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.
Fresh off the acclaim of 2019’s Billboard-charting album “Walk The Sky,” hard rock mainstays Alter Bridge were set for the third leg of their US tour and a slate of fast-selling European rock festivals later in the year.
And then? 2020.
Never a band to rest on their laurels, Alter Bridge is a band known for their intense work ethic, and just the type of band built to not only survive 2020, but perhaps even grown stronger in its face.
Enter Alter Bridge’s latest release, Walk The Sky 2.0, an assembly of 6 live tracks and one new track custom-built for riding out the pandemic with rock fists raised high.
A follow-up to 2019 studio recording, Walk The Sky, the 2.0 version was compiled by the band earlier this year after an abrupt halt to the entire concert industry.
And Walk The Sky 2.0 truly takes flight in grand fashion, with the band’s new single, Last Rites, both a resounding—and fitting opener.
Myles sings, “See me laughing now, as embers fall like snow,” a searing rebuke to those unwilling to change—or far worse: unwilling to at the very least, pay attention to change.
With its grinding Alice In Chains undertones, thought provoking lyrics and flat-out brilliant timing for a release in 2020, Alter Bridge took a song any hard rock band would have settled for as a b-side—and, by waiting until just the right moment—made it one of their most monumental tracks for years to come.
WTS 2.0 then settles into a grove of 6 unreleased live recordings. Unlike the grandiose-sounding Live At Royal Albert Hall—the recordings were taken from a string of dates played to three, smaller (~2,000 capacity) venues in the United States—the first such Alter Bridge tracks to be recorded and released in the US.
The result? Clean, well-balanced, muscular recordings that will tide over fans until they can Walk The Sky again.
“Wouldn’t You Rather” leads off the set, much like any show from the 2019-20 WTS tour. Wickedly thunderous drums set fourth by Scott Phillips part ways only for the legendary rock voice of Myles Kennedy. And just like any AB show, you can feel that Myles is only warming up his voice as the song progresses, lending itself to a highly sincere listening experience as you realize that Myles—the (super?) human, and not an some auto-tuned soundboard, is going to carry your adrenaline over the next two hours.
“Pay No Mind” does anything but that, with the opening, synth wave trickle drawing instant intrigue and hollers from a crowd excited to take in this new and diverse song from Alter Bridge. Crunchy guitar riffs, Brian Marshall’s growling bass throughout and the singalong bridge of “Still we hear you screaming give me more, give me more” escalate into a hand clapping that is all-at-once infectious and overflowing.
“Native Son” is of course superb, with Mark Tremonti’s backing vocals during “I’m a Native Son in a foreign land” seeming to take center stage, akin to live versions of “Crows On A Wire.”
“Godspeed” also showcases Mark’s brilliance, only this time as a rhythm guitar player, of course. Known widely as guitar soloing-virtuoso, this live version provides a listening perspective where you feel like you can literally hear Mark’s fingers on each and every string, driving the very melody of the song at every turn—a vantage point not always gleaned from the studio version.
“In The Deep” is a colorful rendition, and a breath of fresh air, as Myles’ live lead guitar is amped up, parlaying itself into this fresh, Satriani-esque “Summer Song” vibe you can hear swooning (and building) in the crowd throughout the opening verse, until Myles launches into the pre-chorus of “Every breath leads the way, my escape, it is never far…”
“Dying Light,” may be the best of the live versions, though. Seemingly stripped away from this live rendition were the swirling harmonics found in the studio version, leaving nothing to the imagination in this live version—and everything to the heart.
In fact, the live version of “Dying Light” feels like it has much more immediacy in this regard, something Alter Bridge has always prided themselves on. And something their fans have and always will take pride in Alter Bridge for, no matter when live shows resume.
Myles Kennedy is no stranger to connection with his fans.
And nowhere was that more apparent, or more welcomed, than during last night’s (April 15th) “Behind The Mic” series performance, presented by American Songwriter.
In just over 40 minutes, Kennedy delivered a masterful setlist, spanning his illustrious career across several bands—and more importantly, providing his trademark resolve during uncertain times.
Because just like his fans, Myles has experience with uncertainty first-hand in the most personal way possible—his own upbringing—losing his biological father at a very young age.
And if anything is clear from the comments of the over 8 thousand fans tuned in, last night, they were all more than appreciative to hear from Myles, and his rich library of songs.
