Category Archives: TVD Los Angeles

Greetings from Laurel Canyon!

I beg your pardon / I never promised you a rose garden / Along with the sunshine / There’s gotta be a little rain sometime / When you take you gotta give so live and let live or let go / Oh-whoa-whoa-whoa / I beg your pardon / I never promised you a rose garden

I beg your pardon. I believe it’s spring! It’s sunny out, but this morning was cold as fuck. Speaking for southern Californians, “we’ve had enough.” Spare us the fools and bring back our sunshine. After all it’s April fools—a little spare change and sunshine…be nice.

Last night I dragged Susan out on a frigid evening to attend the LA opening of King Pleasure, an art show/ experience of the work and life of the late Jean-Michel Basquiat. I’m grateful to have known Jean. Over the years, I’ve always had mixed feelings about “poor Jean,” and often used the “saga of Jean-Michel” as a reference to give artists advice.

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On a chilly Sunday night in the City of Angels, Theory of a Deadman, Skillet, and Saint Asonia joined forces and collectively blew the roof off the iconic Wiltern Theater on their final stop of the 2023 Rock Resurrection Tour. While different in many respects, each band brought their own unique brand to the stage and wowed the near-capacity crowd for three full hours of mind-blowing rock and roll mayhem. Needless to say, this one lived up to all the hype and ended up being one of my favorite live shows this year.

Kicking off Sunday night’s show was a super-group out of Toronto called Saint Asonia. Featuring ex-Three Days Grace singer Adam Gontier and former Staind guitarist Mike Mushok, with Cale Gontier on bass and Cody Watkins on drums, the quartet immediately kicked it in to over drive with a short but powerful set for the 30 minutes they had on stage. Highlights were a few Three Days Grace covers, “Never Too Late” and “I Hate Everything About You,” along with my favorite of the evening, “Let Me Live My Life.” A solid set for sure and a band I definitely want to dig into more in the weeks ahead.

Next up was Skillet, and I was pumped to catch these cats live for the very first time. Husband and wife duo John Cooper (bass) and Korey Cooper (rhythm guitar) were joined on stage by powerhouse Jen Ledger (drums) and Seth Morrison (lead guitar) for a 14-song set that highlighted in spades why this band is so amazing.

From the moment they launched into “Feel Invincible,” it was evident that this band loved playing together as each had smiles from ear to ear from the get-go. Their stage presence was incredible and it oozed out in songs like “Comatose” and “Monster.” Final song, “The Resistance” was by far the most powerful of the set, and by that time had everyone screaming along with fists in the air as their time came crashing to an end. Can’t wait to see Skillet again soon—they were 100% the real deal.

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PHOTOS: DANIEL GRAY | Examining a post-punk dystopian landscape with all the appropriate trimmings: working-class suffering, government failings, and the compounding existential dread facing us all, Detroit’s Protomartyr took over downtown Los Angeles’ Teragram Ballroom on a rain-drenched Wednesday night. Out on tour in support of their pandemic release Ultimate Success Today (2020), the venue set in a seedier part of town was the right place for the dissonant power rock four-piece.

LA-based opener Immortal Nightbody, the moniker of rapper/ singer/ producer Sim Jackson, brought in an unusually large crowd eager to see the cross-pollination of rap and dark wave, two subversive genres in their own right. By the time Protomartyr opened with the dark bass and airy surf rock of “Maidenhead,” the crowd had uncomfortably swelled as frontman Joe Casey yelled at us, “Don’t feel nothing for anyone, Don’t feel no love for anything,” their post-apocalyptical sphere taking shape.

Greg Ahee (guitar), Scott Davidson (bass), and Alex Leonard (drums) alongside Casey, referred to as one of the great punk poets of our generation and the band’s “Drunk Uncle,” barreled through Protomartyr’s 16-song set. Casey held a beer in one hand, and microphone with a poetic style baritone—often compared to The Fall’s Mark E. Smith—in the other for the entire night.

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Greetings from Laurel Canyon!

Fake tales of San Francisco / Echo through the air / And there’s a few bored faces at the back, all / Wishing they weren’t there / And as the microphone squeaks / A young girl’s telephone beeps / Yeah, she’s dashing for the exit / Oh, she’s running to the streets outside / “Oh, you’ve saved me”, she screams down the line / “The band were fucking wank and I’m not having a nice time”

I’ve always loved a Brit singing about a destination he/she’s never been to. That crop of turn of the millennium UK dreamers (Alex Turner, Gomez, Badly Drawn Boy, Turin Brakes, Malcolm Middleton etc.) are an easy go-to on a cold, rainy afternoon.

This week will be remembered for an unmistakably “British” rain. Dark, moody, with a chill that you can feel through the floorboards.

