MavStar

From the opening whisper of “Times Like These” to the roaring crowd during his first stomp and sprint stage right and back to center stage again, Dave Grohl—alongside the likes of Bowie, Jagger, Tyler and Mercury—has cemented his place as one of the great frontmen of rock and roll, of not just modern day, but any day.

By Bryan Ahearn

Simply astonishing.

235 songs.

Some 235 Foo Fighter songs were eligible for their Lollapalooza setlist Sunday night, that Grohl with a magician’s stroke (somehow…) whittled down to a 20-song, two hour playlist during a hot August night in Chicago, Illinois (USA).

Note that “USA” is defined parentheses, as this concert was in large part viewable beyond US borders, thanks to a joint SiriusXM Radio/Hulu live broadcast.

And without a doubt, this could very well be the performance that sells out every one of the remaining Foo Fighters tour dates.

Without abandon, without limits and absolutely without remorse, Foo Fighters would groove, shuck and jive—the way it feels to be alive—through a potent setlist ranging from the new school (“Shame Shame”) to the old school (“Breakout”).

At times out of breath, but never out of heart (after all, isn’t that what exhilarating, live, living-breathing music is all about??), Dave Grohl led the Foo Fighters on aggressive march through anything and everything you’ve likely heard on rock radio the last 26(!) years.

Yes, 235 songs were eligible for this show—as proclaimed by Grohl himself in front of an estimated crowd in the 100’s of thousands—that saw a music-pedigreed setlist that spanned generations (even touching the disco-era Bee Gee’s cover “You Should Be Dancing”).

Author’s note: It is my 10-year-old son’s goal to one day, be able to hug Dave Grohl. And from the spin dance thing he pulled off in our living room during a song almost 50 years his senior, he every bit deserves it.

The timeline love fest continued, with Taylor Hawkins (the drummer, mind you), aptly handling vocals for a cover of Queen’s “Somebody To Love.”

Mercury-esque caliber cover? Damn right.

But for all their covers, Foo Fighters never forgot where they came from—and where they are going, first tearing through their 1995 debut hit, “This Is A Call,” and then with a song led by Grohl’s daughter, Violet (a cover of “Nausea” by L.A.-based band X), the future of rock in the Grohl household sounds out-of-this-world good, with Violet’s punchy vocals harkening to a young Joan Jett.

Not bad. In fact, great.

“You see that? That’s the next generation of rock n’ roll,” Grohl concluded after Ophelia’s inspiring lead performance, before howling his way into “Best of You.”

On a night when not just rock n’ roll, but all of music, needed it’s biggest hitter to step up to the plate—in the shadows of the friendly confines of Wrigley Field, the Foo Fighters delivered a game winner, calling their shot and knocking it out the park with a concert heard around the world.

In times like these, Foo Fighters aren’t just living again, but they are taking us right along with them.

Grade: 10/10

Set List

Times Like These

The Pretender

Learn To Fly

No Son of Mine

Sky Is a Neighborhood

Shame, Shame

Breakout

My Hero

These Days

Walk

You Should Be Dancing

Somebody to Love

All My Life

This is a Call

Nausea

Best Of You

Monkey Wrench

Everlong

The new Tremonti single “If Not For You” finds Mark Tremonti exploring a fresh take on rock metal, and it’s really, really good.

By Bryan Ahearn

Mark Tremonti, and his band Tremonti, unfurled the first single to their upcoming album Thursday, and while fans still have to wait 2 months for the full album “Marching In Time” to drop (9/24/2021), the group’s first single “If Not For You” offers fans a harbinger of hope, something new, and, something tried and true.

Because yes, there’s even a return-to-form of one of Mark’s incredible guitar solos—you’ll just have to wait to see where it happens!

Clocking in at just over 4 minutes, the song covers the full array of motifs that have made Tremonti one of the best songwriters of his time.

However, what feels different about this track, is that it’s dark and powerful tonality is offset quite beautifully by its bright-sounding guitar overtones and references to love’s undying commitment.

From the entrance-bomb of an opening (think, the title track from “Halloween”) leading into the serious-sounding mood of an understated verse, the first single turns out to be a brilliant expose of all the elements that make this band so great.

“Turn and face me

Could you always be

Forever at my side

Fill this heart of mine.”

If Not For You

Mark Tremonti, if not anything, is a proven perfectionist. From his Grammy Award-winning songwriting, to his three-time Guitar World Guitarist Of The Year pedigree, and even as a book author, if it has his name on it, it’s bound to be extraordinary.

His latest single “If Not For You,” is no exception.

It’s a blend of classic, metal, power (and, yes, even ballad) rock. And it’s perfect.

After all, Mark Tremonti, is something of a perfectionist.

The full album from Tremonti, Marching In Time, drops 09/24/21 via Napalm Records.