From his self-professed “man cave,” where Myles says he does most of his writing, the walls are adorned with relics of his already accomplished career with multi-platinum selling artists Alter Bridge and Slash. But herein lies the brilliance of his set last night:
Armed with only a single guitar and a single voice, Myles went far beyond what could have ever been expected.
Never one to rest on his own laurels, Myles dug deep into his song choices. Like, really deep. The songs, the stories, the introductory riffs that teased later development of songs that would become staples of his catalog.
In unprecedented times, Myles Kennedy simply delivered a performance for the ages.
Beginning with his solo title “Year of the Tiger,” Kennedy unfurled his signature howl within the outro that left no doubt that he was 100% going to be “in” on this performance (remember the ‘man-up’ moment from RAH?).
Myles then proceeded to harmonize his way into the “Standing In The Sun,” also demo-ing the signature Slash guitar riff that chugs its way into the opening verse. (Of note, Myles spoke of the difficulty of a chorus—which on this song, just happens to be one of the best of any within the Slash w/ Myles Kennedy and the Conspirators.)
These interludes, where Myles spoke of his song-writing process, is what sets this performance apart as a stand-alone, even among die-hard Alter Bridge fans.
Sure, most fans have heard the story of Blackbird. Or perhaps some of the other key Alter Bridge songs (most recently, Godspeed).
But where this performance entered uncharted territory itself, was when Myles expanded the history behind some of the deeper cuts.
“All Ends Well” even made an appearance—a track, that up until this point had only appeared on the Myles Kennedy solo tour, and has never been played live by Alter Bridge, though Kennedy reflects that there is something that is “special” about that song.
Of course, we got the classic “Watch Over You” which hinted at the brilliant collaboration—even in the early stages of Alter Bridge—between Myles, as a gifted lyrcist, Mark Tremonti, as a master songsmith and Elvis Baskette as an elite producer—talking about how powerful it was during the pre-production of the Blackbird album.
Honestly, the story within the context of this song was the highlight of the night for me. Names like Ian Thornley, Tom Petty and even Dan Fogelberg—were referenced by Myles—demonstrating an acute respect for astute rock history that is every bit as authentic as the music he plays.
Myles was even able to name (some almost 20 years later) the exact track number that he was a guest vocalist on Big Wreck album featuring Ian Thornley in 2001. Track #10, “Breakthrough,” if you are keeping track.
“Love Can Only Heal” closed the night, fitting for the times, in many ways. No other words can be said to adequately describe the feeling of that performance—you need to experience that for yourself (40:02).
If Royal Albert Hall was the scene of Alter Bridge’s finest performance, Myles’ “man-cave” may very-well could have been the scene of his.
Within the context of social distancing, last night’s broadcast offered not only Myles a chance to reconnect with his fans, but, for his fans the chance to reconnect to each other.
For the entirety of the Facebook broadcast, comment after comment scrolled by among familiar, but now socially-distanced faces:
Thank you for doing this, Myles!” or “Beautiful Song.” “We sooo needed this!” And simply, “Sing!”
Once again, Myles—and the music of his bands Alter Bridge, Slash, and Mayfield Four—defied all odds brought people together from all over the world, when everyone needed it most.
And for 40+ minutes last night, you couldn’t help but feel that our hero, Myles Kennedy wasn’t just singing for us, but fighting for us andcheering for us, all at once.
And there’s no other voice we’d rather hear it from, and it’s a broadcast you’ll want to re-watch again and again.
For 15 years, Alter Bridge has fused superb songwriting, soaring vocals and blazing guitar riffs on the road to well-crafted rock anthems that not only have the power to take you somewhere, but bring you back. After all, every bridge has two sides.
The bridge. That beautiful and unique song element that offers a crossing between thematic worlds.
Often occurring only once per song, a bridge can lead into a guitar solo, or out of one. It can slow the pace of a song, or quicken the pulse.
Think bridges, and Alter Bridge fans will often think Blackbird, and that “Someday too, I will fly and find you again,” moment.
Or, that chill-inducing “Oh, oh, ohhh,” moment of Open Your Eyes, that when experienced live (or even heard recorded live) can inspire the best kind of tears—as many fans can attest. And, as many car dashboards can attest.
