A LocalBozo.com Concert Review
Terminal 5, New York, NY
October 23rd, 2016

The prospects of a school night did little to detract a crowd of New York City headbangers from gathering in the appropriately titled Hell’s Kitchen on Sunday evening. A particularly rowdy bunch welcomed the headliners in Gojira and support act TessaracT to the famed Terminal 5 stage during the latest stop along the 2016 ‘Magma Tour.’  Though this specific show would be the 25th and final one on the US leg, the two bands would subsequently return to Europe for a homecoming of sorts. Between both bands, the City faithful embraced and endured an onslaught of relentless riffs, unwieldy solos and thunderous double bass for nearly three action packed hours of rock.

The night went from zero to heavy at seemingly the very moment that TesseracT hit center stage. The English prog-rockers wasted no time in getting the room riled up and setting an example for how the night was to play out. Lead vocalist Daniel Thompkins bolted onto the stage with enough energy to ignite the air in the room as his bandmates each boasted some distinctive stage presence all while staying incomprehensibly tight as they weaved through each of their eight intricate and entrancing compositions. Dishing out a healthy and diverse selection from across their three albums, TesseracT opened with the aurally audacious “Phoenix” before ripping through tracks like “Concealing Fate,” “Part 3: The Impossible,” “Of Matter-Retrospect,” “Dystopia” and closing their power packed set with “Of Mind – Nocturne.”  Original to the core, TesseracT rocked the jam-packed venue in an opening set that left the crowd eager to be taken to the next level.

Deafening chants of “Go-jir-a” quickly surrounded the standing room only space, rendering the house music from the PA as simple background music. Just minutes after 10 o’ clock, video of a volcanic eruption began playing on the screen suspended behind center stage. Amid the cascading lava, Mario Duplantier appeared in front the screen, emerging from the fiery stream to make his way to his perfectly positioned drum kit. Duplantier got to work right away and started pounding out the intro to “Only Pain” before summoning the rest of the band- guitarist Christian Andreu took his position on stage right, bassist Jean-Michael Labadie stage left, and singer Joe Duplantier right in the center, with his brother’s drumkit hovering just behind him. Intensity was dominant from the get go with the set opener from their latest album but things really kicked into overdrive with the arrival of classic thrash track “The Heaviest Matter in the Universe.”

Under the disguise of the cool blue strobe lights, a heavy metal inferno was brewing at Gojira’s behest. Before getting into “Silvera,” another track from ‘Magma,’ Joe Duplantier took a few moments to express his gratitude to the fans, how much a of a crazy ride the US portion of their tour was, and how there was no better place to end it than New York City. Metal mayhem resumed as they got right back to the grueling grooves with “Stranded” and “Flying Whales” back to back. Every inch of the venue saw some foot stomping, head banging, or horns thrusting for the entirety of the band’s energy-laden set. A hypnotic, drum crescendo would give way to “Pray,” a more droning tune that bounces back and forth from slow and grungy to a literal frenzy of metal. Following a short reprieve from the stage, the band returned for a double encore which began with “Clone” from their first album ‘Terra Incognita’ and concluded with fierce melody driven “Oroborus” and incomparably groovy “Vacuity.” In all, the 17 song set was chock full of new ‘Magma’ material, covering six out of the ten songs on the record, on top of an array of cuts comprised each of the bands albums.

TesseracT did an outstanding job of laying the ground work for the night with Gojira picking up and hurling the crowd the rest of the way up to the metal mountain peak. The auditory output from the tag team of bands could’ve satiated the hungriest of metal fiends. The ‘Magma Tour’ brought all the energy synonymous with its name and then some and will surely continue to do so as it makes its way overseas.

- Jon Asher

A LocalBozo.com Concert Review
Terminal 5, New York, NY
September 23rd, 2016

Touring in support of the release of June’s “Ash & Ice,” indie rock band The Kills made a triumphant headlining appearance at New York City’s Terminal 5 on Friday night. The jam-packed standing room floor left just enough space between bodies for the seemingly uncontrollable dancing and swaying that the eclectic music inspired. Shortly after 9pm, a rich blue light filled the room illuminating the stage backdrop- a massive volcano lined with palm trees- an aesthetic similar to the album cover from their aforementioned fifth studio release. Standing atop a shadow-filled stage Alison Mosshart and Jamie Hince stood front and center, ripping through opening track “Heart of a Dog,” a rhythmic and entrancing single that would pace the remainder of the show.

