Category Archives: TVD Cleveland

Fantastic Negrito turned Mahall’s into a full-on party Friday night, bringing a fiery mix of soul, funk, blues, and rock that had the crowd dancing from the jump.

Held in the smaller concert venue at Mahall’s, the close quarters only added to the energy, giving the night an intimate, anything-can-happen feel where the audience felt part of the show. Crowned in his signature feathered bucket hat, Negrito looked every bit the larger-than-life showman fans have come to expect. Standout moments included “I Hope Somebody’s Loving You” and “Hillbilly Love,” both delivered with grit, swagger, and a whole lot of heart and soul.

What made the set hit even harder was how fully engaged Negrito was with his band. He bounced across the stage to trade moves with bassist Bartosz Niebielecki, leaned shoulder-to-shoulder with keyboardist Bryan C. Simmons as the chords thundered out, locked into the groove with his touring guitarist (Clark Sims was not on this tour), and flashed a grin back at drummer James Small before every sharp turn in the set. It felt less like one man fronting a band and more like five musicians feeding off each other in real time.

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The Last Dinner Party made their Cleveland debut to a sold-out Agora on April 6, bringing their From the Pyre tour to full theatrical life. Already known for opening slots with NBD artists like The Rolling Stones, Hozier, and Florence + the Machine, the band proved they’re more than ready to headline.

Their set felt like stepping into a fever dream of romantic literature and gothic drama with arched staging, draped fabrics, and a looming church bell framing songs that blur desire, tragedy, and wit. Despite the absence of bassist Georgia Davies, who is recovering from a serious back injury, stand-in Max Lilley kept the momentum high as the crowd scream-sang along.

Frontwoman Abigail Morris commanded the room with ease, balancing theatrical flair with genuine charm. Her dedication of “On Your Side” to Davies was a standout moment, while “Agnus Dei” sparked a playful Ohio call-and-response that the crowd eagerly embraced. (The banks of the Ohio River are 100 miles away at its closest point to Cleveland, but we appreciated the sentiment.)

Backed by tight performances from Lizzie Mayland, Emily Roberts, and Aurora Nishevci, the band delivered a set that was both polished and unhinged in the best way. Opener Florence Road set the tone with lush shoegaze rock which was a great complement to the night.

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“Do you want to see Lacuna Coil?” my 77-year-old father texted me. At 43, I didn’t have that on my bingo card.

I’ve been listening to Lacuna Coil since high school; the gateway to my goth years of clove cigarettes and dimly lit clubs. Meanwhile, he’s been on a symphonic metal kick—Within Temptation, Nightwish being some of his favorite bands of all time—which eventually led him to metal songstress Cristina Scabbia of Lacuna Coil. Full circle, just… decades later.

The Globe Iron doesn’t do distance. The room was tight, loud, and already buzzing by the time Australia’s VOWWS set a moody, industrial tone. Escape the Fate followed with chaotic, high-octane energy that felt like it might spill off the stage.

Then Lacuna Coil took it.

Opening with “Layers of Time,” they didn’t ease in; they hit. Scabbia and Andrea Ferro moved like counterweights. Her voice cutting clean and soaring, his grounding everything in grit. Older tracks like “Heaven’s a Lie XX” and “Swamped XX” landed like muscle memory, while newer cuts (“Oxygen,” “In Nomine Patris”) leaned heavier, colder, more deliberate.

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It took over four decades, (48 years to be exact, on November 29, 1976 at the Agora, fittingly), but Sparks finally returned to Cleveland and delivered a show that was eccentric and absolutely worth the wait.

Originally scheduled for TempleLive, fans feared the worst when the venue abruptly shut down, fired its staff, and canceled all events just weeks before the show. But the Cleveland Agora came to the rescue, and on Monday night, it hosted a performance that felt equal parts victory lap and cult revival.