With or without words, a great bridge can bring complexity or added resolve, as the song returns for its closing moments.
Thankfully, Alter Bridge has been writing great bridges for 15 years, taking you somewhere with every song, and bringing you back–possibly changed. Possibly improved. But definitely, feeling.
Simply put, Alter Bridge writes the best song bridges I’ve experienced in any genre of music. Ever.
Thus it was my fascination with bridges that led me down this road of not only exploring every bridge in every Alter Bridge song, but ranking my Top 10 bridge transitions.
This exploration truly turned into a labor of love, inspiring me to write more than I have in years. Which, turned into one of my favorite writing experiences, ever.
If I’ve learned anything from artists, its that when something hits you that hard, and moves you that much, you are driven to share it, often with courage that comes unexpectedly.
Not being a musician myself, the courage to share your passion—not matter what it is—is something I’ve become more comfortable with, thanks to artists like Myles Kennedy, Mark Tremonti, Brian Marshall and Scott Phillips.
Without a doubt, that courage has carried over to many other Alter Bridge fans as well, inspiring artwork, a fan-led podcast and even a project uniting musically-inclined fans from around the world in performing Alter Bridge cover songs during this unique time.
So, it is here that I share with you my passion, my writing and my exploration of the Top 10 Bridge Transitions by Alter Bridge.
Because we all uniquely get just how much it hurts to miss this. All of it.
Ironically, whatever takes us away, will be the same to drive us on, as one day, we’ll discover the dusk of the day has reached its dawn–and we’ll be out enjoying live music once again.
And there’s no group or group of fans that I’m more excited to share that moment with when it does happen. And it will.
Until then, enjoy the review. And, remember to look inside yourself…before tomorrow comes. 💙
Note: Start times for the bridges referenced are noted in brackets, offering an immersive reading experience when used with the YouTube videos.
10. “One By One” from Blackbird – “And they gave it all.” (2:41)
Both enduring and transformative, “One By One” hints at the triumphant soundscapes yet to come from Alter Bridge over the next decade. The song itself is a showcase of the band’s vast potential to deliver heart-felt topics within the mass-appeal-oriented arena of post-grunge rock. This bridge is a coming-of-age moment for the sophomoric band that is now proving to be taken very seriously on their own merits, as this album would go on to unfurl one particular song that would take the world by storm.
Lasting Line: “We will honor you forever more.”
9. “Lover” from Fortress– “Should you have to throw it all away?” (2:24)
This bridge ignites the already smoldering wreckage of this song’s subject matter into a raging inferno. Pound for pound, this bridge delivers some of the most blistering and pointed lines of any AB has offered in the course of 15 years, leaving the listener gasping for air though a torrent of emotions. The bridge repeats, slows, and sets the listener up for a feeling of hardened acceptance to close out the song.
Lasting Line: “Did you have to fall so very far?”
8. “Forever Falling” from Walk The Sky – “Are you now lost?” (2:56)
Clever and athletically striking, this bridge stops, cuts and turns on a dime amidst the brutalizing track written and sung by lead guitarist Mark Tremonti. In just a few lines, this swaggering bridge emerges unscathed from the jackhammered frenzy of the song’s pulverizing riffs and growling bass grooves set forth by Brian Marshall, and confidently sets the song up for it’s powerfully closing moments.
Lasting Line: “Bury the fool, the wretched and his habit died.”
7. “Burn It Down” from One Day Remains – “Whatever takes us away.” (3:43)
Four songs into Alter Bridge’s 2004 debut album, fans get their first real taste of the super-human voice that belongs to Myles Kennedy, as he soars and swoops effortlessly through verse and chorus. And in that bridge, sure, you get the elongated note during the “Remember to carry on…” part. But, it’s really a clever set up. Because the song’s outro provides a second chance to take in that vocal talent. Only this time, set against the searing backdrop Mark Tremonti’s white-hot fret work, Myles holds that last note long enough to leave the listener gasping for air.
Lasting Line: “Whatever takes us away, will be the same to drive us on.”
6. “Native Son”from Walk the Sky – “Fractured and cut off from all we had.” (2:51)
One of the most requested songs on the “Walk The Sky” tour also contains one of the most visceral and prophetic bridges to date: “Fractured and cut off from all we had/severed all that’s sacred, now we stand.” The song offers a dark reminder that humans have gone through troubled times long before these ones. Thankfully, the song’s stomping drum rhythm, brought on by Scott Phillips, serves audible courage to those that continue to wander a world they don’t understand.
