A LocalBozo.com Concert Review
Irving Plaza, New York, NY
May 2, 2016

As their “Back to the USSA” tour began to wind its way down, United Kingdom glam rock quartet The Darkness took over Irving Plaza on Monday night in a show replete with anthemic choruses and spandex suits to boot. Touring in support of 2015’s “Last of Our Kind,” the rejuvenated band ripped through their full catalogue of albums over the course of a blistering sixteen song set that allowed the jam packed crowd a glimpse into the group’s blend of musician and showmanship. Lurking onto stage in the shadows with the house lights and stage’s four light towers going off, the four-piece band let the audience know they had arrived from the show’s opening moments.

Frontman Justin Hawkins would lead his bandmates through an inspired show opener with “Barbarian,” a track with a sonic opening riff that allowed the singer to showcase his inimitable high note vocals from the get go. Just seconds later, the flashing lights would unveil the now freshly populated stage which immediately plugged in the rest of the pieces you would expect to see at one of the band’s shows- namely, silk shirts, tight pants, Marshall stacks and a relentless supply of pelvic thrusts. The band’s undeniably fun and infectious energy instantaneously connected with the live crowd who could not help but throw their hands in the air and sing along as they became enraptured by “Growing on Me.” Hawkins to his credit managed to escalate the already immeasurable energy emanating inside the room by acrobatically, elegantly and effortlessly sauntered across every inch of the stage including drummer Rufus Taylor‘s, platform. As the evening progressed, the crowd would witness Hawkins’ gymnastic-like relationship with the drum platform on several occasions even catching him in a headstand performing splits right in the middle of a rock song.

Meanwhile, looking like he was plucked straight from the peak of the 1970′s, forced through a wormhole and put on stage in 2016, bassist (and recent LocalBozo.com interviewee) Frankie Poullain unleashed the group’s foundation of funk and groove while strutting across the stage in sunglasses and silk, literally topped off with a quintessential afro. The momentum seemed to alternate between the pageantry of the band’s charisma with the high voltage performance of hit after hit. The brunt of the set was comprised of a majority of tracks from the band’s major label debut “Permission to Land” (2003) including powerhouses “Black Shuck” and “Get Your Hands Off My Woman,” two highlights from the nearly 75 minute set.

Though fans surely marveled at watching Hawkins perform with such athleticism and endurance, watching the singer interact with his brother/lead guitarist Dan Hawkins showed off the group’s chemistry. The pair switched off between catchy verses and face melting solos during tracks like “One Way Ticket” and “Friday Night” to the delight of the standing room only crowd, who remained captivated by the band’s stage presence. As the show’s main set drew to its close, building to the iconic single “I Believe in a Thing Called Love,” the frontman demanded the crowd perform what he affectionately called the “Brooklyn Bounce.” As Irving Plaza’s show room sits on the second floor this definitely tested the venue’s foundation and overall structural integrity as the near sold out room bounced up and down in unison creating a rumble that rivaled the 4 train approaching the nearby 14th Street platform. The audience was eager for more as soon as the band headed backstage and mere minutes later it was clear The Darkness wasn’t done just yet. A powerful two song encore which consisted of “Concrete” and “Love on the Rocks With No Ice” was a perfectly suitable outro from the band to say goodbye to New York City, knowing that they’ll be back again before long.

- Jon Asher

Among the hardest working bands in the genre, the five-piece outfit has been slaying audiences for the better part of twenty years. And though the business side of things has certainly changed as far as putting out records and hoping for radio airplay, the band’s approach to touring has not.  Churning out a new album basically every other year, the band has managed to continually reinvigorate a setlist that’s already replete with a ‘greatest hits’ feel to it; but on Sevendust’s most recent touring leg, it seems that their song list is changing more than ever before- and that’s a good thing for fans that hold a date on their calendar every year for the band’s arrival to town.

In anticipation of Sevendust’s return to Manhattan on Tuesday night, LocalBozo.com sat down with lead guitarist John Connolly for an exclusive interview. Check out our conversation below which touches on the likes of Prince’s passing, wrestler turned rocker Chris Jericho, performing in New York City, the group’s approach to making new music and more in the quick, lighthearted read. And if your calendar just happens to be open on Tuesday, May 3rd- grab a ticket to see Sevendust at the Playstation Theater. In 20 years as a collective outfit, the band has never put on a bad show- and candidly, they’ve also never been better.

