Yes, you too, can have fun(??) at a death metal concert! Don’t miss Aether Realm. “Because here’s the deal: Everyone wants to be a rock star. But not everyone can write guitar hooks this heavy,” or so frontman Vincent Jones told the crowd. He wasn’t kidding. Stuff got heavy. Like, really heavy. On many fronts.
By Bryan Ahearn
Aether Realm lead vocalist/bassist Vincent Jones (left) and guitarist Heinrich Arnold (right) during Saturday Nights Denver performance.
From the darkness lead Aether Realm singer Vincent Jones emerged on stage, cloaked in a green-sequined jacket, — somehow foreshadowing the dark beauty of the music of Aether Realm that would ensue and ensnare a captivated Denver, Colorado crowd.
And for the next 60 minutes, the audience had no clue how heavy it was about to get–and was up to the task in playing along, in waiting for headlining act Unleash The Archers to take the stage Saturday night at the Marquis Theater.
From their first note, Aether Realm drew from their distinctive death/doom metal sound–executing with flawless precision their weighty and unwavering sound.
“Slave to the Riff” opened, a deafening stomp-fest with yes, an undeniable hook–relentless in urgency, unapologetic in its guttural growls. But hark! What is this? An an folk-style guitar interlude? Aether Realm is anything but your typical doom metal band.
With a lead singer that leans towards the vocal tonality of Motorhead’s Lemmy Kilmister (RIP, Lemmy!) strewn across lyrical themes of fantasy and mythology, things just started to get…fun(?) with “The Tower” and by “TMHC,” things were getting just outright unexplainably fun. (Yes, I of my basketball shoes and baseball team bandana was now actually having fun listening to death metal, or whatever this was!)
“Cycle,” added an almost a pensive, softer moment, set to keyboard effects: “The light has gone/And I can’t move on,” offset with a brightly-set lead guitars laid down by Heinrich Yoshio and Donny Burbage was downright mezmerizing. Factor in the lighting-quick reflexed drums set forth by Tyler Gresham, and you got the blackest gem of a song possible.
As fun as it was to see a beer-drenched mosh-pit break out to the vicious-sounding “Swampwitch” in a basement-sized venue, the signature moment of the night was “Guardian,” the band’s hit single from the band’s 2020 release Redneck Vikings from Hell.
Guardian is quite possibly, one of the most breathtakingly haunting and beautiful songs you will ever hear in not just the death or black metal genre–but in any genre. There’s something in there that can’t be explained–just felt.
Joined onstage by Seven Kingdom’s Sabrina Valentine, “Guardian” turned into a beautiful duet, balancing the rugged growl of Vincent Jones with the high-gloss power of Sabrina Valentina. It was, a moment–the moment–of the Aether Realm performance that night that left me awestruck.
But as the Aether Realm set was proving, any emotion was possible: from aggression, to beauty, to the energetic and yes, to to unexpected moments of peace…it became evident this band was doing what they do best with their heavy hooks–being rock stars.
Florida-based power metal band deliver a superset of high-intensity power metal led by a standout female vocalist. Get to an Unleash The Archers 2021 show early and catch them.
By Bryan Ahearn
Fans in Denver last Saturday night were “powermetalized” during an out-and-out heavy-lifting rock performance, thanks to an inspired performance by Seven Kingdoms in their opening performance for Unleash The Archers.
With an all-killer and no-filler 7-song set, vocalist Sabrina Valentine (whilst seated from a recent ankle injury) muscled her way through daft range of power and harmony (reminiscent of the lead singers in Evanecense, Heart and Blondie), and was the perfect adornment to a thunderous speed rhythm section of Kevin Byrd and Camden Cruz (guitars) and Keith Byrd (drums).
Several canceled tour dates (due to travel protocols that delayed headliner Unleash The Archers’ entry into the USA), and one socket-punctured tire later (and who knows how many stops at Buc-ee’s gas mega-stations along the way)…Seven Kingdoms muscled their way into Denver and stood mountain-strong.