Lasting Line:“Severed all that’s sacred, now we stand.”
5. “This Side of Fate” from The Last Hero – “What have we done?” (2:58)
Probably the most fun of all bridges, the massive songwriting capability of Alter Bridge is on full display throughout this sprawling, adventurous and deliciously resounding multi-level bridge. Prog-metal fans will rejoice at the intermingled bridge-bridge-bridge interlude offered starting at about halfway through the song. It’s utter brilliance, and fitting this intelligent arrangement also appears on the band’s Live At The Royal Albert Hall recording.
Lasting Line:“Don’t turn away, we need you now.”
4. “Blackbird” from Blackbird – “Ascend may you find no resistance.” (3:58)
This song is best song of all-time territory. Not just by Alter Bridge, but of any band. As the song ebbs and flows amongst the vast, deep ocean canyons of emotion that can only be experienced by loss, Myles takes us to the surface for a breath of air, “Ascend, may you find no resistance,” before his sympathetic guitar howls give way to the cathartic plunge of Tremonti’s storied guitar solo.
“Someday, I too, will fly, and find you again.”
3. “In Loving Memory” from One Day Remains– “I’m glad it sets you free from sorrow.” (3:28)
If Blackbird displays the heroism of Alter Bridge helping millions of fans let go and move on, then “In Loving Memory” touches upon the delicate nature of cherishing love within the moment. Fifteen years later, despite the interviews I’ve read about the song, and the great conversations I’ve had with fans online and at shows, to me personally, I’m still torn whether this song is about a conversation with someone about to leave, or someone who’s already left. But, I can’t escape the optimism of being able to love something more tomorrow. Even if I never have the opportunity to understand it today, or know if I’ll ever experience it ever again.
Lasting Line:“I’ll still love you more tomorrow.”
2. “Words Darker Than Their Wings”from AB III – “Go, never to ask why.” (3:06)
The most determined of bridges, WDTTW captures the full essence of AB at their finest. “Go, set out towards the sun, Let the new begin,” is the most enchanting of AB’s bridge offerings, providing the listener with an encouraging send-off. As the bridge culminates into the delightfully blinding rays of the song’s closing chorus, the might of AB’s songwriting is once again on full display, with Kennedy’s soaring vocals and Tremonti’s confident backing vocals and steep guitar dives.
Lasting Line:“Go, set out towards the sun, let the new begin.”
1. “Walking On The Sky”from the album Walk The Sky (2:51)
“Here you stand all alone, above the crowd the air is cold; Losing balance where you can’t let go. Here and now, in the clouds, you have found your escape. For all you give it’s worth the risk. At least you lived your own way. You’re on the line, walking on the sky”.
Standing on the brink of swirling, symphonic atmospherics and chasm of the song’s emotion, “Walking On The Sky” holds you high above the sixth album’s title track—providing a mesmerizing vantage point of the band’s 15-year modus operandi: “For all you give it’s worth the risk, At least you lived your own way.”
This bridge beckons to be crossed. It disregards self-manufactured fears and defies gravity, needing neither suspension cables or concrete beams.
“‘Walking On The Sky” is not only beautiful, but also seems conscious of its own beauty.”
Once again, Alter Bridge works its remarkable magic—offering the listener yet another courageous moment and the resolve to move forward.
Just like always.
And, just when we need it most.
Lasting Line:“For all you give it’s worth the risk, At least you lived your own way.” Alter Bridge: Top 10 Bridge Transition Playlist (Apple Music)Alter Bridge: Top 10 Bridge Transition Playlist (Spotify)
Best Coast returns with their most aware and well-rounded album to date—fit to chase away those pesky winter doldrums. With songs that range from the upbeat, to the vulnerable and to the anthemic, “Always Tomorrow” –the band’s 4th album—will almost certainly be viewed as the band quintessential album that solidifies the female-fronted alt-rock duo’s well-earned status among fans and critics alike.
For fans of Weezer, the Go-Go’s and Hole, you will love this album. For fans of Best Coast—made up of Bethany Cosentino and guitarist/multi-instrumental extraordinaire Bobb Bruno, make no mistake: “Always Tomorrow” will have you loving Best Coast even more.