- Jon Asher

Our Interview with Sevendust guitarist John Connolly has been transcribed for you below:

LocalBozo.com: Sevendust has pretty consistently released an album every other year since you’ve been on the scene. Is there a lot of music stored up or is it a clean slate when it’s time for each album?

John Connolly: Pretty much a clean slate. We don’t have a ton of things that hang around. We write a bunch of demos and start with those or we write it all together.

LocalBozo.com: Wrestling and metal have always seemed to have a synergistic relationship (Motorhead, Metallica, etc) and you did cover Chris Jericho‘s theme, was that for fun as fans or were there talks to do his theme music?

JC: Both actually. Crazy that was 15 years ago, but yeah it was cool. Chris is a great guy

LocalBozo.com: With the longevity that Sevendust boasts, what’s the transition been like from being influenced by metal to influencing metal?

JC:  Not realizing the influencing part. We still find bands that influence us all the time. It’s cool to still grow and try new things 20 years in. We still have our thing always, but we love pushing the envelope.

LocalBozo.com: New Jersey is no stranger when it comes to breeding rock n’ roll and metal musicians. Did you share or cross paths with any Garden State rock alumni on the path up (Zakk Wylde, John McBain, etc.)?

JC: [Drummer] Morgan [Rose] and myself are from New Jersey but we grew up in the south. We didn’t start crossing paths till we started touring nationally.  We came up in Atlanta.

LocalBozo.com: As a New Jersey native is there anything extra special to you about playing New York City?

JC: It always feels like coming home. So many family memories with New York. Such a special place for me. Love playing the city.

LocalBozo.com: There was a pretty quick transition in the last few months from supporting Godsmack to  headlining your own tour-performing live can be tolling, was it hard to adapt to longer sets?

JC: In some ways it’s a little easier.  You can build a flow into a longer show and you can pace yourself easier. Shorter sets are more of a sprint so it’s harder that way.  Playing lots of new and lots of old we haven’t played in years. Longer sets are probably easier

LocalBozo.com: Can we expect the momentum of album releases to continue? Have any new songs been written since the release of “Kill the Flaw?”

JC: No new songs. We will write the new one together but no set timetable.  Discussing the when and where now.

LocalBozo.com: Lots of big losses in music lately with a lot of tributes being payed. Sevendust celebrating the life of Prince on stage at all during the tour?

JC: Prince songs during changeover, Prince intro and [singer Lajon Witherspoon] makes a dedication during the set.

LocalBozo.com: While Kill the Flaw has it’s heavy tracks it was stated that the band would be taking a break from its heavy side-how did that plan develop?

JC: Only for the acoustic record, “Timetravellers and Bonfires.”  All the rest will have all the elements of what makes up Sevendust and a heavy element will always be part.

LocalBozo.com: Jersey’s music, and metal scene in particular, have been pretty robust for decades. What are your memories before you became a musician and were there any in particular that you feel helped shaped you or lead you on the path your on?

JC: Yeah, most of what I grew up with was down south. Up till I was about 8, I wasn’t really into music and that’s when my family moved.  I discovered music in Atlanta……..but KISS was the band that started it all.

The story of the band’s ascent and subsequent hiatus seemingly came about equally quickly, but fortunately for fans, the band officially reformed in 2011 and with their recent release, makes a return visit to New York City with a new drummer but with the same captivating stage presence. On Monday, May 2nd, The Darkness drops back into the iconic Irving Plaza with support from RavenEye and Best Behavior – and (no pun intended) best of all, tickets are just $25. With the local stop in mind, we grabbed a few minutes with bassist Frankie Poullain. Check out our transcript below where we discuss the talented player’s departure from the band, memories of playing in New York and what fans can expect to see when they catch The Darkness on tour.

Our Interview with The Darkness bass player Frankie Poullain has been transcribed for you below:

LocalBozo.com: It’s been roughly five years since your decision to re-join The Darkness after your initial departure. What changes have you seen in the band since you’ve been back that are different than when the group first formed?

Frankie Poullain: I’d say our stagecraft has improved. We’re less raw and bewildered. Less hungover too. Sometimes the hangovers were akin to trauma. The show was an ordeal, at least at first, until the adrenaline cut through and you’d generally be okay. Now everything is more focused, purposeful and powerful.

