Beautiful people are queuing to drown / They wait for the lifeguard to put on his crown / But he’s up at the other end of town / Trying to talk to the mirror / The scientist talks and he knows what he means / He sits on the floor and has beautiful dreams / Then he gets brought down by a woman who screams / But he knows it’s only a record¡ oh yes it is
A song for insane times? Huh? I guess whatever you say.
My grind towards spring continues. Kid Jonah made it back safely from Coachella to pitch well on Tuesday. So life is as good as it can be. Oh, and I made it out to see Bar Italia at Fonda Theatre last night. These days I’m not used to standing with a thousand people to watch a band. From the NY Dolls to Fugazi to Led Zeppelin I’ve seen ’em all. What made me want to add Bar Italia to that list? Italia’s debut album was one of the sparks of 2023.
Happy to report that so did many cool kids made the scene. There was even a nice touch of rock ‘n’ roll fashion in the crowd. The band has room to grow live. but they finished off last night’s gig strong.
The stars were aligned at the Observatory OC as heavy metal’s iconic frontman, Bruce Dickinson, delivered a performance that will be etched forever into the collective memory of an electrified audience. With a 16-song set that reached back to his early solo years and extended to his latest creative endeavor, The Mandrake Project, the show was a whirlwind of passion and nostalgia. Pound for pound, this was one of the most amazing live metal performances I have seen in years and it’s not even close.
From the opening notes of “Accident of Birth” to the final crescendo of “The Tower,” Bruce Dickinson reigned supreme. It’s not every day you witness a legend redefining the space with an ageless voice that pierces through genre and time. Plowing through a 16-song setlist, fans bore witness to arguably one of the best metal shows performed in Orange County in years.
My favorites from the night included “Chemical Wedding,” “Gods of War,” and “Darkside of Aquarius.” However, the zenith of the night came during a cover of Edgar Winter’s “Frankenstein”—Bruce leaped in front of a stand-up drum kit, adding a raw and primitive beat that transported the crowd to a place where music interfaces with the primal soul. Unbelievable.
The over-capacity crowd was an echo of Bruce’s vigor, matching his energy with raised fists and choral sing-alongs. Every lyric, every riff, reverberated through the hall in a mutual exchange of adoration and performance mastery. Bearing witness to such synchronicity drove home the certainty that we were part of something truly singular. Personal sensations bordered on the surreal—the intimacy of the small concert environment contrasted against the towering onstage presence. With Bruce at the helm, the experience transcended the auditory; it was exhilarating, to spiral momentarily into the realm of living legends.
PHOTOS: CHRIS LOOMIS | On a chilly April evening at The Coach House in San Juan Capistrano, a sense of nostalgia enveloped the sold-out crowd as they gathered to witness a rock revival led by the Tom Keifer Band and opening act Michael Olivieri. The clamor and excitement in the legendary venue were palpable from the first riff to the last echo of the encore. It was a night filled with energy, excitement, and most importantly kick ass rock and roll by one of the best bluesman to ever pick up a 6-string.
Opening the night, Michael Olivieri, best known as the founding member of the band Leatherwolf, took the stage with a notably unplugged ambiance accompanied by KK Martin on second guitar. Over a 40-minute set, Olivieri revisited the roots of rock, churning out vocals that intertwined seamlessly with the duo’s acoustic guitar harmonies. The audience, a mix of rock purists and casual fans, responded with zeal to the stripped-down renditions of classics, setting the stage for an evening where the timeless allure of rock took center stage.
Following suit, the Tom Keifer Band exploded into their 90-minute performance, boasting an impressive 16-song set that saw the band dazzling a now full house. The band, led by the resounding voice of former Cinderella frontman Tom Keifer, showed impeccable on-stage chemistry. Anchored by the formidable performances by Savannah Keifer, Tony Higbee, Billy Mercer, Jarred Pope, Kory Myers, and Tanya Davis, the group demonstrated that the spirit of rock ‘n’ roll is still alive and thriving in South Orange County.
Tom Keifer’s grasp over the audience throughout the evening was unyielding. Not just content to command the stage, Keifer ventured out into the crowd—twice—melding barrier and performer. His earnest declaration that The Coach House “rocks harder than most GA venues” found favor among devoted followers, cementing a bond well beyond the music.
I call up my friend the good angel / But she’s out with / Her answer-phone / She says she’d love to come help but / The sea would / Electrocute us all / Nice dream / Nice dream / Nice dream / Nice dream
Hopefully this new moon is treating you well. Some say the year is just beginning. Or is it ending? While I try and clear my head, a new generation is headed out to the California desert for Coachella.
Ah, those were some fun days in the sun. Hope you set your intensions and enjoy the music.