The album opens with “A Different Light,” which hits with the sudden urgency of morning sunshine through a pulled curtain. But as the infectious mid-song bridge rains in with the “wait wait wait wait” refrain, you just can’t help but not want to wait to see what the rest of the album has in store.
With clever clichés with unique twist sprinkled in through the album (“I escape to witch mountain every day” in “Everything Has Changed”), the album continues it’s beach party-esque stomp through rolling waves of emotion.
From the content-sounding “For The First Time,” the band finds itself in classic form—as Cosentino retorts, of the “Graceless Kids,” “They need a hero, not a wreck.”
Not once does Bethany convey that she is perfect, though she questions “So why do I keep pushing myself?” in “Wreckage,” a crunchy, bright indie rock gem that is every bit as realistic as it is forgiving.
Throughout the album, you get the sense Bethany is owning up to something, and moving on. You get the sense that she is wiser for whatever may have happened to her, and accepts herself for being human—and not perfect. And, you can just feel it: She has the confidence of having a treasured friend (& musician) like Bobb Bruno at her side. Something we should all be so lucky to have.
As the album winds down with “Make It Last” and “Used To Be,” you get this coming-back-to-earth feeling—that whatever journey Best Coast has been on these past 5 years (since 2015’s “California Nights” album), that by returning—they’ve been able to move on.
Thankfully with a tour this spring, they’ve invited us to join them. https://bestcoast.net
So if “Always Tomorrow” was lead singer/guitarist’s Bethany Cosentino way of working through depression, feeling comfortable in her own skin, and accepting her journey (as she professed in a series of emails announcing the new record), well, then this album demonstrates not only her talent as a songwriter, but her strength as a person—something any listener of any genre, and any gender can relate to.
It just isn’t natural for one band to be this good for so long.
Then again, Alter Bridge hasn’t always played by the rules—a playbook that suits their fanbase just fine.
Amidst a snow-flurried evening at nearly a mile high above sea level (5,280 feet), Alter Bridge tour through a fiery set to a packed house at Denver’s historic Ogden Theater.
“There’s just something about this place that we love playing,” lead singer Myles Kennedy remarked to a boisterous crowd, many with cups of the Mile High City’s finest held high between balled fists and rock horns.
But that would be a rare break from the band in a night that saw the band rip through a blistering set list.
Like all sets on the Walk The Sky tour, the show began with the “One Life,” a synth-laiden track awash in swirling guitars and echo-swooned vocals. At only 1:30 seconds, the opening track on the band’s 6th studio album is also both striking (and fitting) in its ability to outlay the perfect canvas 100+ minute masterpiece crafted by a 17-song setlist 15 years in the making.
That singular track is that rollercoaster moment, where you realize you’ve reached the top of that first hill, and that there is no turning back. And you had better hang on.
Down the setlist Alter Bridge tore, hitting fast with the upbeat fist-raiser “Wouldn’t You Rather,” before throttling into the pulsating fury of “Isolation”—a fan-favorite from 2010’s AB3 album, before whiplashing back to “Pay No Mind,” from 2019’s Walk The Sky album.
Lead guitarist/songwriter Mark Tremonti, who with Kennedy, co-wrote much of Walk The Sky, dive-bombed, shredded and cut his way through line after line of death-defying solos—all while supported by the rhythmic craftsmanship of drummer Scott “Flip” Phillips, and the thunderous bass-stylings of Brian Marshall.
Perfected in delivery and effortless in transition, the band’s live set incapsulated tracks from 2019 that interplay brilliantly with hits from their 2004 debut album, as evidenced by the inclusion of “Ghosts” (2010), “Broken Wings” (2004), and book-ended by modern rock hit “Native Son” (2019). (A full listing of album release years can be found in the setlist posted below. It’s quite astounding, and deserved its own section.)
The seltlist continued its “rock” down memory lane, while hitting a full, unabashed sprint towards tomorrow. “Native Son” was followed by “Rise Today”—with the sing-a-long bridge culminating in cathartic harmony as a Colorado flag (singed to the band, from fans in attendance) was raised in the front row, and Tremonti brought the house down with that solo—followed up with “Cry of Achilles.”