Opening with 2012’s “After The Fall,” the quartet leaned heavily into a classic speed-metal regimen of fret board calisthenics and breath-takingly quick drum rhythms. Compounded by the powerful vocals of Sabrina Valentine, the band, right away, earned its presence—and the crowd’s respect.
With the majority of the 7-song set focused on Seven Kingdom’s most recent release, 2019’s Empty Eyes, the band’s newer material was certainly up to task, as the slow-down power chorus of “Monster” drew particular energy as Sabrina’s voice maneuvered expertly between whatever rhythm the band was laying down. And it was that way for the duration of the set.
It’s been good bit since I’ve been introduced to a new (to me, anyways) female vocalist this good. Female pop-vocalists of the 80’s are among my favorite (Pat Benatar, Ann Wilson, Debbie Harry). For 45 minutes that night, Sabrina Valentine became my favorite female vocalist—and stuck with me long after, with each listen to Seven Kingdom’s Empty Eyes EP.
Other highlights of the Seven Kingdoms set included “The Water Dance,” as Valentine croons, “I have a name/Don’t tell me who I am/Who I should be…” before abruptly growling “Today is the day/I will sow your fate!”
If any fate was sowed that night, it was that Seven Kingdoms might not be too far off from returning to the road for a well-earned longer set next time. And if Denver was any indication, they’d be welcome with open (24-inch python) arms, brother!
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.
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.
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.
World-renowned rock legend brings his iconic hits to a small suburb in Colorado, in a rare, up-close acoustic performance. Don’t miss out if Kip Winger ever visits your area.
For any other performer, the pandemic of the last 16 months may have just been an average pause in the action.
Not for Kip Winger.
Not since the age of eight—Kip remarked to the crowd gathered Wednesday night in Parker, Colorado—had he gone more than a year without a gig.
For even at age eight, his talent must have been that apparent—foreshadowing a career as a bassist with Alice Cooper, and as one of the founding member’s of MTV’s rock and roll generation with his band Winger, and a successful solo artist and composer. (Did you know Kip is a Grammy-nominated composer of a ballet score?)
Fast forward 40 years later past the prime of MTV, past the hair styles, past the shredded jeans and past the spaghettified guitar solos of the era, and you’ll find Kip Winger, still delivering on every ounce his standard of expertly arranged rock melodies.
And you’ll still also find scores of loyal fans, as he did in Parker Wednesday night, eagerly awaiting the return to Kip’s pitch-perfect, upper registry behind the mic, calculated guitar rhythms, and a list of impactful songs almost too long to mention.
On this night, his fans got that and more, as Kip delivered nothing short of a compelling performance at Deep Space, presented by Artist Plus Entertainment.
In a clean-cut venue more suited for Main Street, U.S.A. than the L.A. Sunset Strip, an indoor concrete staircase led fans down to a well-ventilated, air conditioned basement complete with a spotless bar and surprisingly well-maintained restrooms more fitting of a spa than a rock and roll venue.
But that’s where the clean stopped, and the grit began, as Kip Winger and his musical companion Robby Rothschild layed down one of the best shows I’ve been to of any genre, at any place.
Because great music is just great music. No matter the time. No matter the place.
Throughout the evening, Kip strummed his 12-string guitar with exuberance, while Robby thundered along mightily across a pair of bongo drums and floor stomps—a surprisingly invigorating translation of 80s rock staples.
Of course, the hits from Winger—the band of Kip’s namesake—were on full-on mode, and it was a mood.
Winger hits such as “Easy Come, Easy Go,” and “Headed For A Heartbreak” we’re particularly astounding when performed acoustically by Kip, with Heartbreak’s post-chorus, twinkling acoustic guitar interlude providing a requisite pause in energy, and perhaps reflection, from an amped crowd drawing from emotions that perhaps spanned longer than the last 16 months.
“Headed For A Heartbreak”
And there was “Can’t Get Enough,” where Kip implored the crowd to sing the refrains back as he moved the song to its rousing finish.
Sometimes, great music is just great music. No matter the time. No matter the place.
In fact all the songs sounded great, with Kip’s voice was relentless in it’s ferocity, precision and intricacy—somehow all at once.