LocalBozo.com: What did you miss most in your time away from the group?

FP: Adrenaline. Adventure. Brotherhood.

LocalBozo.com: In your time away you released a self-help style book called ‘Dancing in the Darkness.’ How therapeutic was the book writing process for you and have you found that it similarly was helpful to fans and readers as you had expected it to be?

FP: I tried to have fun with it but it’s not really fair to the others in a band to write about collective experiences. I focused on the ridiculousness as much as I could but I’m not sure if that’s actually therapeutic.

LocalBozo.com: The band has undergone a couple of lineup changes in recent years including three drummers in the last two years. Does that affect the band as much as an outsider might expect it to or is The Darkness able to just shrug it off, plug in and play?

FP:  We couldn’t carry on with Ed [Graham] unfortunately and it was fun and enriching to play with Emily [Dolan Davies] on the album – there aren’t many women who can say they played in a ‘cock rock’ band. Now we have Rufus Taylor it feels like family somehow, like it’s meant to be. We make these choices very carefully, we don’t just go for journeymen – breeding and nobility of purpose are the key. And the ability to laugh in the face of adversity.

LocalBozo.com: “I Believe in a Thing Called Love” is such an iconic song/anthem, more than 15 years after its release, and it’s almost impossible to find someone who doesn’t recognize it. Were you aware of how much weight it would carry as your first single?

FP: We sensed something was in the air. It made people smile, transported them out of the early noughties and into an idealized version of the 80′s where Tom Cruise was mixing you a ‘Pina Colada’ and Kim Basinger was rolling around in honey.

LocalBozo.com: Where is the band at today as far as new music being written – or is it strictly tour duty right now?

FP: We’re very enthused by the writing we’ve done with Ru, it’s gonna be heavy, riffy and hopefully ludicrous. We don’t care about good or bad taste. Or rather we have different taste. If we lost our attitude we’d be dead. We have a duty to live.

LocalBozo.com: NYC is a mecca for American musicians. Any memories of your first few trips to the big apple?

FP: We took a Darkness T-shirt wearing donkey to New York fashion week in 2003. That was quite Dali-esque I thought. And of course playing a packed out Bowery Ballroom was fun too, there were a lot of trendies at our shows in those days, hipsters I suppose you’d call them now…. Helping ourselves to the Atlantic back catalogue in the record company offices – CD’s sadly!

LocalBozo.com: We lost a lot of great rock royalty recently. Any words about Lemmy [Kilmister] or David Bowie?

FP: Independent minded pioneers, we should celebrate these people whenever possible and never forget. Don’t let them be a dying breed.

LocalBozo.com: For fans not familiar with The Darkness, what will the experience of the 5/2 show at Irving Plaza be like for the live crowd?

FP: A group of four awkward and eccentric British men attempting to express their sexuality

LocalBozo.com: Anything else you’d like to add for our readers?

FP: Book yourself a VIP upgrade!

A LocalBozo.com Concert Review
Irving Plaza, New York, NY
August 7, 2015

(Photo Credit: Kevin Mazur, Getty Images)

With a rare off night in the midst of a run across the country in front of stadium crowds and amphitheaters, country star Luke Bryan kept himself awfully busy in New York City on Friday with an early morning Central Park showcase on Good Morning America and an intimate performance at Irving Plaza in the evening. Nearly 1000 lucky fans would cram inside of the small standing room only setting, packed tightly to catch a glimpse of one country music’s most popular artists. The evening, presented exclusively for Citi cardholders, would give fans the opportunity to get up close and personal with Bryan during a high octane and energetic hour long set.

Touring in support of his fifth studio album “Kill the Lights,” Bryan was flanked by five bandmates on stage, strolling our casually to Flo Rida’s “G.D.F.R” as the New York City crowd beneath predictably went wild. With a tight black t-shirt and backwards hat, Bryan played to the audience almost immediately opening with crowd-pleasers like recently released single “Kick the Dust Up” and “Play It Again,” a rousingly infectious song with an equally fun to sing chorus.  As fans in the building worked their way toward the front of the stage for a glimpse of the charismatic singer, country fans around the world would tune in via Yahoo for a live stream of the 12- song performance, with each cut seemingly as well received as the previous.