Ron and Russell Mael, now deep into their legendary career, pulled from 13 of their 28 albums (!!) in a career-spanning set that proved they’re still pushing boundaries and having fun doing it. Despite their age, Sparks gave it their all, blending synth-pop weirdness, razor-sharp wit, and a kind of surreal showmanship that only they could pull off.

Favorites like “JanSport Backpack,” “Lord Have Mercy,” “Whippings and Apologies,” and “All You Ever Think About Is Sex” brought cheers from the crowd. The extended bows, both before and after the encore, were heartfelt and heavy with meaning. And while Russell offered a hopeful “we’ll try to come back,” it was hard to shake the feeling that this might have been a once-in-a-lifetime night.

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Don’t think of it as goodbye, think of it as “so long for now.”

On Friday night at the Agora, ’90s alt-rock mainstays Garbage delivered an emotionally-charged performance as part of their aptly named “Happy Endings” tour. With this being their final headlining run, the night felt like more than just a concert. It was a love letter to fans, a career-spanning celebration, and a graceful bow from a band that helped define the ’90s alternative music scene.

Frontwoman Shirley Manson commanded the stage with the same snarling energy and magnetic presence that’s carried the band for three decades. Backed by longtime bandmates Duke Erikson, Steve Marker, and legendary drummer Butch Vig, alongside touring bassist Nicole Fiorentino (Smashing Pumpkins and Veruca Salt), Garbage powered through a generous 21-song setlist that blended hits with deep cuts and tracks from their latest album, Let All That We Imagine Be the Light.

Between songs, Manson was candid and funny; dropping quips about aging and reminiscing on the “good old days.” But as she strutted across the stage, voice sharp and defiant, it was hard to see anything old about it. They’re still kicking ass. And that’s what makes their decision to step away from touring bittersweet. It doesn’t feel like a slow fade, it feels like a conscious choice to go out on a high note.

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Wilco is nearing the conclusion of their extensive spring-into-summer tour and chose to grace lil’ ol’ Cleveland with their presence for the first time in a decade. “I love this place,” Jeff Tweedy said while surveying Evans Amphitheatre, an intimate venue nestled inside Cleveland Heights’ own beautiful Cain Park. “We played here on our first tour in 1935,” he joked. But then did “promise to come back here more often,” so Northeast Ohians are going to hold you to it, Wilco!

The evening consisted of two sets and an impressive 33 songs spanning three hours. Many of their current song arrangements feel softer and more stripped down, and part of the fun of seeing Wilco is seeing how their songs evolve live. We still got our fix of climactic moments—”Via Chicago” comes to mind, as does Nels Cline, who we can always count on to rip an epic solo during “Impossible Germany” among others.

This hard-working band seemingly never rests, between their extensive touring and side projects. The ever-prolific Tweedy hits the road almost immediately following the conclusion of this tour in support of his soon-to-be-released new album, Twilight Override.

The Autumn Defense, John Stirratt and Pat Sansone’s band, is also set to release a new album and will hit the road in October. Keyboardist Mikael Jorgensen sits in with so many other bands that I’ve lost count. Cline released a brilliant Jazz album, Consentrik Quartet, in March, and Wilco drummer Glenn Kotche creates a new beat per week, which is just insanely impressive.

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Thousands of northeast Ohio millennials took their annual pilgrimage to Blossom Music Center this past Friday to see Dave Matthews Band. “I like this building,” Matthews said about Blossom (the only venue in the country housed in a National Park). “It’s good to be back,” to which the crowd roared in agreement.

The near-constant rain couldn’t dampen fan enthusiasm as the band worked its way through highlights from its extensive catalogue. Most notably, DMB busted out “Dive In” for the first time since 2021, while also treating the crowd to a 15-minute-long “Crush,” an “All Along the Watchtower” cover with a “Stairway to Heaven” nod in the middle of it, and several additional fan favorites.

The tour continues into the fall, so there will be plenty of opportunities to catch Dave on the road in the next few months.