As the bright lights then shone, the crowd erupted at the very moment the duo became visible on stage, quickly beginning the energy transfer between band and fans. Hince’s simplistic vintage-style rock n’roll tone paired with his creative fretboard work was utterly dominant while Mosshart’s movements on stage were just as expressive, genuine, and unique as her voice. Despite the fact that Terminal 5 boasts a large stage, she managed to make it feel twice its size. On top of it being a reflexive reaction to her own music, her dancing was also witnessed to be deeply infectious as there wasn’t a still body in sight. Momentum continued to mount as the band dipped into “U.R.A Fever,” a catchy, electronic song that allowed Hince and Mosshart to collaborate on vocals. The set continued to travel across albums with “Kissy Kissy” (from 2003 debut “Keep on Your Mean Side”) and circled back around to newer cuts like “Hard Habit to Break” and “Impossible Tracks” back to back. On top the immeasurable electricity the duo created organically, the visuals from the hypnotic strobes helped turn a rocking concert into a killer dance party, as the style of music deftly moved between blues, punk and garage rock seamlessly.

By mid-set The Kills unleashed crowd favorite “Doing it to Death” which generated a deafening audience response from the opening thumps of the song’s bassline. Other cuts like “Baby Says” and “Dead Road 7″ had a bit of a retro feel while the gentle, washy guitar strums of “Echo Home” induced a state of swaying around the spacious three level space. Almost as quickly, the sways turned back over to dancing as the tempo picked up with the hook driven “Whirling Eye.” As an added highlight, Mosshart then took hold of two large drums during the prelude to “Pots and Pans” before jumping back on the mic to take over on the song’s intense vocals.

While the show closer for the main set was the slower “Monkey 23,” it was clear that the crowd wasn’t ready to go just yet. A hauntingly beautiful solo acoustic performance of “That Love” allowed Mosshart’s star to shine before giving way to the reappearance of Hince for another undeniably dance provoking tune- “Siberian Nights.” The encore was capped off with an incomparably funky rendition of “Fried My Little Brains” taking the crowd right near the ninety minute mark. The undeniably charismatic pair coupled some impressive musicianship with a stage presents that other acts would ‘kill’ for. And although the set leaned heavily on the new album, enough of the band’s catalog was certainly thrown into the mix to appease even some of The Kills’ most dedicated long time fans.

- Jon Asher

A LocalBozo.com Concert Review
Terminal 5, New York, NY
June 21, 2016

(All Photos Courtesy Stephanie Pearl Photography)

On just the fifth stop of the “Get Right Back” summer tour, Los Angeles, California’s Fitz and the Tantrums took over Manhattan’s Terminal 5 stage last Tuesday night.  Touring in support of their self-titled album released earlier this month, the band packed fans into the venue and nineteen songs into a set list filled with a range of pop and synth tracks spanning their entire catalog.  Faces filing into the standing room space looked to be of all ages, indicative of the versatility of the band and their collective appeal to crowds both young and old.

The electric evening kicked off with support from ‘Finish Ticket,’ a group of youngsters from the Bay area who seemed to really strike a chord with the crowd still filing into the building.  While their originally penned tracks were certainly well received, a cover version of The Killers’ “When You Were Young” proved to be a perfect precursor to energize fans before the arrival of the evening’s headliners to the stage.  Seemingly, the very moment that the house lights subdued, an immense fan response was triggered as bright LED lights would soon radiate all around the front of the stage.

In a frenzy, the now fully assembled audience was blasted into an all-out dance party of catchy hooks and heart thumping rhythms while welcoming Fitz’s own Michael Fitzpatrick & Noelle Scagga front and center.  As Scagga emerged, swinging her hips with her red tambourine in toe, Fitzpatrick played it infinitely cool to the crowd. The backing band meanwhile was all smiles as they worked their way through hits like “Don’t Gotta Work It Out,” “Out Of My League” and “Break the Walls,” all of which followed the raucous opening track “Get Right Back.”   While all of the musicians seemed genuinely fueled by excitement during the performance, it should be mentioned that Fitzpatrick in particular would often take moments to pause and survey the crowd, looking to have been in complete bliss during the show

Remarking that ‘this show [is] becoming one of the best New York City shows we’ve ever done,’ the group ripped into the infectiously catchy “Hand Clap,” undeniably the band’s most familiar single from their latest album, the band’s third.  Featured all over television in the background of commercials for the new  FIAT 500x Crossover, the cut was an immediate hit with the audience as a sea of hands quickly flung overhead, clapping along in unison to every pounded drum beat.  Lead saxophone master James King was a particular standout here, roaring through the song’s hook by throwing himself right in the middle of stage, momentarily snaring the spotlight from the evening’s dueling singers in a particularly memorable moment.