 

<p>Known for his boyish good looks and an outgoing personable charm that resonates with his massive fanbase, it turns out that Luke Bryan is also a heck of a performer.  Whether seated at his piano, leading his band with an acoustic guitar or riling the crowd to a frenzy holding only his microphone, the audience would swoon at the crooner’s every move on stage- making songs like “Drink a Beer” and “I Don’t Want This Night to End” particularly memorable.  Bryan’s added cover of Taio Cruz dance track “Dynamite” was a seemingly out of place addition to an otherwise modern country music set- but leave it to Luke Bryan to make it work.  A sea of hands would appear overhead as the voices below them would belt out the song’s pop-fueled chorus in unison, received by the singer’s ear to ear smile back on stage.

<p>Though Bryan’s set was a bit abbreviated considering his normal stage show, the stripped down performance mattered little to most of us in the building as the exclusive concert was more of an album release celebration than anything else.  The crowd seemed to be as involved in the experience as the band itself with spilled drinks, tons of camera photos and nonstop singing dancing throughout the night as definitive proof.  By the time Bryan and company had returned to close out the show with singles “That’s My Kind of Night” and a wild rendition of “Country Girl” (Shake It For Me) which purposefully tantalized the females in the crowd, the standing room filled with Luke Bryan fans seemed to ignore the frontman’s length of set entirely, and were just appreciative to be inside Irving Plaza on such a special and intimate evening

- Jane Van Arsdale

 

 

]]> http://www.localbozo.com/2015/08/luke-bryan-up-close-and-personal-at-irving-plaza/feed/ 1 http://www.localbozo.com/2015/07/neon-trees-get-intimate-with-nyc-at-irving-plaza/ http://www.localbozo.com/2015/07/neon-trees-get-intimate-with-nyc-at-irving-plaza/#comments Thu, 23 Jul 2015 22:05:55 +0000 LocalBozo http://www.localbozo.com/?p=11561 An Intimate Night Out with Neon Trees

A LocalBozo.com Concert Review
Irving Plaza, New York, NY
July 22, 2015

Though the band hasn’t released a new album since 2014’s “Pop Psychology,” that’s not to say they haven’t been hard at work. In June, the group released a video for a non-album single called “Songs I Can’t Listen To,” a track fueled by post break-up reflection earmarked by a trademark Neon Trees catchy hook. The new song would be a fitting open to the show- slow building to a frenzied crescendo and catchy to a fault- undoubtedly a precursor of things to come over the fifteen tracks that would follow.

Despite being credited with some of Top 40’s most successful singles over the past five years, the band is led by its enigmatic and charismatic frontman (and recent LocalBozo.com interviewee) Tyler Glenn. His loud choice of wardrobe as the band’s singer is commensurate with his often outstanding vocals, which afford him the range to touch all of the notes on covers from Amy Winehouse (“Love is a Losing Game”) to Dexy’s Midnight Runners. “Come On Eileen” was an admitted surprise as the show’s closer. Drummer Elaine Bradley meanwhile, though nearly eight months pregnant, chimes in often brilliantly with high-pitched melodies while perched behind her kit, dutifully pacing the show with each calculated rhythmic beat.

While hits like “1983,” the always energy-laced “Animal” and set closer “Sleeping with a Friend,” certainly seemed to garner the most fervent reaction from the standing room crowd, it was Glenn’s proud declaration as a gay man that truly had the entire room rallying at his feet. Wildly gyrating his hips and often aerobically kicking his feet in the vein of a Radio City Rockette throughout the show, it’s impressive enough that he’s able to maintain such command of the stage while also performing so admirably with his vocals. Unfortunately Glenn’s energy could not be contained- a wardrobe malfunction would noticeably split his tight black pants right down the middle during a particularly inspired rendition of “Love in the 21st Century.”

Nevertheless, the show would continue without a hitch. By the time the band was set to launch into hit single “Everybody Talks,” crowd anticipation was downright feverish and Glenn to his credit allowed them to take over, yielding to the sea of collective voices that would overtake his own amid a dance party that was erupting on the floor beneath him. Masked by their poppy distinction, there’s a real sense of introspection evident in Glenn’s lyrics- words that are often overlooked because of each song’s energy. The singer’s been on record as having battled bouts of darkness- some he would even touch upon during the show. But subject matter aside, you’d be hard pressed to find a collection of people sharing as equally a positive experience than in the crowd at a Neon Trees show, where aspersions are cast aside, problems are momentarily subdued and fans can kick back and revel in the style of pop music that’s unequivocally deemed most fun.