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PHOTOS: JULIA LOFSTRAND | Sharon Van Etten celebrated Tramp’s 11th, not 10th, Anniversary at the Troubadour in Los Angeles this past Sunday. Not wanting the album’s milestone to be buried by her album released last year, We’ve Been Going About This All Wrong, the show sold out within minutes upon which she released live stream tickets with all proceeds going to the Turkey-Syria Earthquake Relief fund.

Neil Young played his first debut solo show at the Troubadour, an unknown Elton John played eight shows there that launched his career, and Sharon Van Etten, one of the great modern indie-folk artists of our time, continued this iconic venue’s legacy.

Adriana McCasim was a fitting opener for the night. Spatial and anxious, her self-produced songs were a perfect subtle prelude. Shortly afterward, Sharon Van Etten and her band were greeted on stage by fervent applause that turned deathly silent as the brooding instrumentals of Tramp’s opening track “Warsaw” collided with her timeless voice. “Warsaw,” followed by “Give Out” and “Serpents,” is a most haunting piece of album sequencing.

Van Etten released the video for “Serpents” only just last month. Not feeling comfortable in her own skin, she killed the video upon its release—it’s one about an abusive relationship that decimated her sense of self and spawned many of her songs. Since then, she’s fallen in love with the right person, had a child, and gone back to school to become a therapist. The raw emotion of that song and what it has taken for her to step into her power radiated into the audience.

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Queensrÿche’s show on Sunday night was anything but ordinary. They dug deep into their war chest and dazzled fans with a 16-song set consisting of new material, classics, and some deep cuts rarely heard live. With support from guitar virtuoso Marty Friedman and thrash metal legends Trauma, the show went down as one of my favorite top to bottom bills in years. If you can catch the Digital Noise Alliance Tour in your town, do so. All three bands are simply brilliant.

I’ve been following Queensrÿche since the early ’80s and have seen every incarnation of the band live in some way, shape or form. With only a few remaining originals in the current line up—Michael Wilton on guitar and Eddie Jackson on bass—one could think the band was nothing more than a glorified cover band at best. This couldn’t be further from truth. With Todd La Torre on vocals, Casey Grillo on drums, and Mike Store on rhythm guitar, Queensrÿche is continuing to push its boundaries with fantastic new music and live performances that are second to none.

Opening up Sunday night’s festivities were Bay Area thrash metal legends, Trauma. Outside of Kris Gustofson on drums (an original member of the band formed in 1982), the remaining lineup—Steve Robello on lead guitar, Brian Allen on lead vocals, Michael Spenser on bass, and Casey Trask on rhythm guitar—are fairly new to the line-up but lend their musical talents well to Trauma’s amazing legacy. My favorite tracks from a quick opening set included “From Here to Hell,” “Walk Away,” and “Death of the Angel.” While an interesting add to this tour, their intense performance captured fans from the first note and never let go.

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Greetings from Laurel Canyon!

Well, I never paid the rent / And I never paid no telephone bill / And I ain’t never had a job / And I’m glad and I hope I never will / But my mom yesterday / She asked me how I was doin’ / I said I’m pretty good / But I don’t know if I’m gonna eat today / I don’t know if I’m gonna eat today / But I’m gonna try… / I’m gonna try, try, try… / I swear to God, I’m gonna try…

My perception of time is warped, or the world is spinning at a vicious rate. Likely both. Many of us seem to be hanging onto the rails for our lives. The view from this “ferris wheel” we’ll call “023,” is beautiful but treacherous. Personally, I try to be heathy but as the day gets long I look for treats.

I do often start the day with oatmeal. It warms my soul on cold winter mornings. So does a voice, or a line from a song.

This week’s Idelic Hour started with a crate of records I compiled a few weeks ago. Funny, most of those discs remain unchecked as I’ve opted to play an assortment of new releases mixed with an odd, a sod, and a nod to Dixi D, and fond memories of playing in bands.

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After two full hours of insanity courtesy of The Flaming Lips, it immediately became clear how incredibly talented this band actually is. From unicorns in the audience to inflatable robots on stage, Wayne Coyne and company left it all on the table in front of a near-capacity crown at the House of Blues in Anaheim on Tuesday night. The Flaming Lips performance was a psychedelic whirlwind to say the least, and ultimately left fans yearning for more when the show finally came to a crashing halt. This show was trippy, strange, and probably one of the most incredible live performances I have seen in years.

Make no mistake, I have gone to thousands of concerts over the years and have seen just about everything—small clubs, large arenas, costumes, flames. You name it, I’ve seen it. Well, that premise was turned on its head on Tuesday night when I covered my first Flaming Lips show. I was told walking in there was no opener, I’d get to shoot the first 6 songs, and to be ready for, well, the unexpected. Little did I know that this show would be more than just a bit unexpected, it was flat out wild.