Jenny said / When she was just about five years old / You know why parents gonna be the death of us all / Two TV sets and two Cadillac cars / Well you know, it ain’t gonna help me at all, not just a tiny bit / Then one fine mornin’ she turns on a New York station / She doesn’t believe what she hears at all / Ooh, she started dancin’ to that fine fine music / You know her life is saved by rock ‘n’ roll, yeah rock ‘n’ roll
Despite all the computations / You could just dance / To that rock ‘n’ roll station / And baby it was alright (it was alright) / Hey it was alright (it was alright)
Just got back from a week on the east coast with family. It’s been over two years since I’ve ventured home. I came back to hang with my mom, sister, and see my daughter off to work in Paris.
I must say it was hard “getting out” of LA. I feel like the pandemic has given me some kind of travel phobia. I really just don’t want to travel, and I must say “traveling” last week was a drag. Luckily I stuffed my wheele with warm clothes. I even brought my trusty USB microphone to cut last week’s show. It was nice to smell a hint of the change of seasons, but saw no green leaves and couldn’t get an Idelic Hour out for Good Friday.
At the Anaheim House of Blues on March 27th, the deafening roar of metal fandom echoed as Queensrÿche and Armored Saint delivered a show that could only be described as a commanding call to metal arms. With the “Origins” tour, these two monumental bands proved that their legacy is not etched in history books but is alive, searing through our era with undiminished fervor. Pound for pound, this killer performance was definitely one of my favorites this year and it wasn’t even close.
From the moment Armored Saint took the stage the energy was electric—palpable in every chord strike that ushered us “Over the Edge.” A flawless performance of the timeless “Can U Deliver” had the crowd singing every heart-racing riff, while “Reign of Fire” lived up to its name, engulfing the venue in a spirited blaze of head-banging ecstasy. John Bush’s relentless energy ricocheted off the walls, invigorating the crowd that had forsaken any notion of a quiet weekday evening. This set was special, and highlighted why Armored Saint is so beloved by so many, all around the world.
The seamless transition to Queensrÿche encapsulated the essence of an evening steeped in metal glory. Todd La Torre’s impeccable vocals, ringing out with the gravity of “Queen of the Ryche,” cemented the night’s epic status. It was sonic alchemy when they performed “Take Hold of the Flame,” each note sparking memories yet forging new ones in the crucible of the present. Perhaps the pinnacle for me was “Roads to Madness,” where in that spectacle, time seemed to stand still, the audience and band locked in a tableau of mutual admiration cast in shadow and light.
The rich tapestry of Queensrÿche’s set moved from strength to strength, a fierce reminder of the power of live music. The dark and shadowy lighting played counterpoint to the vibrant throwback visuals, setting a backdrop that was both nostalgic and tantalizingly current, highlighting that the songs off their self-titled EP and The Warning have weathered the ravages of time, defiant in their relevance. This is where it all started for Queensrÿche, and the sounds are just as impressive now as they were when these albums were originally released over 40 years ago.
KMFDM, the pioneers of a genre known as “Ultra Heavy Beat,” recently set the Belasco theater ablaze with an electrifying show that will undoubtedly go down as one of the best in 2024 (and we are just getting started). On Sunday the 24th, a nearly sold-out venue bore witness to the explosive synergy between band and audience as fans swarmed the frontlines early on to secure a vantage point into the electrifying world that would soon be unchained. It ended up being a show for the ages and solidified KMFDM’s status as one of the most influential and resilient bands on the planet today.
The anticipation for KMFDM’s show on Sunday was tangible as dedicated followers, clad in their industrial uniform of black boots and propaganda tees, lined up hours before door time. Once the music finally kicked in, it was clear that neither the band nor the audience were going to hold anything back in the City of Angels. From the opening chords of “All 4 1” to a killer 5-song encore, the crowd was a sea of unbridled enthusiasm, singing along to every lyric, moshing in the pit, and reciprocating the band’s dynamism with unflagging zeal.
Throughout the evening, monumental tracks like “Hyena,” “A Drug Against War,” and “Megalomaniac” became anthems for the KMFDM faithful with the band delivering them with their hallmark ferocity. Sascha Konietzko’s foundational vocals coupled with his electronic wizardry immediately whipped the crowd into an irreversible frenzy that could not be stopped. Then layer in the powerhouse guitar performance of Andee Blacksugar and Andy Selway’s precision on drums, and a conjured force was unleashed that took immediate command of the theater.