- Jane Van Arsdale

Over the past few years, we’ve seen pop-rock quartet Neon Trees headline shows at Webster Hall and in Central Park, sandwiching opening slots for groups like The Offspring and Maroon 5. This week the band returns in a slightly different setting for them: an intimate one. A standing room only crowd at Irving Plaza will welcome the band back to town on Wednesday, July 22nd for “An Intimate Night Out with Neon Trees,” one that will pack the band’s fun and entertaining live show into the cozy confines of the legendary rock club.

Though the band’s last full length release was more than a year ago, “Pop Psychology” has given Neon Trees the material to continue touring. Coupled with the release of the video for a new non-album single entitled “Songs I Can’t Listen To” which dropped back in June, the band has stayed busy during what would otherwise be a down period for most other groups. With drummer Elaine Bradley set to give birth to her second child in the coming weeks, there’s not much on the docket for Neon Trees once their handful of remaining dates wrap up in July.

Frontman Tyler Glenn is hardly the type to rest on his laurels though. Constantly writing new material and using his celebrity to advocate for social issues, the enigmatic and immensely talented singer is clearly remaining busy as the band’s current tour winds down. With wildly popular hits like “Animal,” “1983,” “Everybody Talks” and “Sleeping With a Friend” under his belt, there’s no telling where Glenn and company are headed next- but if history is any indication, it’s likely to be both fun and infectiously catchy. LocalBozo.com was fortunate to sit down with Glenn for an exclusive interview where we discuss how the band’s current tour came to fruition, when he realized his love for singing, advocating for gay rights and some of his favorite memories about playing here in New York City. Listen in to our brief interview and then grab your tickets to Wednesday night’s show here.

- Dave Gendelson

A LocalBozo.com Concert Review
Irving Plaza, New York, NY
July 7, 2015

“With a full summer run hitting some of the country’s largest outdoor amphitheatres slated to launch at the end of the month which culminates in the band’s very own full-on festival, Slipknot frontman Corey Taylor somehow managed to find time to release his third book and pencil in ten solo and acoustic dates in early July. The tour’s very first stop in support of “You’re Making Me Hate You” brought Taylor into New York City where a sold out Irving Plaza audience would welcome the enigmatic singer on the day of his book release. For nearly two and a half hours, the crowd would be entertained by a performance that meshed stand-up with stories from the road, highlighted by a ninety minute set punctuated by more than a handful of inspired cover songs.

The show, originally scheduled for The Gramercy Theatre, was more recently shifted to the larger confines of Irving Plaza to accommodate the increase in ticket demand from the Slipknot faithful. Needless to say the standing room floor was jam packed with fans, many of whom were donning black Slipknot t-shirts and holding copies of Taylor’s book in hand. With nary an announcement, Taylor emerged from backstage underneath a sea of bright red lights and launched into nearly an hour of open mic mixed with an interactive Q&A. He bantered with the audience on his recent and very public criticism of Kanye West, a theme which would continue throughout the evening, before tackling topics like selfie sticks and a range of material covered in his book. Following a brief and insightful session with the audience- which also resulted in a fair share of hecklers begging for some music- Taylor left the stage momentarily, perhaps to put on his game face for the nearly 22 song set that would follow.

While Slipknot is certainly Taylor’s primary focus, many of the tracks performed during the course of the evening came from the singer’s other project, the wildly successful Stone Sour- a bit more hard rock than metal, whose tracks perhaps lend themselves better to the solo and acoustic setting that the frontman had laid out. Nevertheless, while the crowd was certainly appreciative of Taylor’s attempts at humor and story-telling, their collective explosion as he opened with a cover of Alice in Chains’ “Nutshell” into his own rendition of “Bother” unveiled an intense anticipation for his melodic voice. The latter in fact, allowed the audience to rally their voices so decisively that Taylor himself was brought to tears toward the track’s conclusion. It’s a connection to a fanbase that’s both inspiring and unparalleled, especially given the show’s intimate setting.