Probably one of my favorite moments was an entrancing rendition of “Pages and Pages,” as Kip took the seat behind a keyboard for one of the most amazing and mesmerizing pieces of music I’ve ever heard.
“Pages and Pages”
So moved was I, that I sought out Robby Rothschild after the show to find out the name of that song, that ended up being from one of Kip’s solo albums, From The Moon to the Sun. Without hesitation, Robby was able to answer. So in-step with Kip that it must have been part of the reason the two came off so well together.
“Seventeen” with bongos is a vibe!!
Kip Winger is one of those rare, landmark musician who is still great at what he does, and deserves equal mention along other influential frontmen of the genre such as Jon Bon Jovi (Bon Jovi) and Brett Michaels (of Poison).
Kip’s commitment to his craft is unwavering, as evidenced by his inclination to not start his set until he thought his sound was just right, even after soundchecking earlier in the day.
To the crowd, though, everything sounded just right, and were eager to sing along to favorite hits such as “Madeline,” “Down Incognito,” and yes, “Seventeen.”
Perhaps the most memorable moment of the evening, however, was Kip entertaining a request to play a song called “Daniel” from his solo album This Conversation Seems Like A Dream.
This, after retorting to a fan that yes, he would play it. Only tomorrow night.
In Wyoming.
Kip, in fact, did play “Daniel” after all, that nignt—in Parker, Colorado—along with every other classic he played, and then some—no matter how long the pause lasted.
Because Kip’s music has lasted, whether 16 months or 40 years.
Because great music is just great music. No matter the time. No matter the place.
Lucky for us, great music came to Mainstreet, U.S.A., if only for one celebrated evening in Parker.
And with any luck, it won’t be the last time great music visits Deep Space.
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.
Whoa, Canada!! It was the great-sounding performance (without borders) that rock n’ roll needed, when rock n’ roll needed it.
By Bryan Ahearn
Big Wreck’s Ian Thornley (left) and Chris Caddell (right) perform during a screenshot of the Super Crawl livestream Thursday night.
For those of us in the United States, if you keep driving north and just keep going and going, you’ll get to a with more land than people, more stars than street lights–enveloped in a patchwork of lakes, mountains, open fields and forests.
You’ll be in a place called Canada, a place that, for over 25 years, has housed arguably the greatest rock and roll band to have rarely set foot on U.S. soil, let alone been heard much on U.S. airwaves: Big Wreck.
Formed in the mid 90s, Big Wreck is a Canadian-American rock band—founded by singer/songwriter Ian Thornley and his friend, the late Brian Doherty in Boston, MA.
After a hiatus around the turn of the millennium, the band returned almost 10 years ago—with all the viscosity, fervor and rock grooves that have drawn Big Wreck favorable categorizations to rock icons such as Soundgarden and Led Zeppelin.
Ian Thornley’s stratospheric vocals and ear for layering well-crafted melodies across his thought-provokingly original brand of song structure is the stuff of legends.
On Thursday night, however, it was time to just sit back and enjoy the talent that is Ian Thornley, and the musicians that form Big Wreck. And for almost 60 minutes across 11 songs, that’s exactly what was made possible, thanks to a great-sounding live stream performance presented by Super Crawl as part of the Bridgeworks Livestream Series.
Just another great screenshot of Ian Thornley of Big Wreck from the Super Crawl livestream. Great imagery was in abundance.
Shot in a gleaming black/white/silver imagery, and appearing brilliantly across a virtually flawless stream, Thornley (vocals/lead guitar), backed by Chirs Caddell (guitar), Dave McMillan (bass) and Sekou Lumumba (drums) delivered on a smoldering setlist spanning nearly 25 years.
Opening with the band’s latest single, “Middle of Nowhere” a down-home-sounding, road-trip worthy rock sing-a-long (the studio version features Chad Kroeger of Nickelback), Big Wreck went full-throttle with zero let-up.