When she said, “Don’t waste your words, they’re just lies, ” I cried she was deaf / And she worked on my face until breaking my eyes, and said, “What else you got left?” / It was then that I got up to leave, but she said, “Don’t forget / Everybody must give something back for something they get”
I stood there and hummed, I tapped on her drum, I asked her how come / And she buttoned her boot, and straightened her suit, and she said, “Don’t get cute” / So I forced my hands in my pockets and felt with my thumbs / And gallantly handed her my very last piece of gum
As the first month 2023 spins us around and around into February, I’m asking myself, “I am just just fucking with myself”? At times I’m like Bob Dylan fucking playing games with his audience, save my audience is just in between my ears.
It’s likely best not to think too much and enjoy a few songs, and dig on another beautiful day here in our canyon. Mid 70s sunny and clear?
Serving up a hearty dose of nostalgia, British rock band The Kooks took to the Hollywood Palladium on Thursday night to celebrate the 15th anniversary of their hit album, Inside In/Inside Out.
Warming up the crowd while effortlessly gaining a new group of fans, fellow UK rock band The Vaccines played an opening 17 song set covering their 14 year discography. Groovy and familiar yet fresh, it’s hard not to picture their tunes as the soundtrack to a summer’s day with a cold libation in hand. Opening for an impressive list of bands including The Rolling Stones and Red Hot Chili Peppers, the four-piece band is now going on their own headlining tour across Mexico, Australia, and Europe. With the audience amped up and ready to go, it was time for the headliners to take the stage.
Formed in 2004, The Kooks have maintained a certain boyish, small town charm despite reaching mammoth levels of success. “We made it to Hollywooood!” lead singer Luke Pritchard exclaimed at one point, thanking the crowd for their support.
Despite over a decade having passed since Inside In/Inside Out’s release, the packed house was more than happy to travel back in time for the night. From “Seaside” to “She Moves in Her Own Way” as well as a peek into their newer tunes with “Closer” off their 2022 album 10 Tracks to Echo in the Dark, the journey across decades proved a reprieve from reality.
After nine days I let the horse run free / ‘Cause the desert had turned to sea / There were plants and birds and rocks and things / There was sand and hills and rings
The ocean is a desert with its life underground / And a perfect disguise above / Under the cities lies a heart made of ground / But the humans will give no love
You see I’ve been through the desert on a horse with no name / It felt good to be out of the rain / In the desert you can’t remember your name / ‘Cause there ain’t no one for to give you no pain / La la la la la la…
La la la la la la La la la la la la. I’m driving through the canyon. Maybe I’ll head south or to Texas for SXSW? Likely Santa Calrita chasing baseball dreams.
Spring is trying to break. Clocks have pushed and birds are chirping. Although these days are indeed strange, we’re gonna drive like hell, reciting positivity and making new friends.
I don’t understand, I am afraid of me / No one gave me boundaries / They always said that I was free / I just need someone to get a hold of me / Tell me where I’m going wrong / Tell me I’m the special one
So I should come into your life? / Come into your life / Come into your life / Stay a little while / Stay a little while with me / Learn a useful lesson / Before I fly
All my love letters sound like T. Rex songs / “To my dear old self, I’ll ride a white, white swan” / All my love letter’s sound like T. Rex songs / “To my dear old self, I’ll ride a white, white swan”
We’re fighting a wicked cold bug in the canyon. Slept through last week’s deadline. It’s been wet. Very wet. Strange times. Despite having to bid farewell to some, we’re making new friends. Birds and bees are buzzing around and frogs have moved into our backyard.
Did you know “frog-speak” refers to the vocal communication used by frogs for various purposes like mating calls, territorial disputes, and distress signals.
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.
LONG BEACH, CA | Nestled within the vibrant and sprawling festival grounds of the Cali Vibes festival in Long Beach, the Boomyard stage emerged as a pulsating heart for reggae purists during an incredible 3-day event. While diverse sonic experiences ebbed and flowed across the festival’s expansive stages (The Vibes and The Greens, to be specific), Boomyard upheld the glorious traditions of roots reggae, offering an authentic, undiluted vibe that was both nostalgic and freshly invigorating. For many in attendance, the Boomyard stage’s uniqueness was the highlight of the festival, and the performances solidified it as one of the most incredible parts of Cali Vibes in 2024.
The Boomyard stage played host to a bevy of artists who championed the spirit of reggae, infusing Long Beach with the soul of Kingston. Protoje, with his lyrical prowess, enraptured the audience, invoking a sense of unity and consciousness reflective of reggae’s golden era. Stonebwoy brought an electrifying energy that had the crowd swaying to the rhythm of his beats, while Krossfayah’s set was a masterclass in blending classic reggae soundscapes with contemporary flair.