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Toronto jazz standouts, Badbadnotgood, transformed Cleveland’s newest venue, Globe Iron (side note: it’s awesome), into a fully immersive, visual, and sonic Art with a capital “A” experience this past Wednesday night.

Their style is collaborative in spirit and practice, so it’s no surprise that they chose to share the bill with up-and-coming Fayetteville singer/songwriter, Baby Rose, who joined BBNG mid-set to perform songs off her 2024 EP, “Slow Burn,” among others. Additionally, they employed the services of artist Sylvain Chaussée, who uses custom 16mm film projectors to display video and images that synchronize to the music in real time. The result is, as mentioned, Art of the hypnotic sort.

Chester Hansen (bass), Alexander Sowinski (drums), and Leland Whitty (sax, flute, guitar) make up the core trio of Badbadnotgood, but in recent years they’ve been joined in the studio and on stage by Juan Carlos Medrano Magallanes (percussion), Felix Fox (keyboards), and Kae Murphy (trumpet). Between them all, talent is truly staggering. Their set leaned heavily on 2024’s Mid Spiral, but also gave love to earlier albums. One particular moment of “wow” was Whitty’s stunning 10-minute sax solo during “Unfolding (Momentum 73).”

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Clevelanders got a treat from “down under” (Lloyd Christmas voice) recently as Melbourne’s Amyl and the Sniffers stopped by The Agora for a sweaty night of riotous fun.

The crowd was dressed to impress for the special occasion: Many Amyl-esque outfits were on display, plus lots of skin, lots of tats, some leather catsuits, ripped fishnets, and several shirts. The band itself, comprised of Amy Taylor, Bryce Wilson, Declan Mehrtens, and Gus Romer, rose to the occasion, serving fans with a healthy dose of personality and punk rock emancipation.

Taylor is a force live, even on the tail end of a sickness that forced them to cancel their Toronto stop a couple of nights previous. It doesn’t seem to affect her at all, though, as she spins, bangs, and screams her way across the stage. Every human in the house is immediately sucked into her powerful vortex. It’s a vortex that doesn’t give a fuck. Unless, of course, you’re a racist, misogynist, ageist, homophobe, classist, transphobic, and/or ableist. If that’s the case, then fuck you. And to that I say, “Fuck yeah.”

Speaking of strong frontwomen, Tina Halladay of opener Sheer Mag has some serious pipes! She not so much sings but growls, a perfect complement to the band’s sound, which is a little classic rock, a little punk rock, and a little hair rock. I can see why Third Man Records signed them a couple of years ago.

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The prolific Bill Callahan brought his dry sense of humor and signature baritone voice to Cleveland’s Treelawn this past week. “I’m trying to say something profound here…without saying anything profound,” he joked in between strums. “That’s my whole M.O.”

And joke or not, he’s done it effectively for nearly four decades now. His songs are like meditations, and his performance of them solo is equally transfixing. I typically prefer live arrangements with a full band, but Callahan’s songs work either way. The Treelawn audience was so locked in, you could hear a pin drop.

The setlist pulled from just a few of his extensive list of (truly excellent) studio albums, YTILAER (2022), Gold Record (2020), Shepherd in a Sheepskin Vest (2019), Apocalypse (2011), and Sometimes I Wish We Were an Eagle (2009). Callahan concluded this night with some fan favorites from his earlier years, when he went by the moniker “Smog.”

I was particularly psyched to hear “Say Valley Maker,” “Let’s Move to the Country,” and his concluding epic Smog’s-Greatest-Hits mash up during “Let Me See the Colts.” (For fellow Bill Callahan nerds, we’re taking snippets of “Dress Sexy at My Funeral,” “Cold Blooded Old Times,” “Sycamore,” and “Teen Spaceship.”)

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Fresh off their brand new and critically acclaimed fourth album, I Got Heaven, Philly’s Mannequin Pussy brought the buzz to Cleveland’s beloved Grog Shop on Friday night.

