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Stephen Pearcy of RATT Delivers A Knock-Out Party, And He’s Just The Man To Do It

Pearcy will tour RATT hits all summer, so go buy that ticket. Go support your rock heroes, and be a hero to yourself the morning after.

TICKETS / DATES

Concert Score: 10/10

Venue Score: 10/10

By Bryan Ahearn

February 24, 2023

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.

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!

POISON’D

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!

THE FUZZHEADS

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??)

WILD GOOSE SALOON

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Unleash The Archers, The Award-Winning Metal Band, Connects With Fans To Deliver Mind-Blowing Performance In Denver

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.

And it felt like no place on planet Earth.

Rating: 5/5 – One of the best concerts ever.

Tour Dates: https://unleashthearchers.com/#tourdates-section

Setlist – Denver – 09/18/21

Abyss
Through Stars
Legacy
Soulbound
Faster Than The Light
The Matriarch
Cleanse The Bloodlines
Tonight We Ride
Awakening
Apex
The Wind That Shapes The Land
Afterlife
Carry The Flame (encore)

Featured

Alter Bridge: Top 10 Bridge Transitions

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)

Tremonti’s New Single “Just Too Much” Is More Than Enough

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.

Tremonti. They’re at it again.

Buckle up…

Mile High Magic: Foo Fighters Play Their Largest-Ever American Concert in Denver

By Bryan F. Ahearn

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.

Review: 5/5

‘Tis The Season: Mark Tremonti Rocks For A Special Cause That’s Out Of This World

By Bryan F. Ahearn

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.
—via NDSS.org

What’s Next?

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

Donations Link

Friendship Commanders Release Spellbinding Third Album “MASS”

By Bryan Ahearn

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.

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.

Tour info & various album bundles available at:

https://www.friendshipcommandersband.com

Queensrÿche: Packs The House, Claims A Modern-Day Empire

Queensrÿche pulled off a rousing performance Friday night in Colorado that just might have left few missing the familiar hits of old.

March 24, 2023

Tickets: http://www.queensrycheofficial.com/tour-dates/

By Bryan Ahearn

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.

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.

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.

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.

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.

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 gives an amazing rock performance—and it’s no common man’s tale.

Their uniquely engaging North American tour runs through March 5, with dates almost nightly.

Dates/Tickets

Meet & Greet

Score: 10/10

By Bryan Ahearn

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!

Dates/Tickets

Meet & Greet

Aether Realm Transfixes Denver With Dark & Beautiful Melodies (Concert Review)

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.

Rating: 5/5

Aether Realm Setlist – Denver 9-18-21

Seven Kingdoms “Powermetalize” Denver With An Electrifying Performance (Concert Review)

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!

Rating: 5/5

Seven Kingdoms Setlist (Check out “Monster” )