Close behind these towering performances were the bright sparks of talent that ignited the stage’s truly unique atmosphere. Acts like Eli-Mac, Karbon, and BLVK H3RO infused the venue with their raw, vibrant energy, signaling a promising future for the genre. The young Kailash earned his stripes among the reggae titans with a memorable performance, while Mystic Marley continued her family’s legacy, weaving her unique voice into the tapestry of sounds that her forebears helped popularize globally.
The atmosphere around Boomyard spoke volumes about its distinctiveness within the Cali Vibes Festival. It was where traditional Jamaican reggae fans found their sanctuary; a congregation of people mirroring the consistent rhythm of the music with their unwavering engagement. Euphoric roars harmonized with the beat drop as the audience cherished every note played. This one stage captivated the essence of reggae culture, fostering an infectious energy that was excited, rooted, and incredibly engaged.
LONG BEACH, CA | Overlooking the rolling waves of the Pacific, the Cali Vibes festival in Long Beach unfurled its sonic tapestry on President’s Day weekend in what could only be described as a colossal celebration of rhythm and community. With a lineup that read like the who’s who of reggae, hip-hop, and rap, the festival drew crowds of 50k+ per day, creating a pulsating mosaic of sound against the LBC’s serene beachfront. Headliners for the 3-day event included Stick Figure, Slightly Stoopid, and Ice Cube along with a special performance on Saturday night from Gwen Stefani.
The Cali Vibes festival, a veritable celebration of reggae music and culture held in the heart of Long Beach last weekend, was an experience that transcended the ordinary. This event not only showcased an exceptional lineup of artists but also created an atmosphere of unity and positivity that resonated deeply with every attendee. The festival perfectly encapsulated the spirit of California—vibrant, diverse, and undeniably cool. From the pulsating rhythms echoing through the air to the throngs of people swaying in harmony, the Cali Vibes festival was an unforgettable immersion into the soulful world of music and one that attendees would never forget.
Cali Vibes typically brings in a “who’s who” of musical diversity and talent, featuring an array of both renowned and emerging artists. The festival boasted performances from reggae, rock, hip-hop, and afrobeat genres, offering the audience a rich and eclectic musical experience. The crowd was treated to sets from big names like Gwen Stefani, Slightly Stoopid, and Sean Paul. In addition, the soulful melodies of Stick Figure and Iration, as well as the infectious beats of Shaggy and Sublime with Rome, contributed to the vibrant atmosphere. Notably, Ice Cube, The Pharcyde, and The Roots also graced the stage, while Protoje and Kabaka Pyramid’s danceable hits left the Boomyard audience in awe. Here are a few of my favorite performances:
Damien and Stephen Marley: Damien and Stephen returned to The Vibes stage with their reggae roots, infusing the beach air with positive vibrations and profound messages encased in their legendary lyrics. Their embodiment of the spirit of reggae was a poignant reminder of the Marley legacy, lifting up festivalgoers with tracks both old and new. Their amazing set was hands down my favorite performance of the weekend.
WORDS AND IMAGES: DANIEL GRAY | It was a rainy Sunday night in downtown Los Angeles, but that didn’t stop Porno For Pyros from setting The Belasco on fire. (Figuratively, of course.) The packed house was there to see the group in what was billed as their farewell tour: Horns, Thorns, En Halos. Even though it was touted as such, it was a joyous occasion. Before the show, smiles could be seen on everyone’s faces all throughout the venue in anticipation as to what was to come.
Porno For Pyros brought along two opening bands (both three-piece) that were appreciated by the audience and seemed to fit The Belasco well. The first was Los Angeles-based, Glossy. They describe themselves on Instagram as, “3 smelly mfs scarin Karens on the west coast.” Next up was Tigercub from Brighton, UK. Jamie Stephen Hall, vocals and lead guitar, James Allix, drums, and Jimi Wheelwright, bass, were a bit more melodic than the opener and had the crowd ready to go for the headliners.
But let’s face it, the crowd was on hand to see Perry Farrell on vocals, Peter DiStefano on guitar, Mike Watt on bass, and Stephen Perkins on drums. They burned through (another fire pun) a sixteen-song set with most coming from their two studio albums. Rounding out the band on stage were touring keyboardist Robin Hatch and backup singer Etty Lau Farrell (Farrell’s wife). Farrell entered the stage with a bottle of red wine in his hand and while he took periodic swigs, this wasn’t a wine sippin’ type of show.
The alt-rock veterans brought the energy, the groove, and the power. Farrell was in fine form and voice. DiStefano showed his range whether it was using a bow on the opener, “Orgasm,” or wailing on “Meija” right after. Perkins laid down beats that propelled the band the entire night. Even sitting down, Watt thundered on bass in a way that matched the stormy evening outside.