With no in-between banter between songs, the full time was left for songs—and the songs alone—as Thornley performed fretboard wizardry throughout, as during the chugging, roller coaster outro found in “Too Far Gone,” and of course, the quintessential “That Song,” the band’s mainstay hit from their 1996 debut album, In Loving Memory.
Of course, we also got the groovy bass lines in “Ghosts”—complete with it’s “Another One Bites The Dust”-esque outro set amongst the whistles and squeals of Thornley’s surgical prowess across all six strings—which at times, somehow—sounding like he was playing more than six strings at once.
Throughout the livestream, Sekou Lumumba thundered his way across his drum kit, while stolen glances across the room revealed bassist Chris Caddell and bassist Dave McMillan starring in beguiled wonderment at the musical prowess of one Ian Thornley.
And who could help them.
The breezy and soaring “Albatross” served as a harmonic escapade across a melody that was at once both mournful and optimistic—likely by coincidence, but quite likely—all by design.
Ian Thornley is that good.
Big Wreck sounds that good.
The performance struck the perfect balance between live freestyle and studio-quality sound, allowing for 100% enjoyment of what each song could uniquely bring to the table when performed live.
It was the performance we needed, when we needed it–at a time when concerts are just coming back into the fray, yet cross-border travel remains in flux.
However uncertain, on the eve of the return to concerts, one thing was certain Thursday night: The livestream was a reminder of just how great Big Wreck still is, and will be when live shows return.
Can’t wait? Can’t travel? Can’t forge (errr, obtain) a vaccination card? If you bought tickets to this stream prior to the broadcast, you can still rewatch the show for the next 24-48 hours. Check your ticket link for details.
Can travel? Well then, “Middle of Nowhere” just might be That Song, all over again.
Second solo album from acclaimed singer-songwriter Myles Kennedy is one for the ages, and a must-have record for rock/blues music fans around the world.
By Bryan Ahearn
Cover/album photography by Chuck Brueckmann. “Ides Of March” is available at independent record stores or online
The discovery of gold on Earth took 200 billion years.
It took Myles Kennedy less than a year to record a rock and roll album of equally stunning brilliance.
The resulting element? Sonic gold that should be in every Album Of The Year conversation.
Enter The Ides Of March (released May 14, 2021), the latest solo offering from singer-songwriter Myles Kennedy—a considerably more electric guitar-rooted album than his acoustic guitar-influenced solo debut, Year Of The Tiger (2018).
In his sophomoric release, Ides further brings about the adventurous exploration of Kennedy’s deep, and seemingly limitless, songwriting acumen.
Combined with honest lyrics that add just enough realism to their “keep calm, carry on” undertones, and you have an album that owes to Myles Kennedy’s authenticity as a human first, and an artist second—albeit a supremely gifted (and very humble) artist at that.
With this album, Myles Kennedy deserves mention alongside Bruce Springsteen and Chris Cornell as one of the most important American songwriters in years.
In writing The Ides Of March, Myles Kennedy somehow, in the midst of a heart-wrenching pandemic, managed to craft a distinctive album that at once embodies our collective heartache, resolve and yes, even triumph, like no other album few of us have ever experienced before.
This album is that rare.
Such is the alchemy of Myles Kennedy: Taking a grim period of uncertainty and isolation in 2020, and transforming it into a timeless, 51-minute, 11 song gem-of-an-album.
And in doing so, Myles Kennedy’s project of isolation blossomed into one of hope and realism, bringing joy to thousands around the world, overseas and across borders, at a time when it may be needed the most.
“On behalf of Myles Kennedy Junkies, I’d like to say that this album is a true masterpiece. The raw, authentic sound and message that was captured is outstanding. Absolutely brilliant!”
Alexa Fatum, Canada 🇨🇦 (Alexa is the daughter of the late Jamie Nolan, much beloved founder of the Myles Kennedy Junkies FB fan page.)
“Best album of the year.”
Jason Adams, USA 🇺🇸
“Been playing non-stop and gets better with every listen! Magically written and an immersive album from start to finish.”
James Witheridge, UK 🇬🇧
“The song ‘Love Rain Down’ is exquisite. The melody is so moving and stirring right in my core.”