Tracks like “30/30/-150,” “Through Glass” and “Taciturn” were especially well-received but it was the selection of cover songs that Taylor inserted in the evening’s set that came as particularly big surprises, perhaps a glimpse into his vast range of musical influences. Lesser-known cuts like Mother Love Bone’s “Chloe Dancer” and Fear’s “I Don’t Care About You” touched on the grunge and punk fronts, while more traditional inspirations from Pink Floyd (“Breathe” and the excellent “Have A Cigar”) and Prince (“Little Red Corvette”) showed off the singer’s versatility.

What’s fascinating about Taylor though is his willingness to take chances with his versatile live act. His deep, sometimes gravelly voice is perpetually phenomenal, a skill that allows him to take risks on songs that work (Live’s “Lightning Crashes” was stirring) and even one’s that might need some tinkering (Green Day’s “Pulling Teeth,” in harmony with fellow guitarist Jason Christopher sounded just a bit off). But any metal singer with the chops to perform straight-faced (and admirable) covers of Chris Isaak’s “Wicked Game,” The Eagles’ “Take It Easy” and Bon Jovi’s “Wanted Dead or Alive” deserves credit for taking chances, especially in front of a crowd and city that can be unforgiving. Though fans can catch the full Slipknot- with masks and all- on August 1st at the Nikon at Jones Beach Theater, Taylor saved a fast paced acoustic version of the typically heavy “Spit It Out” as the show’s fitting closer; a bit of a different speed and key than the audience is probably accustomed to hearing. But different as the song may have been, Corey Taylor never fails to be entertaining and it’s his brash mixture of confidence and defiance that has prolonged an undying connection with his fans, no matter the project he undertakes.

- Dave Gendelson

A LocalBozo.com Concert Review
Irving Plaza, New York, NY
June 26, 2015

Anticipation ran rampant around the standing room floor at Irving Plaza where space became increasingly minimal as show time approached. Loud synth beats and string music boomed over the house speakers as the band made their way to the stage, opening with the slow building “Run,” the new album’s tantalizing title track. Eventually, the crescendo would unleash a far heavier chorus led by Bruno, a meticulous conductor of sorts to further fuel the crowd’s frenzy. The band’s latest single, the catchy and upbeat “Hollow Moon (Bad Wolf)” would soon follow suit leading much of the audience in a fun sing-along that would fittingly pace the remainder of the evening.

Throughout the performance, attention rarely shifts from the prep-dressed Bruno, who rarely stops moving long enough for fans to catch a candid picture of the singer. But it’s that energy level that makes said performances so captivating. Some of the show’s finest moments featured an especially physical Bruno screaming intensely during song verses- many of which uniquely breakdown into lullabye-esque choruses for fans to join in. The bands fourteen song set was evenly split between the first two AWOLNATION albums, and though the newest release has been a bit critically polarizing, new tracks like “Windows” and “Like People, Like Plastic” were especially well received, fitting nicely into the band’s show.

A cavalcade of colors continued to swarm the stage as the four-piece outfit shuffled through tracks like “Kill Your Heroes,” perennial fan favorite “Knights of Shame” and set closer “Burn It Down” from 2012′s “Megalithic Symphony.” But the uproarious encore brought out electric new cuts like the stirring “I Am,” the invigorating “Dreamers” and the band’s wildly successful first single “Sail,” which initially brought them to prominence back in 2011. From the back of the house, watching a sea of hands overhead singing “Blame it on my A.D.D. baby” was a particularly fascinating sight, especially given the overriding message of what’s being sung. But watching so many young folks becoming enraptured by a similar and singular passion was but a snapshot of the potential of live music- and a likely foreshadowing of the staying power of AWOLNATION, a band that continues to feed its fans exactly what they’re looking for.

- Jane Van Arsdale

A LocalBozo.com Concert Review
Irving Plaza, New York, NY
April 27, 2015

Despite the overwhelming acrimony that seems to loom over the heads of the members of Stone Temple Pilots and their former lead singer like a neverending cloud of rumors, he said/she said and legal paperwork, the remaining musicians forged on with a sold out show in New York City on Monday night. Had you taken a quick glance on stage from the back of the jam packed Irving Plaza, the colorfully-haired singer weaving around between guitarists Dean and Robert DeLeo might have been mistaken for the band’s original frontman Scott Weiland. In the wake of Weiland’s reported 2013 firing, Linkin Park’s Chester Bennington would more than capably fill in for the enigmatic singer in a side project that both brings big name recognition and some much needed new breath into a band that’s been challenged to make much progress, a potential byproduct of Weiland’s challenging persona.