As much as Alter Bridge appreciates their past, they’ve never forgotten their future, or their fans, as band loyalists were treated to “Forever Falling”—a song written and performed by the man, the myth the monster, Mr. Tremonti himself—and then peacefully transitioning into “In Loving Memory.”
What arguably every fan waits for at every Alter Bridge show, though, is the solo that has been named time-and-time again one of the best solo’s in rock music, of all time. And as I scan the room at all of us taking in “Blackbird,” having different pain for different reason, Mark—even for just a moment—takes it all away—performing what amounts to fret-board surgery on thousands of broken hearts at one time. Including mine.
What feels great though, is being brought back to life after that song—often with “Open Your Eyes”—as was the case last night. Kennedy remarked that in the 2004 video—the first the band had ever made—he didn’t quite know what to do with his hands. He knew plenty what to do with his voice, however, as the over 1 million combined views on YouTube (studio, acoustic and live versions of the song) can firmly attest to.
And of course, we got “Metallingus,” and a chance to do the “Mettalingus mosh”—Mile High style. Honestly, the crowd didn’t quite get it. No bother, though. The band still came back out and finished out a roundhouse right/left combo of “God Speed” and “Addicted to Pain,” before bidding us all “See you next time.”
The setlist represented a hard rock time warp, as triumphant as it was rebellious, for a band that has courageously faced, head-on, a challenging rock music environment in the United States, while thriving in European markets—drawing 15,000 per night, easy.
However, no matter the venue size and no matter the location, hang around any AB show long enough, and the talk will inevitability gravitate from how great their music is, to how great they treat their fans. From well-orchestrated Meet and Greet experiences offered at each show, as well as songwriting clinics offered by Mark Tremonti, fans are highly appreciative of anything and everything this band continues to do and stand for.
In fact, today, the band announced their third US leg of the Walk The Sky tour.
And fans are already planning to walk the sky, once again, for a band that has fought and naturally—with great music and great experiences—has earned their respect, for the last 15 years running.
“Viridian” by Temperance. Available 01/24/2020 on Napalm Records.
Your new favorite rock band could be from halfway around the world.
Bought any music yet in 2020?
Check out Viridian, the latest release from Italian symphonic metal band Temperance.
Comprised of no less than three vocalists in each song (harmonizing beautifully), including an especially strong female vocalist (one of the best I’ve heard in rock music in years), the 5th album from Temperance (Viridian) is equal parts indescribable and undeniable—offering driving guitars, infectious, modern rock melodies and anthemic lyrics that implore the urgency of climate change—and the collective hope to change. It’s all too real, and it’s so right now.
Viridian opens with an ominous flare for the future with “Mission Impossible”—a pulsating and bombastic rocker set to the pulsating drums of Alfonso Mocerino—a song that one of Temperance’s vocalists Michele Guaitoli described in a preview video as being inspired by the classic movie of the same name. “Something’s gone wrong,” the lyrics begin—a tonality reflective of the lyrical content and emotional expanse to come on this amazing album.
With persistent themes of loss, resiliency and environmentalism (‘viridian’ is green, and is thought to symbolize “the color of life”), Temperance writes lyrics throughout Viridian that are poetic, poignant and exhilarating. “Now it’s time to give voice to the pain of my broken heart,” the stunningly talented female vocalist of Temperance Alessia Scolletti belts out on “I Am The Fire,” an adrenaline-inducing track that defines incredible lyricism—with a jaw-dropping YouTube video that is every bit the symphonic metal version of a motivational poster. And, it just feels good to read the lyrics as they spill across the imagery of twirling fire batons and spiraling ashes.
Other highlights of the album include the title track, “Viridian” as the talented guitar stylings of Marco Pastorino and bass guitar crafting of Luca Negro ascend urgently into a magnificent chorus. “Viridian, your warmest energy!” the triad of vocalists passionately cry out in an intoxicating blend of both beauty and desperation. In fact, for me, with each listen, it gets harder and harder to tell if the lyrics in these songs are about a friend, or, if they are about the Earth.
And it is exactly in that blurred meaning, that the album achieves its greatest success: Setting a tone of harmony between mother nature and the listener—an accord between both the blue of despair and the green of hope and new life.