Opening with “Sagittarius Silver Announcement,” lead vocalist Wayne Coyne kicked off The Flaming Lips’ set inside an 8’ transparent ball. Fans against the rail went absolutely crazy as he crooned and swooned to the beat while massive cannons blasted confetti into a now rabid audience. Flanked by dual drummers Matt Duckworth Kirksey and Nicholas Ley (both with fluorescent green hair, I might add), Coyne mesmerized the crowd from inside of his ball as he launched into “Silver Trembling Hands.” The remainder of the band, including Steven Drozd (guitars), Derek Brown (keys), and Tommy McKenzie (bass), immediately kicked into overdrive and never looked back across a 21-song, two hour acid trip of sorts.

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Greetings from Laurel Canyon!

Hold on, when the train is moving / through the sound of change / And tell those boys back in town / that there will be a call / Oooo train is comin’ on / Oooo train is comin’ on / A train is comin’ your way / and it sounds like, / just like a chase straight through the season / or why not through your heart / It makes us see the strength that / surrounds us in all / our failures / Just like the train in the film Doctor Zhivago

Years ago I took a job doing A&R for Richard Branson’s label V2 Records. Often people ask me about signing the White Stripes to the label. I often fondly tell them the story of meeting Swedish singer Nicoali Dunger and his manager Per.

I was asked by Mercury Rev to meet Nicolai while he was in LA and arranged to meet him at Hugo’s on Santa Monica Blvd. I drank coffee and talked fast. They smiled, nodded, and said “Ya, ya, ya.” At some point they gave me a CD. I remember liking the cover and flipped it over to view the track listing.

“You have a song called “Doctor Zhivago’s Train.”

They smiled. “Ya, ya, ya.”

“No, that’s a really cool name for a song.”

“Ya, ya, ya.”

“I’m actually going to listen to this.”

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In front of a hometown, Santo-infused crowd, Sammy Hagar & The Circle rolled into Agua Caliente on Saturday night and set the place ablaze with an 18-song set that captured the pure essence of Hagar’s legendary 50+ year career. It was, to say the least, a masterclass in rock’n’roll courtesy of Hagar, Michael Anthony, Vic Johnson, and Jason Bonham. Each were in rare form and delivered what many Redheads considered their finest live performance in years. With no signs of slowing down any time soon, Sammy Hagar & The Circle proved once again to another sold-out crowd that “There’s only one way to rock!”

I’ve been following Sammy Hagar since I was a teenager. He’s a local legend in the Inland Empire (he’s a Fontana native) and has always gone out of his way to ensure his hometown fans are well taken care of. That said, I’ve seen him countless times over the years and have never (and I mean never) seen him phone in a show or bring less than 100% to a live performance. Saturday night was no exception, and in front of a sold-out arena at the Agua Caliente Casino, Sammy & The Circle brought the heat once again.

Opening up on Saturday night was Andrew Hagar & The Midnight Suns. While the name should sound familiar (yes—he’s Sammy’s son), this band is not a novelty act by any means. Instead, it’s a killer quartet comprised of insanely talented musicians: Andrew Hagar (vocals), Joey Ariemma (guitar), Gregg Cash (bass), and Devin “The Sack” Lebsack (drums) who live and breathe the very music they play. This high-octane crew is 100% bad-ass and whipped up the Palm Springs crowd into a frenzy with a killer eight-song set list compromised of new releases, some older original tunes, and even a few covers courtesy of Stone Temple Pilots and Alice in Chains. Their set alone was worth the price of admission, and am looking forward to how high their star will rise in the not-so-distant future.

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Greetings from Laurel Canyon!

Life is a wheel that drives me mad / Trying to find my way / Life is a wheel don’t know where I’m bound / Sometimes I’ve had to say

Where can I hide / Where can I hide / Where can I hide / When so many times I’ve failed

Growing up Jewish, an offspring of the “old country,” and a touch privileged in New York City, I have eaten at the The Russian Tea Room many times. It was often said often said that the Tea Room’s Chicken Kiev was better than the best in Kiev. The Tea Room was simply one my favorite fancy restaurants growing up. After my high school graduation, the Sidels dined there for lunch. I have never been to Russia or Kiev. From the look of things, I likely never will?

On occasion I do pop by Grandma’s Russian Deli in Studio City for the most authentic and excellent borscht and chicken. Borscht is a winter routine I developed at Teresa’s in New York’s lower east side. The day I stumbled into Grandma’s, the woman who runs the spot was very flirty and intrigued. She took no time in talking to me in her tongue, curious about my heritage and delighted by my request for black bread and a greasy patio pastry to go with my soup.

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With nearly 50,000 fans in attendance over a glorious three-day weekend, concertgoers from around the world made the pilgrimage to Cali Vibes to bear witness to musical royalty such as Snoop Dogg, Jack Johnson, and Rebelution.