The sold-out crowd danced hard and belted lyrics harder. Mannequin Pussy—Marisa “Missy” Dabice, Kaleen Reading, Colins “Bear” Regisford, Maxine Steen, Carolyn Haynes—appear to be at the height of their powers, captivating both as songwriters and performers.

Also worthy of that praise? Openers (also Philly’s) Soul Glo—Pierce Jordan, GG Guerra, TJ Stevenson, Winston Hightower—proved even more captivating than their recent NPR Tiny Desk appearance where the audience was moved to mosh. To see both bands in such an intimate space was a treat.

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Despite the January temperatures in Cleveland, it was a steamy night at the Grog Shop, as a sold-out crowd sandwiched together to see alt-country noise band, Wednesday.

The Asheville, NC band—consisting of members Karly Hartzman, Jake Lenderman (a.k.a. MJ Lenderman), Xandy Chelmis, Ethan Baechtold, and Alan Miller—have gained a whole new audience following the release of their awesome, critically-acclaimed, 2023 album, Rat Saw God. They gave the crowd a heavy dose of it, along with an excellent, show-opening cover of Edie Brickell & New Bohemians cover, “Ghost of a Dog,” as well as some previews of tracks from their next album.

The visceral “Bull Believer,” my personal favorite from Rat Saw God, inspired some guttural screams and crowd surfing. They conclude their winter US tour with Brooklyn’s Hotline TNT (who I unfortunately missed) mid-month and immediately head to New Zealand, Australia & Japan through March. Catch them in a smaller venue while you can.

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There are several high production pop artists who know how to put on a jaw dropping show. Beyoncé, Taylor, Gaga, Adele, and Billie are just a few of the powerhouse performers touring on the regular. We are truly blessed.

But there’s only one pop star who can flip and twirl on a rope from the ceiling while singing; who performs acrobatics while bungee jumping from the rafters; who will quite literally fly above you while belting a power ballad. It’s P!nk.

P!nk brought her massive Trustfall Tour to Cleveland last Wednesday. An ecstatic crowd at Rocket Mortgage Fieldhouse watched in awe while P!nk and her entourage of incredible dancers and musicians dazzled. Aside from stunts, P!nk cracked jokes, expressed her gratitude to her fans, and enjoyed some Twizzlers, which she adamantly asserted are better than Red Vines to laughter and protests from Red Vine advocates.

The US tour continues through November before heading to Australia and New Zealand in February.

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For the 27th and final time of their 50-year career, glam metal pioneers, KISS gave Cleveland a pyrotechnic, hard rock extravaganza like only they’re capable of doing.

The night was as one would expect from KISS—an over-the-top stroll down memory lane full of tongue wagging, hip shaking, and pelvic thrusting. The KISS Army was especially enthralled by the occasional stage stunts, including puffs of fire, rising stages, and a war with aliens won by Tommy Thayer’s dual-threat guitar, which served as both a shred machine and a firework-spraying gun.

The Starchild, The Demon, The Spaceman, and The Catman conclude their End of the Road World Tour in New York City at Madison Square Garden in early December. So if KISS is on your concert bucket list, you better get on it!

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This year, beloved underground hip hop genre-benders, JPEGMafia and Danny Brown, teamed up for a joint album and a co-headlining tour.

To our delight, they included a stop in good ol’ Cleveland at the Agora Ballroom. The show was cleverly divided into segments, with the two sharing the stage to perform songs from their Scaring the Hoes collaboration before mini solo sets featuring some of their individual hits.

As anticipated, it was a high energy show, and one that made me wish I had even 2% of JPEGMafia’s stamina. The youthful crowd was elated and sang along, moshed, and crowd-surfed themselves into a sweaty, happy frenzy. The tour concludes at the end of the month, but here’s hoping there’s more to come from these two.

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