months—realizes the importance of connecting with fans—and, having fans connect with each other—as Brittney spoke from stage to the fans about their Unleash The Archers Discord group:
“For those of you not part of it, you should totally come hang out! Discord is like a chat room with a bunch of metalheads like you that love sports, and books and D & D. It’s a crew of really great people and you just might meet your best friend, you never know.”
Brittney Slayes, Unleash The Archers
In that moment, I knew it. Brittney, and this band. They weren’t merely a band—they were also leaders. They know and promote the importance of connection amongst themselves and their fans.
Brittney Slayes slices and dices (and more!!) as she engages a fan in a mid-show lightsaber battle. Lightsabers were given out as part of the band’s meet and greet-exclusive.
While outside, admist the sunswept downtown streets of bustling millennials, Denver was simultaneously playing host to its annual Oktoberfest celebration—a confluence of dirndls, lederhosen, aviator sunglasses, pink jean shorts and sudsy beer steins.
Yet somehow, the several hundred Unleash The Archers fans gathered inside, and lining the sidewalk for hours in front of the Marquis Theater before—many clad in black, with various forms of patches, metal studs and beard adornments (some with necklaces that even looked like midevil hammers)—seemed to fit right in with it all.
Togetherness. Belonging. Unity.
This was something that Brittney lead all of us in that night, backed by the rousing delivery of insterstellar metal rhythms by some of the finest musicians I’ve ever heard.
As the evening’s camera of our mind’s eye panned outward, nestled at the base of the Rocky Mountains, lies Denver, Colorado—an upstart, western metropolis of 2.8 million citizens benefiting from its history as a gold mining town, and its future as gateway to some of North America’s best skiing.
On Saturday night, however, Denver also became the gateway to some of the best music anywhere in North America, when Canada’s Unleash The Archers made their triumphant return to the Mile High City.
Yes, you too, can have fun(??) at a death metal concert! Don’t miss Aether Realm. “Because here’s the deal: Everyone wants to be a rock star. But not everyone can write guitar hooks this heavy,” or so frontman Vincent Jones told the crowd. He wasn’t kidding. Stuff got heavy. Like, really heavy. On many fronts.
By Bryan Ahearn
Aether Realm lead vocalist/bassist Vincent Jones (left) and guitarist Heinrich Arnold (right) during Saturday Nights Denver performance.
From the darkness lead Aether Realm singer Vincent Jones emerged on stage, cloaked in a green-sequined jacket, — somehow foreshadowing the dark beauty of the music of Aether Realm that would ensue and ensnare a captivated Denver, Colorado crowd.
And for the next 60 minutes, the audience had no clue how heavy it was about to get–and was up to the task in playing along, in waiting for headlining act Unleash The Archers to take the stage Saturday night at the Marquis Theater.
From their first note, Aether Realm drew from their distinctive death/doom metal sound–executing with flawless precision their weighty and unwavering sound.
“Slave to the Riff” opened, a deafening stomp-fest with yes, an undeniable hook–relentless in urgency, unapologetic in its guttural growls. But hark! What is this? An an folk-style guitar interlude? Aether Realm is anything but your typical doom metal band.
With a lead singer that leans towards the vocal tonality of Motorhead’s Lemmy Kilmister (RIP, Lemmy!) strewn across lyrical themes of fantasy and mythology, things just started to get…fun(?) with “The Tower” and by “TMHC,” things were getting just outright unexplainably fun. (Yes, I of my basketball shoes and baseball team bandana was now actually having fun listening to death metal, or whatever this was!)
“Cycle,” added an almost a pensive, softer moment, set to keyboard effects: “The light has gone/And I can’t move on,” offset with a brightly-set lead guitars laid down by Heinrich Yoshio and Donny Burbage was downright mezmerizing. Factor in the lighting-quick reflexed drums set forth by Tyler Gresham, and you got the blackest gem of a song possible.
As fun as it was to see a beer-drenched mosh-pit break out to the vicious-sounding “Swampwitch” in a basement-sized venue, the signature moment of the night was “Guardian,” the band’s hit single from the band’s 2020 release Redneck Vikings from Hell.
Guardian is quite possibly, one of the most breathtakingly haunting and beautiful songs you will ever hear in not just the death or black metal genre–but in any genre. There’s something in there that can’t be explained–just felt.
Joined onstage by Seven Kingdom’s Sabrina Valentine, “Guardian” turned into a beautiful duet, balancing the rugged growl of Vincent Jones with the high-gloss power of Sabrina Valentina. It was, a moment–the moment–of the Aether Realm performance that night that left me awestruck.
But as the Aether Realm set was proving, any emotion was possible: from aggression, to beauty, to the energetic and yes, to to unexpected moments of peace…it became evident this band was doing what they do best with their heavy hooks–being rock stars.
Florida-based power metal band deliver a superset of high-intensity power metal led by a standout female vocalist. Get to an Unleash The Archers 2021 show early and catch them.
By Bryan Ahearn
Fans in Denver last Saturday night were “powermetalized” during an out-and-out heavy-lifting rock performance, thanks to an inspired performance by Seven Kingdoms in their opening performance for Unleash The Archers.
With an all-killer and no-filler 7-song set, vocalist Sabrina Valentine (whilst seated from a recent ankle injury) muscled her way through daft range of power and harmony (reminiscent of the lead singers in Evanecense, Heart and Blondie), and was the perfect adornment to a thunderous speed rhythm section of Kevin Byrd and Camden Cruz (guitars) and Keith Byrd (drums).
Several canceled tour dates (due to travel protocols that delayed headliner Unleash The Archers’ entry into the USA), and one socket-punctured tire later (and who knows how many stops at Buc-ee’s gas mega-stations along the way)…Seven Kingdoms muscled their way into Denver and stood mountain-strong.
Opening with 2012’s “After The Fall,” the quartet leaned heavily into a classic speed-metal regimen of fret board calisthenics and breath-takingly quick drum rhythms. Compounded by the powerful vocals of Sabrina Valentine, the band, right away, earned its presence—and the crowd’s respect.
With the majority of the 7-song set focused on Seven Kingdom’s most recent release, 2019’s Empty Eyes, the band’s newer material was certainly up to task, as the slow-down power chorus of “Monster” drew particular energy as Sabrina’s voice maneuvered expertly between whatever rhythm the band was laying down. And it was that way for the duration of the set.
It’s been good bit since I’ve been introduced to a new (to me, anyways) female vocalist this good. Female pop-vocalists of the 80’s are among my favorite (Pat Benatar, Ann Wilson, Debbie Harry). For 45 minutes that night, Sabrina Valentine became my favorite female vocalist—and stuck with me long after, with each listen to Seven Kingdom’s Empty Eyes EP.
Other highlights of the Seven Kingdoms set included “The Water Dance,” as Valentine croons, “I have a name/Don’t tell me who I am/Who I should be…” before abruptly growling “Today is the day/I will sow your fate!”
If any fate was sowed that night, it was that Seven Kingdoms might not be too far off from returning to the road for a well-earned longer set next time. And if Denver was any indication, they’d be welcome with open (24-inch python) arms, brother!
Courtesy Janus Music Mgmt. Used with permission.
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