In no song is this more evident than in “Gaia,” a tender and apologetic lullaby that begs forgiveness, recognizing “we were meant to make you rise.” And whether the ‘you’ in the song speaks of Gaia (a being, of some sort) or Gaia (the Earth) is a bottomless wonder that further connects the Earth to the complexity of human spirit, and the sincere desire to change for the right, out of hope that “tomorrow will spare our souls.”
But for all the album’s complexity, perhaps it’s the organic simplicity of Viridian’s closing track, “Catch The Dream,” that is a most fitting and fantastic ending for the opus. Framed largely in handclaps and village tribal-esque harmonizing, the band implores “May tomorrow come, to catch the dream, our voices will begin to sing!” The simplistic radiance of the song, set amidst the preceeding backdrop of some of the best symphonic prog-metal in years—is perhaps the point of the album: That when things go wrong, perhaps they go right again when we are willing to go back to where they start.
For anyone looking for a great start to their 2020 music collection, Viridian by Temperance is indeed a great start. This album was my start with them, and the way I felt after listening, it’s only the beginning.
What a songwriter taught me about prioritizing my workday.
Tremonti performs at soundcheck as part of the songwriter’s clinic experience.
Mark Tremonti, as the Grammy Award-winning guitarist for alt-rock stars Creed in the 90s, Alter Bridge in the 2000’s and Tremonti (his solo project), has written some of my favorite songs, maintains a (stunningly beautiful) signature line of PRS guitars and, is now a science fiction author—with a television/movie offer in discussion.
Oh, and he’s also the father of two boys and tours nine months out of the year. So there’s that.
So yeah, he is one busy guy. Which makes the fact that Mark invests up to two hours before each concert to offer song writing clinics to his fans that much more incredible.
I recently jumped at the chance to take one of these clinics hosted by Mark, expecting to hear how he did it all—the powerful lyrics, the soaring melodies and the hyper-speed guitar solos. I went into the clinic wanting to ask him: How in the world do you make time for it all?
However, it was actually a series of answers he gave to other questions (asked by other fans) during the clinic that gave me the answer to how he does itall:
Time management.
So here it is, directly from my clinic notes…the ways that Mark Tremonti stays motivated, productive and (most of all) sane, without sacrificing creativity:
Try new things.
A heavy metal guitarist cruising YouTube for 80s-sounding, Miami Vice-esque synthesizer beats? Yup, it happened. Such was the case when Mark decided it’d be fun to try and play along to a completely different genre of music. The resulting song showed that we often find growth when we aren’t exactly looking for it.
Work Perspective: That’s why joining a company-sponsored event or even signing up for a potluck—just doing something out-of-the-ordinary—can result in meaningful connections, boost your creativity and enhance your ability to improvise.
“Improvise, or you’re not getting better.”
One of Mark’s favorite quotes (author unknown).
Prioritize your ideas.
Because who hasn’t walked into work with a million things to do? In listing his to-do list on a spreadsheet, Mark assigns an icon next to each idea—“a flying saucer, if I think a certain idea is out of this world,” he quipped during the 90-minute clinic. He knows that with enough “out of this world” ideas…he may have enough momentum to carry those types of ideas forward into an actual song, riff or even a project—such as a book.
Work Perspective: If think you have an especially good idea, trust your instincts (they’re good—after all, you survived this morning’s commute). Add that new idea to your to-do list. And then give yourself a couple days to look into it further. But, if it ends up not going anywhere…
Cut waste.
Know when to move on. To further boost productivity, Mark actively farms his list of priorities—deleting ideas that never managed to take flight within a day or two. In doing so, he keeps certain ideas from robbing precious time from “flying saucer” ideas that have, in fact, gained traction.
Work Perspective: Going down rabbit holes—to some extent—is inevitable. It’s all part of the creative process in your valiant quest to improve life on earth, or at a bare minimum—on your desk. So while you may have a propensity for going down rabbit holes (you brave & courageous soul, you), that doesn’t mean you have to remain stuck down there forever.
After all, it does not do well for one to be late for tea. Or, just the drive home.
In fact, the more you are deeply invested in what you do—the more the lines between work-life balance begin to blur. But, that is a story for another day–and perhaps, a clinic all its own.
Mark continues with songwriting clinics during Alter Bridge’s tour later this February, in support of the band’s #1-charting rock album “Walk The Sky.”
MavStar 