Aileen Schiffman Lyons, USA 🇺🇸
“Myles Kennedy is a genius when it comes to lyrics. So beautifully written.”
Joshua Reeves, UK 🇬🇧
“I just heard ‘Worried Mind.’ I smiled as he (Myles) started singing, and kept smiling the whole song.”
Kathleen Hardy, USA 🇺🇸 Quotes used by permission of owners.
Courtesy Janus Music Mgmt. Used with permission.
Behold, The Ides Of March.
To be sure, Ides Of March is unmistakably a rock genre treasure trove, infused with driving guitar rhythms and soulful lap steel guitar blues, accentuated by poetic lyricism across a vocal airshow.
Accompanied masterfully by Zia Uddin (percussion) and Tim Tournier (bass), and expertly crafted by reknown producer Michael “Elvis” Baskette, Ides is a refreshing wanderlust through the world of guitars—the perfect landscape for Kennedy’s soaring and diving vocals and thoughtfully constructed lyrics.
The album starts off powerfully with “Get Along,” a cautionary anthem complete with a triumphantly layered chorus of “Why can’t we all just get along,” followed by “A Thousand Words,” which enters with brightly strummed acoustics and is punctuated throughout by the creative, start-stop drumming of Zia Uddin—before Kennedy closes diminutively “In times like this, we must live and learn.”
Such is the theme of the album—one of growth and perseverance—as is echeoed throughout “In Stride,” the first single from the album, as it chugs and slides its way through guitar lines dirty enough to leave listeners wiping mud off their speakers, a mood underscored by the growling bass lines of close friend and manager Tim Tournier. “It ain’t no crime to behold a little beauty sometimes,” Kennedy contends throughout the chorus.
And contend this album should—for album of the year.
Delicate tracks such as the title track “The Ides of March,” and “Love Rain Down” showcase Kennedy’s daft ability to craft vast soundscapes, ranging from the Spanish guitar influences within “Ides,” to the shimmery “Love Rain Down” with its sparkly guitar picking and gleamingly soft chorus adding extra glisten to Kennedy’s already-stellar lyric passages:
There’s a thirst inside of me I can’t control
There’s a desert underneath that cracks my bones
There’s a river that runs dry within my heart
There’s a distance to your light that seems too far
“Love Rain Down”
To my ear, Myles Kennedy may be at his solo best during the album’s quieter moments, but his capacity to go from 0-60 in no-seconds-flat (and absolutely flawlessly), sets him apart as a generational talent, not to mention songwriter.
As showcased mightily on “Tell It Like It Is,” Myles wrote an anthem begging to get played lakeside, with its soaring, Joe Walsh-esqe guitar-leads nestled perfectly between hand clap/foot stomp laden verses. But despite it’s playful-sounding undertones, Kennedy isn’t kidding around about the song’s leanings (and possibly about the last 12 months):
Johnny come lately
Step aside
You had your fun
Now say goodbye
Let the people take the wheel
It’s time to let the grown ups drive
“Tell It Like It Is”
Indeed, this album in its entirety is Kennedy’s turn to drive, and that he does just that—to far and away places, such as on “Moonshot” is a introspective slide guitar slowburn that culminates into a courageous-sounding chorus.
However my favorite exploration of the album’s sonic resonance occurs during “Wanderlust” which evokes a homebound, traveler’s romance through fluttering bongos (Mexico?), laid-back slack key guitar (Hawaii?) and layered vocals (oh geez, outer space??) –everything I need to stare carefree out the window in planning my next trip…to wherever.
We can head down to the border
We can sink into the sea
Behind the mystery of every waking dream
Is a constant craving to be free
“Wanderlust Begins”
The Ides Of March blends everything an already accomplished Myles Kennedy does so well–from his acoustical solo album offerings, to the lead-guitar-driven motifs of Slash (Featuring Myles Kennedy and the Conspirators), and to the anthemic bridge transitions of Alter Bridge. Song after song, Ides delivers more than enough punch to pique the interest of fans of rock, blues, country—and even soul music.