Hear the new single via YouTube:

https://youtu.be/vyeA2UyLrYw

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.

By Bryan Ahearn

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.

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.

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.

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.

https://www.kipwinger.com/upcoming-events

Score: 10/10

Kip Winger: Astounding that he’s written these different types of music.

William Topley delivered a brilliant, career-spanning performance Saturday night, and still has one special concert left for tomorrow, July 4th.

By Bryan Ahearn

Nestled against the Rocky Mountain foothills, amidst the upbeat and vibrant bustle of a Saturday night in a college town, stands the Buffalo Rose.

It’s not quite downtown . Nor is it quite uptown. Yet, somehow, it was the perfect setting for British singer-songwriter William Topley to make his long-awaited return to the U.S.A.—a year-long in the making—to a packed house of concert loyalists at the Buffalo Rose in Golden, Colorado.

One the first of two shows, with the second being a special brunch performance tomorrow, July 4th at 10am—limited to only 150 seats, Topley packed the house Saturday night, then promptly brought it down, with a rousing, 2+ hour show, to the wild cheers of hundreds—fitting of a rowdy western, saloon of days past.

Almost apropos, Mr. Topley, indeed, opened on this first night with “I Don’t Want To Go Uptown,” drawing wild hollers, high fives and raised glasses from eagerly awaiting fans.

And it would be that way for much of the evening.

Followed by “Sycamore Street,” Topley leaned heavily into his pitch-perfect baritone, matched in fervor as the audience echoed back chorus-ends right on queue, only to be walloped headlong into the fray of “Highway Five,” an upbeat number that left some audience members visibly out of breath in keeping up with a brisk chorus.

Mr. Topley, however the lockdown may have tolled, showed no sign of wear, spanning a well-toned voice over stunning lyricism.

Oh Black River
Let me roll back to you
Under the water the light looks so fine
And out on the iron shore the lighthouse is flickering
A psalm for the serpents
Some rummy’s last call

“Black River”

Topley is no stranger to Colorado. In fact, he’s been touring the Columbine state since the 90s, with his band The Blessing, and afterwards as a solo artist.

With a silky-smooth bass-baritone voice that could rumble the deepest mountain, and soul-drenched melodies that could soak the deepest blue ocean, Topley’s music has a sound reminiscent of Dire Straits, The Rolling Stones and Billy Joel—coupled with stunningly poetic lyricism.

As the evening wore on, the dance floor stage-center wore out, with fans singing back with equal passion to every one of Topley’s selections.

You want to call my name in the black night
But it won’t be long before we fuss and fight
And I’ve been there once and I’ve been there twice
And I ain’t been no place three times in my sweet short life

“The Ring”

The evening moved on briskly, much faster than anyone really wanted it to end—and selections such as “Hurricane Room,” “Drink Called Love,” and “Ten Ten,” we’re handled expertly by Mr. Topley’s hand-selected supporting musicians: Michael Olsen (bass), Christian Teale (drums), Jeremy Lawton (keys/guitar) and Dave Beegle (guitar).

The musicians really sounded great. I don’t know if that means Zoom (actually) works for some tasks (sometimes), but you’d think they would have been playing together with Topley for an entire tour, and not just this one (and first) show, and were brilliant.

Especially with the crowd favorite “Delta Rain”:

Thunder’s up and the real live wires are talking,
Set me straight as the rain falls on New Orleans.

“Delta Rain”

Always a hot ticket in the Denver/Boulder area, Topley’s 2020 show was put on hold, of course due to the pandemic.

Fast-forward almost a year later, and it’s as if time, in this quaint little town fit snug in against the foothills, had found a way to stand still.

As if, in some way, the last year—and least for a couple of hours—had never happened.

This was Golden. This moment—this night—all of it, purely Golden. The way things were meant to be.

Amongst waist-high tables, conversations flowed, as they always have. Drinks with foaming brews were sipped, and plastic-cupped cocktails were gingerly carried up to the second levels by smiling patrons. And not a sip was spilled, mind you.

So, it seems, that on the eve of America’s Independence, it may have only been poetic justice that Mr. Topley—an Englishman—gave us Americans some of that freedom back.

And perhaps in being able to travel to Colorado, to an assuredly packed house, was able to enjoy some of his own.

Rating: 10/10

Setlist

1. (I Don’t Wann Go) Uptown
2. Sycamore Street
3. That’s My Right
4. Highway Five
5. Holding On
6. Black River
7. The Ring
8. Wide Saragossa Sea
9. Don’t Do That No More
10. Hurricane Room
11. Drink Called Love
12. Ten Ten
13. Delta Rain
14. Catherine
15. You Don’t Love Me (Encore)
16. Sweet William
17. Nothing Else Matters

Relive the setlist…

https://music.apple.com/us/playlist/william-topley-golden-co-07-03-21/pl.u-11zBJoms2GPgky

https://open.spotify.com/playlist/3QkyBOK8XWNdVZ5B18RYIv?si=pvXpLTwrQNCDZHXBC9ufIQ&dl_branch=1

Whoa, Canada!! It was the great-sounding performance (without borders) that rock n’ roll needed, when rock n’ roll needed it. 