The set would include other new tracks like “Walking Target,” “Complicated,” “Roll Up” and “Do What You Want,” each of which were crowd-pleasing additions to a night that was rife with them.  The energy was non-stop as the crowd continued to dance and sing along to all of the new music, particularly moved each time Scagga would add her stirring vocals to a fast paced track. Toward the back of the crowd a few couples would be found dancing hand to hand and even butt to butt as the evening would continue to evolve for some.  In fact, after awhile you almost forgot you were at concert. That was of course until the show neared conclusion and the band ripped into chart toppers “‘L.O.V.,” “Money Grabber” and of course, “The Walker,” laying down a full evening of feel good music on the ears of a crowd that was feeling pretty damn good.

- Stephanie Asighieri

A LocalBozo.com Concert Review
Terminal 5, New York, NY
October 28, 2015

(You can read our recap from Gary Clark Jr.’s September 2014 show at Central Park here)

Wednesday evening marked the first of two sold out shows at Manhattan’s Terminal 5 and the return of blues guitar virtuoso Gary Clark Jr. back to New York City, touring in support of the release of September’s “The Story of Sonny Boy Slim.” In a jam packed set spanning seventeen songs, Clark Jr. and his bandmates perpetually wowed the standing room only crowd for two hours amid waves of lengthy breakdowns and tempo changes to appease fans of all styles. The local shows would sandwich a Thursday night appearance on NBC’s ‘Late Night with Seth Meyers,’ where the skilled guitarist would match equal parts style and substance for a live television audience, just as he would for a vocal sea of New York fans.

After recently wrapping an opening slot on the Foo Fighters’ ‘Sonic Highways’ world tour, Clark Jr.’s headlining jaunt takes him in and around the states through the spring of 2016- but the spotlight on Wednesday evening seemed to be the most comfortable spot for the deep voiced soulster. Tackling the stage in supreme confidence, the singer would follow his other bandmates out with little pageantry and in traditional rock and roll purity- no music, just the glimmer of stage lights barely covering the front few rows of the jam packed venue, but enough to give fans a glimpse at the man himself.

Donning all black, from his trademark hat to his plain t-shirt, Gary Clark Jr. would electrify the setting inside Terminal 5 from the show’s opening moments, serenading the room with perennial favorite “Bright Lights,” a more than fitting cut to re-indoctrinate himself to the New York faithful. The slowly building but catchy guitar riffs would tantalize the rabid crowd, before welcoming in the rest of his bandmates just before the song’s opening lyrics would unveil Clark Jr.’s outstanding voice- a precursor of things to come in the songs that followed. The upbeat “Ain’t Messin ‘Round” would follow before delving into an outstanding rendition of “When My Train Pulls In,” where fans have learned that a lengthy breakdown is not only commonplace, but a perpetual highlight night after night. It was more of the same here as fans continued to marvel at the guitarist’s seemingly effortless playing- making even the most raucous jams look fundamentally basic to anyone able to grip a guitar. Of course, that’s why we as concertgoers are often left awestruck, watching brilliance unfold before our eyes.

In all, the band would rip through seven cuts from the new album where “Grinder,” performed on Thursday’s aforementioned late night appearance and main set closer “The Healing” were particularly memorable highlights. Perhaps the most memorable moment though belonged to a fan from the audience, plucked straight from the crowd to perform lead guitar on “Numb” with the band as Clark Jr. would eschew the spotlight for nearly six captivating minutes. Focusing solely on the song’s traditionally blues-fueled vocals, the singer really shined here all while a long-time fan lived out his very dream in what was an infinitely fascinating moment.

The brief encore allowed fans a moment to catch their breath which would last through a solemn performance of “Please Come Home,” where Clark Jr. unleashed his high pitched vocals during one of the evening’s slower tracks. Closing cut “Next Door Neighbor Blues” though proved to be just the right balance of classic guitar work and smooth vocals to satiate any fan’s remaining hunger as the talented frontman capped out an otherwise excellent live performance in grand fashion. Tracks from his latest album add a bit more depth to a set that didn’t need much tinkering to begin with. That’s saying something considering that his latest release is only a sophomore effort on a major label (Warner Bros), and though it’s only been weeks since his new material has been dropped on us, it’s with great anticipation that we wait and see just where Gary Clark Jr. is set to take us next.