In fact, if Stevie Wonder had set his multi-genred and other-worldly talents to an electric guitar, this is very well the type of awe-inspiring and soulful album he could have made. The musical talent and vocal range of Myles Kennedy is that breathtakingly apparent—and we’re just happy to be along for the ride, wherever Myles takes us next.
Surprisingly, it was when Myles was confined to his home, that Myles ended up taking his moonshot—and then some. With The Ides Of March, Myles Kennedy reached for the sky, and managed to bring us down a few stars—at a time when just about anyone could use a little extra light.
After all, it was (look it up) stars that led to the discovery of gold—which is exactly what this album sounds like between the headphones at home, and soon enough, between amps on stage as fans will undoubtedly sing along—together.
Written in memory of the late Jamie Nolan, a Myles Kennedy super fan, whose “In his own words…” posts (on her Myles Kennedy Junkies FB page) brought fans closer to Myles, and each other. Jamie, thank you for supporting one of our heroes so lovingly. We miss you. 🐘
Bathed in a sea of swirling red lights and blurs of black and gray against an unassuming, unclad wall, Clint Lowery stood in silence.
Pacing. Swaying. Adjusting his ear monitor.
Ready to strike.
With “God Bless The Renegades,” Lowery opened his livestream with the one song (perhaps by any artist) that in 2020 that could be seen as prophetic then, but now, in 2021, actually quite cathartic—a masterful stroke of artistry even Nostradomus may not have seen coming.
Line after line, Lowery, backed by To Whom It May members Jonathan Jourdan (guitar) and Dexas Villarreal (drums) delivered blow after blow of pulverizing rock music, almost entirely from Lowery’s 2020 solo debut God Bless The Renegades, set to the fittingly calculated sway of red, orange, blue and pink spotlights, expertly captured and produced by J.T. Ibanez films.
Backed by nothing more than a white backdrop, the lighting created a simplistic artistry—a complimentary motif for Lowery’s vintage hard rock craftsmanship and unflinching sense of rhythm.
Throughout the performance, the livestream (NoCapShows.com) offered a beautifully artistic production that was at once both immersive and reflective—a shining reminder of how great live music can actually look.
Add in the occasional camera blur and random hand-held camera effect and you get a performance that made a statement far beyond its $10 price of admission—and one worth re-streaming (thru 3/19).
But the statement was all Lowery’s.
“I’ve been through hell just for this,” Lowery asserts during “Kings,” the album’s first single and most imploring rendition of the stream as Lowery triumphantly retorts, “Take it from me, you can make it, ‘Cause I’ll be right by your side.”
And by Lowery’s side for the performance were the atmospheric guitar stylings of guitarist Jonathan Jourdan, as his guitar strings bent and seared their way through GBTR tracks such as “Alive” and “What’s The Matter.”
Sonically diverse from its studio predecessor, for those who enjoy another take on an already great album, this livestream performance hit the mark—and is worth multiple watches.
And there were plenty of things to hit during this performance, as Dexas Villareal thundered through a strong cascade of beats and fills—particularly notable during “Silver Lining,” as Lowery refrains, “That part of me will survive if I keep you all around.”
But the clear star of the stream, amidst outstanding light and crystal-clear sound production, was fittingly, Clint Lowery.
As humble and honest as one could hope for in a hard rock artist, let alone musician, Lowery’s authenticity underscores his ability to deliver on honest lyrics backed by driving and inventive rhythms—even dedicating “She’s Free” to his daughter—a track that sounds every bit as strong as she will undoubtedly grow up to be.
It was during these hard-rocking rhythms and creative riffs that Lowery truly shined, leading to countless fire and rock horned emoji icons that appeared in the chat window throughout the performance. And deservedly so.
Throughout the pandemic, as a nation and a planet, we’ve managed to experience a period of grief, isolation and division.
But for 70 minutes last night, we found we haven’t forgotten what it means to come together, either. And that day to do so in person, once again, may not be too far off.
Until then, support your artists: Buy the livestreams. Buy the merch.
Courtesy Janus Music Mgmt. Used with permission.
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