By Bryan Ahearn

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.

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.

Fortunately, Big Wreck returns to the stage today and tomorrow for two Canadian shows. https://www.bigwreckmusic.com/#tour

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.

No matter how far north you have to drive.

Performance score: 10/10

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

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.

Don’t miss this album. 

Better yet, make sure someone else doesn’t miss out & pick up an extra copy or gift it to them on iTunes.

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. 🐘

February 19, 2021

To celebrate the release of their new, acoustic-driven album, Melodies of Green and Blue, traditionally symphonic metal rock band Temperance performed their music in a highly non-traditional way on Friday night: Unplugged, live and streamed from Groove Factory in Udine, Italy.

Stunning. Aggressive. Delicate. All at once.

Temperance, a rock band hailing primarily from the Italian region, exists in multitudes–difficult to define, but impossible to ignore.  

Blending a slick trio of vocalists, driving guitar riffs, and a pounding rhythm section, Temperance unites in a fireball of soaring atmospherics, relentless in energy and indominable in spirit.

None of this was lost on a Friday night that saw three members of the band perform tracks from their new, acoustic-based EP “Melodies of Green and Blue,” released 19 Feb on Napalm Records. It’s an EP, under $10 (US), unique and highly worth it.

The show opened with “I Am the Fire,” a driving rocker that lost none of its ferocity when stripped to only two acoustic guitars and a trio a vocal virtuosos—Alessia Scolletti, Michele “Meek” Guaitoli and Marco Pastorino.

The performance continued to sizzle, with Alessia coming across as both a cosmic force of strength and femininity. Her vocals effortlessly glided between both airy brush strokes and heavenly high energy at all the right moments, drawing the occasional (and very deserving) mesmerized glances from her bandmates Marco and Meek.

Alessia Scolletti is that good. 

And, amazingly enough, so, also, are the two male vocalists in Temperance, Michele “Meek” Guaitoli and Marco Pastorino—as the three move effortlessly between vocal solos and harmonization.

Alessia leaned thoughtfully into “Raise a glass to the glasses and cheer to the friendship you’ve always ignored,” in “Let It Beat,” another Viridian-track that found an astonishingly new depth (in a very new, Zoom-oriented world) with its appearance as an acoustic version on Melodies.

All performance long, Alessia’s smile enchanted, and her voice astonished. And Marco and Meek exuded confidence in both infectious smiles and confident leads and harmonies. Truly, artists at work—and at play. 

And it was, simply amazing.

With very few freezes and excellent sound quality, Rockifi delivered a high quality streaming experience, allowing the Temperance faithful to truly enjoy new tracks such as “Paint The World,” and “Evelyn.” 

The Viridian favorite “Nanook,” also made a welcomed appearance—with its rambling acoustic guitar intro evoking a wonderous approach, befitting of the songs adventurous landscape, seeing the eagle “through its amber eyes.”

Other highlights of the 1-hour performance included “My Demons Can’t Sleep,” where Michele’s playful howls of “El Diablo” offered both a retreat from the song’s serious nature (“I’m hiding from the darkest side of me.”), as well as an exploration of Meeks’s truly stellar vocal range, and his ear for intelligently crafted melodies without boundaries.

And even earthly boundaries have never been an obstacle for Temperance, as Marco led the trio strongly through an acoustic rendition of “Of Jupiter And Moons,” from the album of the same name. 

Marco’s expert ability to cast his vocal range from all angles (high-low-mid) offers relentless power at all the right moments. To me, he seems like that guy at a party willing to try anything to make someone smile, and his voice does just that—and more.

The performance closed with “Catch The Dream,” especially fitting given the last 12 months has taken so many dreams, connections and loves. 

But in that final, closing refrain of “May tomorrow come to catch the dream,” there’s that undying optimism, that trademark resolve that seems to be part of every Temperance song I’ve listened to, that in life, there are still unexpected and yet to be discovered loves, if we are willing to catch them, like ourselves, when they fall .

Thankfully, we were able to catch a bit of Temperance just now.

So, if you haven’t discovered Temperance yet, don’t wait.

Go catch the Dream.

Setlist – Temperance (19/02/2021)

1. I Am The Fire
2. Let It Beat
3. Paint The World
4. Nanook
5. Start Another Round
6. My Demons Can’t Sleep
7. Gaia
8. Evelyn
9. Scent of Dye
10. Last Hope (first time acoustic)
11. Jupiter and Moons
12. Catch A Dream

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.

Until then, we were given 2.0 in 2020.

And the timing could not have been any better.

5/5 stars