- Jane Van Arsdale

A LocalBozo.com Concert Review
Terminal 5, New York, NY
May 7th, 2015

Another weeknight in New York City and another blistering performance for a band that makes it all look so ho-hum. Thursday night, iconic rock guitarist Slash, joined by Myles Kennedy and The Conspirators ripped through a two hour set comprised of a preponderance of new material as well as some old favorites to the delight of a sold out Terminal 5. The rock venue was about as jammed to capacity as we can ever recall having seen it- and with good reason- there is perhaps no more cohesive, dynamic or complete band in the genre at this moment in time. And there were about 3000 fans in the house fortunate to have experienced it for themselves.

We’ve long extolled the virtues of both Kennedy’s unparalleled vocals and Slash’s masterful guitar-playing as we’ve tracked them at different venues all across town. But Thursday night’s show was a little bit different- with favorites like “Starlight,” “Standing in the Sun” and “By the Sword” eliminated from the set in favor of surprises like “Ghost” and “Dr. Alibi” and a riveting fifteen-plus minute solo/jam from the acclaimed axe-man. The band continues to tour in support of 2014’s “World on Fire”- their second full length release as a group, in between Kennedy’s work in fronting Alter Bridge. But with his own bandmate Mark Tremonti plotting dates as part of his Tremonti project, now seemed like as good a time as any for Kennedy and Slash to hit the road through the spring and early summer.

The performance itself, was predictably fantastic. Kennedy manages to gain more confidence sharing the stage with the legendary guitar player with each performance, though he always comes off as both humble and grounded. Coupled with his ability to somehow surpass the original vocals on Guns ‘N Roses classics and Velvet Revolver hits makes him a perfect fit for this band- a multi-faceted musician with phenomenal talent that doesn’t mind being overshadowed by his guitarist. Slash, to his credit, remains a simply riveting performer- a guitar shredding wizard who weaves around the stage in undeniably cool fashion, with his trademark top hat barely moving as his fingers expeditiously pluck each of his six strings in a frenzy. Though it’s hard to shift attention from the pair, bass player Todd Kerns managed to grab the spotlight, capably handling vocals for two songs right in the middle of the set, giving Kennedy’s high pitch a brief respite.

Though the distinctive setlist offered a slew of notable highlights, show staples like “Nightrain,” “Back From Cali” and the awesome “Rocket Queen,” featuring Slash’s memorable and aforementioned solo were each exceptional. Recent singles “Bent to Fly” and the thought-provoking “Beneath the Savage Sun,” seemed to be tailor made additions to the show, allowing the crowd to really appreciate favorites like “You Could Be Mine” and “Sweet Child O’ Mine,” leaving no lyric left unsung. No Slash show would be complete without the requisite surprise however, and the introduction of singer Kimberly Nicole from NBC’s “The Voice” was certainly one such instance- leading the band on a cover of Jimi Hendrix’s “Hey Joe” during the mesmerizing encore. But once Nicole had finished, it was time to welcome Kennedy’s return as the band launched into a stirring performance of “Paradise City,” replete with red and white confetti fluttering throughout the sold out venue. There was screaming, there was dancing in place, and there was Slash standing with Kennedy, once again in total command of the room as the jam packed crowd marveled in awe at their collective talents until the last note was played.

- Jane Van Arsdale

Check out some of our Slash/Myles Kennedy reviews over the years below:

Santos Party House, September 2014

Myles Kennedy, MOSCOT, September 2013

A LocalBozo.com Concert Review
Terminal 5, New York, NY
January 20, 2014

As the number of hard rock stations across the country have shifted formats, it’s made it fairly difficult for fans of the genre to both unearth new bands and also to follow along with the new releases of their favorite artists. Fortunately, there is no such challenge for SiriusXM subscribers where the ‘Octane’ channel has long continued along the righteous path of fulfilling the modern rock music fan’s appetite. Tuesday night, the rock channel streamed a co-headlining show on its airwaves across the country, recorded live at New York City’s Terminal 5. Led by two of rock music’s most successful acts over the past two decades, Papa Roach and Seether proved that they are doing everything in their power to keep the genre’s flame burning bright.

Following support from fellow bands Islander and Kyng, Seether opted to tackle the first of the two headlining slots on this run of dates and backed by an elaborate light show and stage setup, frontman Shaun Morgan and (recent LocalBozo.com interviewee) drummer John Humphrey flanked the rest of the band heading out to center stage. If you’ve never seen Seether in person, there isn’t much in the way of pomp and circumstance. Morgan intensely leads the show on guitar, but despite never moving much from his trademark position on stage right, it’s his live grunge-infused vocals which are most noticeable at each performance- steadily unwavering and downright excellent.