If there’s anything that I’ve taken from watching Myles Kennedy (frontman for Slash’s touring band) and Chester Bennington attempt to recreate the many rock anthems crafted by Scott Weiland’s vocals it’s that Weiland the singer, cannot be duplicated. It’s not necessarily that his vocals are so wide ranging, but that he’s simply been the perfect fit as a singer for each of his bands. Right place, right songs. Admirably though, Bennington has become a suitable addition for the 2015 version of Stone Temple Pilots. Streamed in real time on Yahoo Live, Bennington and the remaining members of STP put on a rousing two hour performance that may not necessarily have harkened back to the band’s glory days but they were damn sure close.

Though technically Bennington still fronts Linkin Park, his role as the de facto singer for STP seems to be gaining permanence.  In support of the group’s “High Rise” EP released in 2013, the band performed together on stage as if a huge collective weight had been lifted off their shoulders- the brothers DeLeo in their ability to perform without obstacles or incidents and Bennington in his ability to enjoy a creative outlet outside of Linkin Park. It’s been said that Bennington had always considered fronting Stone Temple Pilots his dream job- and the trio that spent much of the show at the very front of the stage together genuinely seemed to be enjoying themselves. And collectively this version of Stone Temple Pilots worked together quite well.

The band has been out of the spotlight for such an extended period that you almost lose track of their incredible body of work- that is, until they start reeling off hit song after hit song. Bennington cut his chops on iconic singles like “Vasoline,” “Wicked Garden’ and “Sex Type Thing” right out of the gate, gesticulating around on stage as if the familiar songs were controlling him. Sprinkling in lesser known tracks like “Pruno” (from 1999′s “No. 4″) and “Coma” (from 2001′s “Shangri-La Dee Da”) around “Crackerman” and “Big Bang Baby” kept the crowd guessing as the show progressed, as the four bandmates on stage never looked anything but comfortable. Even a particularly aggressive fan halting the performance of “Creep” in the middle of the song couldn’t bring the room down- though Dean DeLeo would eventually stop the show and mandate that the fan be thrown out of the venue, the entire room seemed to enjoy the minor bit of conflict. Once the fracas died down, I don’t think there was a person in the house not singing along.

Among the show’s many highlights, “Plush” was a particularly stirring rendition with only Bennington and Dean DeLeo collaborating together, backed by the vocals of the entire audience joining the pair before the rest of the band would similarly follow suit. “Interstate Love Song,” “Down” and “Trippin’ on a Hole in a Paper Heart” would come in short order, before “Dead & Bloated” would conclude the band’s vigorous performance in trademark fashion as their unofficial show closer. More often than not, replacing a band’s singer proves to be the kiss of death for once wildly popular bands. The addition of Chester Bennington though has almost granted the re-formed Stone Temple Pilots ‘supergroup’ status. But where others have failed, there’s clearly a mutual admiration and respect within this lineup and the music that they’re able to create together more than lives up to the band’s long standing reputation and proves worthy of their history.

- Dave Gendelson

A LocalBozo.com Concert Review
Irving Plaza, New York, NY
June 17, 2014

When we last left Everclear frontman Art Alexakis, we had just witnessed the inaugural “Summerland Tour” back in July of 2012, where a packed show at the not shuttered Roseland Ballroom featured the likes of Gin Blossoms, Lit, Marcy Playground and Sugar Ray. Though last year’s jaunt with Live, Filter and Sponge never touched upon City soil, with a revamped bill and more than thirty calendar dates slated into August, the 2014 Summerland Tour rolled into town on Tuesday night, taking over Irving Plaza in the process. Support this year would come in the form of late 90′s bands like Spacehog, Eve 6 and Soul Asylum, responsible for some of the most anthemic songs of the decade. And with Everclear once again holding down the headlining slot, fans were treated to a cornucopia of eclectic rock music- pop, punk and alternative- and a whole lot of nostalgia.