Seasoned with amazing food, tasty drinks, and near perfect weather, the festival skyrocketed to a whole new level in the heart of LBC courtesy of Silverback Music and Goldenvoice. From its humble beginnings in the shadow of the Queen Mary to its new home at Marina Green Park, Cali Vibes has quickly catapulted itself from a small regional reggae event to one of the premiere outdoor music festivals in the US. Take it from me, this is one event you will want to circle on your calendar for years to come.

I’ve been fortunate to attend the Cali Vibes festival (and its predecessor One Love) since its humble beginnings in the parking lot of The Observatory OC in Santa Ana back in 2016. It’s evolved greatly since that time and has quickly become one of the premiere music festivals in the US, regardless of genre. I’ve attended countless shows and festivals over the years, s0 it’s easy for me to validate the claim as I’ve been to the majority of these events nationwide. Silver Back Music and Goldenvoice pull out all the stops to ensure fans are treated to the very best Long Beach has to offer, and 2023 Cali Vibes was no exception.

As a Long Beach resident, I was a huge fan of moving the festival to Marina Green Park from Harry Bridges Memorial Park next to the Queen Mary. Parking is plentiful in downtown Long Beach and it’s a short walk down Pine St. to the festival entrance. With enhancements to online ticketing—along with a streamlined check in / security process—entry to the festival was a snap.

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Greetings from Laurel Canyon!

Pretty little something crawling out of a bed it barely can climb / We could stick to something safe and low but no, the thing has set its mind / We’ve been waiting in our prime / So superior, do we mind? / You wear the leather in the streets / Another leather in the sheets

Don’t hide your kids, the walls won’t go / It’s not Berlin or Jericho / Don’t hide your kids, the walls won’t go / It’s not Berlin or Jericho

Baby, your shoulder’s better than knives / Your shoulder’s better than knives / Your shoulder’s better than knives / Baby your shoulder’s better than knives / Your shoulder’s better than knives…

Never have I seen it snow in LA. Yesterday, Mulholland Drive hit 39 degrees and hail balls were a-flying! The result was a “slushy snow day.” Yet another freakish reminder about this crazy planet.

For god sake, keep those toes, fingers, and ass warm and…

If you’re curious to hear what’s new in 2023, check this week’s Idelic set of mostly new releases.

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The OGs of thrash metal just took it to a new level on Sunday night at City National Grove in Anaheim. With support from Black Label Society and Exodus, Anthrax destroyed their 12-song set in front of another sold-out crowd for what arguably may have been their best live performance in years. Scott, Charlie, Frank, Joey, and Jon put on a clinic for Anthrax faithful, and by doing so reaffirmed their rightful spot atop the altar of metal.

I love myself a solid metal show. While there are many to choose from, few are able to deliver live in ways that leave fans literally unconscious after a full night of moshing. On Sunday night, Anthrax rolled into town in support of their 40th Anniversary Tour and did just that in front of a capacity crowd. Joined by the legendary Black Label Society and Exodus, the three bands tag teamed to provide a killer night of metal mayhem that won’t soon be forgotten.

First on the docket we’re none other than the Bay Area’s very own, Exodus. While drummer Tom Hunting is the only original member of the band (circa 1979), there is no dropoff in quality when surrounded by metal icons: guitarist Gary Holt, vocalist Steve “Zetro” Souza, bassist Jack Gibson, and guitarist Lee Altus. These legends were straight fire, showcasing their ballistic wares with an abbreviated set including “Blood In, Blood Out,” “The Toxic Waltz,” and my favorite, “Strike of the Beast.” Taking a quick breather after this set, I was crushed by the power of Exodus and still to this moment have a ringing in my ears that won’t go away.

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Greetings from Laurel Canyon!

I want a Sunday kind of love / A love to last past Saturday night / And I’d like to know it’s more than love at first sight / And I want a Sunday kind of love / Oh, yeah, yeah

I want a, a, a love that’s on the square / Can’t seem to find somebody / Someone to care / And I’m on a lonely road that leads to nowhere / I need a Sunday kind of love

I do my Sunday dreaming, oh, yeah / And all my Sunday scheming / Every minute, every hour, every day

Oh, I’m hoping to discover / A certain kind of lover / Who will show me the way

Solomon Burke proclaimed it, “everybody needs somebody to love.” It likely came out of of the psyche of co-writer Burt Berns. The morning before Valentines Day, I had such thoughts, so I dipped by Sweet Lily, a local french bakery snuggled at the base of the canyon, and bought a raspberry tart for both Susan and Jonah.

Love songs are so great because they are often so simple but so deep. As I get older, I tend to think more about love songs the days after Valentines than the days before.

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