In support of 2014′s “Isolate and Medicate,” the band’s sixth release, Seether’s hour long set played out like a relentless string of greatest hits. The catchier, more upbeat tunes seemed to invigorate the live crowd as “Country Song” and “Tonight” set the stage for harder tracks like “Fake It” and unrelenting show closer “Remedy” to the delight of the live audience.  On the other hand, Morgan’s slower than usual solo take on “I’m Broken” was fairly underwhelming despite the song’s powerfully written chorus. But given that the remainder of the band’s set was fairly fast paced throughout starting with openers “Gasoline” and “Rise Above This,” perhaps their intention was to take the audience on more of a ride of songs with contrasting speeds. Either way, Seether as usual, was as good as advertised, riding the talented vocals of their enigmatic frontman to another stirring performance.

Though Seether’s Shaun Morgan is a man of few words with his audience, Papa Roach frontman Jacoby Shaddix is that sentiment’s antithesis. Decked out in garb from his new ‘Lovers are Lunatics’ clothing line, the tatted-up spike-haired singer exploded onto the stage for the band’s 75 minute set, bringing with him an uplifting energy level that never wavered during any of their 15 performed songs. The ability to overcome has long been a credo for Papa Roach, much of which is evidenced on their latest release “F.E.A.R (Face Everything And Rise)” which drops January 27th. And its that impassioned mindset that has Shaddix in perhaps the most positive place of his entire career. Just listen here- we asked.

Similarly, with seven album releases the challenge lies in the band’s ability to put together a setlist encompassing their entire career, which must prove entirely difficult for a band with a cavalcade of hit singles. In a bit of a surprise, four tracks from 2000′s “Infest” managed to made the cut, resonating with long time P-Roach fans. But down the line- “Getting Away With Murder,” Lifeline,” “Kick in the Teeth” and “…To Be Loved” all proved that they have staying power within the band’s high octane set. Certainly there were moments in “Forever” and the wildly popular “Scars” that veered more melodic- but the live crowd ate it all up in kind. And Shaddix’s frenzy of energy egged the audience on wildly as he repeatedly jumped to his center riser with his fist raised defiantly.

It was only fitting that the band’s most renowned rock anthem capped off nearly three and a half hours of pounding guitars and pummeled drum sticks. Moshers circled each other for one final time in the pit as the familiar lyrics rang out overhead to “Last Resort” and a wild free-for-all of rock fueled carnage ensued around the standing room floor. Just the way it should be. This is still rock music, after all.

- Jane Van Arsdale

Tuesday January 27th marks the release of the seventh studio album from rock outfit Papa Roach, an admittedly polarizing band that’s been derided for everything from their moniker to their earliest days as the face of a now deceased rap rock genre. It’s fitting then that this album is titled with the abbreviation of “F.E.A.R.” or ‘Face Everything and Rise,’ which has proven to be more than a credo when fifteen years ago, a group of young no-name musicians with a cartoonish band name was catapulted to the forefront of rock music with the massive success of a single song. And with each album release, Papa Roach continues to show just how much they’ve evolved.

The 2015 edition of Papa Roach is a vastly different entity than the one that exploded onto our MTV2 screens in the year 2000. Though they’ve mostly moved beyond meshing hip hop with guitar riffs, the band’s penchant for writing catchy radio-friendly rock singles coupled with an unparalleled high octane live show has never been stronger. More of the same can be expected on the band’s latest release where tracks like “Face Everything and Rise” and “Broken as Me” (both available for streaming) are sure to appease longtime followers of the band and electrify audiences in any live setting.

Strategically, Papa Roach and Seether have slated a co-headlining North American jaunt that rolls through the beginning of February, with support from Kyng and Islander. And on Tuesday, January 20th, the four band bill is set to rock New York City’s Terminal 5- tickets are available now. With a new album set to drop and a return to Manhattan imminent, LocalBozo.com grabbed a few minutes with Papa Roach frontman Jacoby Shaddix for an exclusive interview. Listen in as we discuss the band’s creative approach to the new record, some of Jacoby’s favorite memories of playing in New York, how the tour with Seether came to be, the difficulty the band faced in trying to ditch the rap-rock stigma, if he gets tired of performing “Last Resort” and much much more. Make sure to grab your tickets for Papa Roach’s jam packed show at Terminal 5 on January 20th now!