Though fans were still flocking into the venue just as the three members of Spacehog took the stage, the band quickly took hold of their attention. Despite just a six song opening set, upbeat tracks like “Mungo City” and “Cruel to Be Kind” were winners with the audience as brothers Antony and Royston Langdon played to their delight as if the clock had turned back to 1996. The arrival of set closer “In the Meantime” was met with a downright raucous response with the entire standing room crowd singing along to the track’s high pitched chorus. Spacehog’s roughly thirty minute set revealed a band that very much still has it together musically, evidenced by the lengthy ovation the band received as they headed offstage- which may have even caught the bandmates themselves a bit off-guard.

Similar to Spacehog, Eve 6 also sports a three piece band with the bass player as their frontman. And the arrival of the tall ginger-headed singer Max Collins to the stage yielded a similarly impressive response from the crowd who was all too excited to sing along to throwback tracks like “Think Twice” and “Promise.” The band’s seven song set opened with relatively new track “Victoria” from 2012′s “Speak in Code” and culminated in predictably rousing fashion with fans screaming ‘Tie me to the bedpost!’ as “Inside Out” closed the band’s abbreviated performance. It was “Here’s to the Night” though that had most of the fans in attendance waving their cellphones overhead, clearly trying to recapture much of the magic from their youth. The band’s performance was perfectly succinct, mostly fast-paced and laden with hit songs- just as you’d hope for on the Summerland Tour.

Interestingly, the turnover between bands moved very quickly and despite being the lead vocalist for the headliners, Alexakis would also play emcee for the evening, introducing each band and enjoying some playful banter with the crowd between sets. Soul Asylum was perhaps the most unique addition to the Summerland bill this year since their style and sound essentially predated the other three lineups. Beginning with punk roots, the band’s drastic departure toward alternative acoustic-rock on 1992′s “Grave Dancers Union” was a strike of genius and the resulting triple platinum album made Soul Asylum one of the most successful rock acts of the early 1990′s.

Fast forward more than two decades and the completely upside down world of the music industry has even veteran singer-songwriter Dave Pirner a bit confused- he indicated as much in his recent interview with LocalBozo.com. That said, as the band took center stage Pirner in person, though certainly a bit older, looks and sounds identical to the frumpy, grungy singer that sprang into our early 90′s consciousness donning his worn plaid shirts and scuffed up Converse shoes, seemingly caring very little about how we interpreted his appearance.

Whether ‘starting a factory that makes misery’ or heading the ‘wrong way on a one way track,’ Pirner has always seemed to find a voice within himself that is utterly relatable. That everyman presence on stage certainly seemed to resonate on this night as fans gobbled up every minute of the group’s performance, despite none of the songs being released after 1995. Pirner’s vocals were right on point as singles “Misery” and “Somebody to Shove” sandwiched iconic hits “Black Gold” and “Runaway Train” to the sheer delight of the jam packed room, which seemed most full during the band’s 40 minutes on stage.

Eve 6′s Max Collins was once again out to the stage- following a change of clothes of course- to introduce the evening’s headliners in Everclear. Emerging from the backstage area, the five members joined together at a sole microphone- with an accordion no less- and urged the crowd to sing along to “Santa Monica,” arguably the band’s biggest and perhaps poppiest hit. The brief singalong was but a tease, but certainly a fun precursor for what was to follow- a forty minute set rife with hits and tempo changes from fast to faster. Following an instrumental cut titled “El Distorto De Melodica,” Alexakis, the eternal teenager launched into longtime band favorite “Heroin Girl” as raw and rock-fueled as anything in the band’s catalog.

Alexakis will certainly never be mentioned in the same breaths as Chris Cornell or Eddie Vedder vocally, the music of Everclear is more about the enjoyment you take from it rather than the actual sound in a live setting. “Man Who Broke His Own Heart” was a catchy new track, enveloped by classic hits “Father of Mine” and “Wonderful” and the fans around the venue were singing along with their hands overhead as if they had just emerged from a trip back to 1997. The band capped out the three hour evening with staples “I Will Buy You A New Life” and a full-on band version of “Santa Monica” to close the feel good show in feel good fashion. Things weren’t necessarily better in the 1990′s, though the music certainly is more romanticized. And in that lies the true meaning behind the Summerland Tour, which is less a nostalgia money grab and more of an impetus for igniting the good feelings that you had when these songs made an impact- be it big or small- on your life as you were growing up.

- Dave Gendelson