- Dave Gendelson

(The Interview has been transcribed below for your reading pleasure)

LocalBozo.com: The new album drops on January 27th. Though it’s titled ‘F.E.A.R.,’ it stands for ‘Face Everything and Rise’- and much of the album from what I’ve heard is pretty uplifting. Talk about the band’s approach to creating this new record and how satisfied you are with the finished product.

Jacoby Shaddix: Very satisfied with the finished product. We definitely approached this record different than we approached any of our other records. We stepped into the studio with essentially nothing written but one chorus to a song called “Broken as Me” and we never do records like that. But the producer and Tobin [Esperance, Bass] and Tony [Palermo, Drums] were all about it. They were like ‘Cool, we could do that no problem.’ You know? And me and Jerry [Horton, Guitar] were kind of looking at ourselves like ‘What?’ So I just had to walk in with faith on that one and just go ‘Okay cool. I’m just gonna jump in this place’ and just see what happens. And we started working on that song ‘Broken as Me’ and as soon as we finished that song it was like a floodgate had opened inside me that was just a creative force that I just- never really experienced that before and I was mad driven man. And we were super stoked at the sound of the first track we recorded and so it was like off to the races after that. And the record just revealed itself over the course of the next two, three months.

LB: You mentioned “Broken as Me”- Papa Roach is a killer live band. The tracks that we’ve been able to stream- “F.E.A.R.” and even “Warriors” seem tailor made to be slotted anywhere in the band’s set and they’d fit in seamlessly with the rest of your catalog. How important is that to you during the writing process – whether or not a song can make the cut for one of the band’s live performances?

JS: We believe that live is the proving ground for rock and roll, and so that’s very important. We want to make music that translates to the live environment right off the bat. I think we’ve been doing this long enough now to know when something’s going to work or when it’s not. There were riffs where we just – ‘Eh, that’s not the deal dude. That’s not the jam, that’s not gonna fit what we’re trying to do.’ But then, when you’re in the studio it’s one thing so then you gotta go out there and really test it on the road and see what does work and so far we’ve been playing “Fear” and we’ve been playing “Broken as Me” and- they translate. They go over really well live.

LB. So you guys just launched a co-headlining run of dates with Seether through the beginning of February, with support from Kyng and Islander. Is this something that the two bands had pegged for a few years now- eventually going out on the road together?

JS: We’ve done a bunch of shows with them, touring and all that, you know? Showing up on festivals and doing shows and we were just looking for a band to team up with and the timing worked our perfect. So it was just like ‘Let’s go do this.’ And now that we’re out here, selling out shows, packing houses and giving the fans what they want, it’s been really good.

LB: Locally, the co-headlining run stops at New York City’s Terminal 5 on January 20th- Jacoby, you guys have been through Manhattan probably dozens of times over the last 15 years. What’s it like for you to play in New York City and are there any specific memories you’d like to share with us about performing here?

JS: I love the city man. The city’s just- it’s unique. That’s the only place that feels like that. It’s a one of a kind place. It’s got that energy, that creative force that’s just alive there. The fans there are always off the chain. We always have really good shows in New York. Last time we were there, we were with Stone Sour (2013) so we’re stoked to come back. We’ve had great memories man. I was there the year 2000 New Years Eve. We played MTV when the ball dropped and that was quite a fuckin’ night for us.

LB: You’ve got some dates lined up through the beginning of February- but you guys are road dogs so I’m sure this is just the beginning of your touring cycle. What’s up for the band when this run with Seether wraps up?

JS: We’re gonna go to Australia and do the Soundwave Festival. Then we’re gonna go to the UK and do some festivals over there- some headlining shows. And then we’re gonna come to the US in the spring and do the festivals over here. And then the summer, some festivals in Europe. And after that, we’re trying to map out what’s next for us.

LB: The band has made some real artistic strides over the past 15 years- how difficult was it for you personally to overcome the stigma that initially pegged you guys solely as a rap-rock band?

JS: You know it took us some years to really prove ourselves. But you know- we stuck it out dude and we wanted to prove ourselves as a valid rock and roll band- and I believe we have at this point in our careers. So now it’s like ‘What’s next?’ Anything goes. And I think that for us, it’s like we’re at a place in our career where we feel just freedom as a rock band. We’re our own band and we do our own thing and we have our fans and we always got a chance to win over new fans and so- come check us out. You know what I mean?

LB: What’s one thing left that you’d like to see this band do that you haven’t yet done?

JS: A sold out, headlining arena tour worldwide.

LB: It’s not that far off man. Last one.  Be honest: do you still enjoy singing “Last Resort” night after night?

JS: Dude, it’s a straight classic man. You know? There’s a lot of bands that try their whole careers to have a classic track and we came out the gates and had one right off the bat. We definitely feel blessed to have that in our arsenal as a rock band. It’s still relevant today, you know? It resonates with the youth, it resonates with our fan base, it ignites an audience every time we play it- no matter what. Anytime.

LB: It was the soundtrack to my high school years. I have a place in my heart for that song. I’ve been a big fan of the band for a long time- it’s been my pleasure talking with you today. Is there anything you’d like to leave for the readers of LocalBozo.com?

JS: You know, in the process of doing this record- kind of stepping out and doing some other things creatively. [I've] Been co-directing the music videos on this album cycle. [I] Did that for ‘Face Everything and Rise’ and we’re coming up with the concept and getting ready to shoot another video for a song called ‘Gravity.’ So I’m stoked about doing that creatively. And then also I released a clothing line called ‘Lovers are Lunatics’ and released that in November of last year- just doing a straight DIY from the ground up, just me and my partner from Detroit. It’s rock and roll inspired street wear. So [I'm] just doing a couple things outside of Papa Roach that’s creative, that’s fun, that doesn’t get in the way of what I do creatively with my band because I’m not the type of guy that needs to start a musical side project. You know what I mean? P-Roach- I get to do everything I want to do.

LB: Papa Roach has put out some of the most commercially successful but also anthemic rock songs over the last two decades and they’re returning to New York City on January 20th at Terminal 5 as part of a jam packed co-headlining bill with Seether. Tickets are available now. Make sure to pick up the brand new Papa Roach album “FEAR” when it drops on Tuesday, January 27th. Jacoby – great speaking with you today man. Can’t wait to catch you in New York.

JS: Alright word man. Have a good one.

A LocalBozo.com Concert Review
Terminal 5, New York, NY
December 4, 2014

The first of two sold out nights at Terminal 5 might be cause for a victory lap for some bands. But not for Manchester, England’s The 1975, a four piece outfit whose rapid ascension and penchant for writing upbeat indie-pop tracks culminated with their first appearance in Manhattan since the spring. The back to back nights of performing seem to be a precursor to their eventual run at arenas across the country but on Thursday night, the exhuberant audience was treated to a fun performance inside of the ‘intimate’ three floor setting, surrounded by 3000 of the band’s most ardent supporters.

Though the band’s catchy pop tracks skew the audience admittedly younger, to their credit, the musicians on stage don’t spend much time pandering to the slew of screaming girls that await their every glance. Instead, they’ve honed an energetic stage show replete with minimal yet eye-catching lights which serve to complement the group’s frenzy of activity. Following a rousing set by Philadelphia’s CRUISR, the four musicians strode out a stage masked by fog and bright white lights as the familiar sounds of “The City” further amplified a jam packed crowd filled with anticipation.

Cloaked in a thick layer of stage smoke, the band’s enigmatic frontman Matt Healy still manages to own all of the eyes in the room. Donning a red long sleeved shirt with a deep enough V-neck to allow his ‘Annie’ inscribed tattoo to be seen, Healy methodically led his bandmates through a quickly moving set that exceed twenty songs. And whether he was singing familiar lyrics, lending his talents on his blue rhythm guitar or slugging down gulps of what appeared to be wine straight from the bottle on stage, the audience was utterly captivated throughout meeting his every movement with audible reaction. Though the band continues to tour in support of their self-titled debut released more than a year ago, their brisk 75 minute set also touched upon tracks like “Me” and “HNSCC” plucked from The 1975′s previous EP releases. The setlist seemed to matter fairly little to the fans on hand, who roared with pleasure at the opening chords to each song equally and without exception.

Tracks like the 80′s inspired synth-pop cuts “M.O.N.E.Y” and “Pressure” and the slightly sedated but heartfelt “fallingforyou” all seemed to hit a particular note with this audience as if they’d been waiting for each of them. But unsurprisingly, The 1975′s most successful singles to date decidedly made the crowd explode. Though Healy would plead with the audience to put down their phones before launching into the catchy “Chocolate,” few adhered to this mandate as much of the venue showed a sea of hands and bodies moving around rhythmically. Show closer “Sex” was both a fun and fitting choice to send fans home happy as the young girls stared up at the band’s singer in complete adoration wondering aloud “Does he take care of you / or could I easily fill his shoes,” all the while hoping that Matt Healy was singing that very line to each of them.

- Dave Gendelson

In 2012, performing in front of a sold out New York City audience of 3000 fans seamed like a pipe dream for Andy States. The frontman and lead writer for Philadelphia-based CRUISR spent time working to craft catchy pop songs in his bedroom before a six song self-titled EP would make its way to blogs and websites around the city at his persistence. Garnering considerable buzz, States gathered four musicians around him, eventually forming a fully fleshed out CRUISR, who stops locally with two sold out shows at New York City’s Terminal 5 this week in an opening slot for The 1975.

In support of their brand new EP “All Over” released in September, the band has hit the road hard over the last month playing to their biggest crowds on record. It’s been a quick rise in an even quicker time frame for the frontman, who doesn’t seem at all intimidated by the taste of success that the band has enjoyed to date. Signed to Vagrant Records, the band certainly has plans for a full length debut album in 2015, but as you’ll find out, States seems to be enjoying the present day moments as they occur.

LocalBozo.com sat down with CRUISR frontman Andy States for an exclusive interview. Listen in as we discuss their current tour with The 1975, the prospect of playing two sold out shows at New York City’s Terminal 5, his advice for aspiring musicians and how his band came to be. Plus, we take questions from some of the band’s loyal followers on Twitter in a rapid-fire session, discuss CRUISR’s plans for 2015, and so much more. Though they’re relatively new to the limelight, make sure to earmark CRUISR as a band to watch in the coming months in the indie-pop spectrum.

- Jane Van Arsdale

A LocalBozo.com Concert Review
Terminal 5, New York, NY
October 22, 2014

When we last left London’s Bombay Bicycle Club, the band was celebrating their second of two sold out nights at Manhattan’s Webster Hall at the beginning of May. What we said then:

It’s pretty incredible to consider just how gifted the young bandmembers of Bombay Bicycle Club at this point, still the beginning of their career. And perhaps even more incredible to consider where they’re going, once they’ve truly reached their peak.

Though the band continues to ascend, Wednesday night’s show served to show off their spurt in popularity over just five short months housed by the far larger tri-level space at New York City’s Terminal 5. The bigger venue hardly seemed to affect the band though as their more than ninety minute set continued along the same path that they initially forged in the spring. And their sea of youthful and exuberant fans seemed similarly inspired by Bombay Bicycle Club’s penchant for live performances in a manner that far exceeds their years.

While the band’s setlist remained fairly consistent to their previous shows, the raucous ovation that they received between songs proved that song choices mattered little to their loyal fanbase- most of whom spent the better portion of ninety minutes singing along with frontman Jack Steadman in unison. The melodic “Overdone” has become the band’s unofficial opener of sorts but the song’s slow build and catchy high pitched chorus establishes that it’s an ideal precursor for the nineteen songs to follow. Meanwhile five circular video screens stand behind the musicians on stage each working collaboratively with trippy illustrations coinciding with every note of the group’s songs.

The familiar “Shuffle,” followed in short order and Bombay Bicycle Club’s first single was- to no surprise- a huge hit with the live crowd, all of whom seemed to dance in place seemingly together, like a make shift flash mob. In one of Steadman’s brief addresses to the standing room audience, he encouraged fans to whip out their phones to during “Home By Now” with submissions likely to be utilized for the band’s next video.  A sea of small lights ensconced the standing room floor as arms were stretched over head as fans yearned to be a part of the band’s history.

Undeniably the group’s focal point, the blonde haired Steadman carries himself on stage like an everyman and the group collectively performs with a certain humility and genuine positivity that exudes from their every note. Bass player Ed Nash and guitarist Jamie MacColl flank their singer, but never stand still long enough to connect with anyone but their instrument of choice- in a good way. It’s that passion for the three band mates up front that makes live cuts like “Rinse Me Down,” “Evening/Morning,” and especially “Feel” so intensely captivating.

Bombay Bicycle Club harnesses a multitude of different sounds in their live show from folk to electronica, so fittingly, the band ripped into a cover of Robyn’s 2007 “With Every Heartbeat” to appropriately switch up the predictability of the evening. But a return to form with singles like “Luna” and “Always Like This” reinvigorated a room of fans up for the challenge of trying to keep up with the musicians moving around in front of them on stage. The fast paced “What If” and the decidedly 80′s “Carry Me” would close out the show in eclectic fashion for a band that seems to garner influence from a plethora of different eras and styles, but somehow manages to mobilize each of them in a creative vision all their own.

- Jane Van Arsdale