Category Archives: TVD Los Angeles

The Cruel World Festival, held at Brookside at the Rose Bowl on May 11th, was a time machine back to the golden era of ’80s goth and new wave, encapsulating the essence of a musical revolution that has remained influential to this very day.

From the moment the gates opened, it was clear that this wasn’t just a festival; it was a pilgrimage for the devotees of a sound that defined a generation. My generation. A crowd estimated at 50,000+ brought with them an infectious energy, creating a festival atmosphere that was nothing short of magical in the shadow of America’s stadium. But at the end of the day, it was Al Jourgensen and his band Ministry that stole the Cruel World spotlight on Saturday. Their performance was one for the ages featuring a rare setlist that most likely won’t be repeated on any stage ever again.

The 2024 lineup was a dream come true for fans, with performances by iconic acts such as Duran Duran, Blondie, Soft Cell, and Interpol. Each band brought their unique flavor to the stage and wowed fans traveling from all parts of the country and beyond. Duran Duran’s electrifying performance had fans dancing to hits that have become anthems, while Blondie’s timeless cool and Interpol’s brooding melodies ensured the festival’s energy never waned. Then sprinkle in a touch of Marc Almond and Soft Cell, creating a Non-Stop Erotic Cabaret at Cruel World and a party not to be missed.

However, the festival’s highlights didn’t stop with the headliners—quite to the contrary. Ministry’s throwback setlist, featuring tracks from With Sympathy and Twitch, was a rare treat for fans as most of these gems had not been played live since the early ’80s. From “Work for Love” to “Effigy (I’m Not An)” to “Revenge,” most were in pure darkwave heaven the entire set. We even got to hear “(Everyday Is) Halloween” which was one of my favorite dance tracks as a teenager (and I song I NEVER thought I’d hear (or photograph) live. Wow. Pound for pound, Uncle Al and Company put on what I believe was the best overall performance of the Cruel World festival, bar none.

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Greetings from Laurel Canyon!

Pack my bags and leave my home / Find me a mama who can hold her own / This whole town is laughing and don’t I know it

I don’t know but I can guess / That you’re the only one that I have left / This whole town is laughing and don’t I know it / Oh, don’t I know it

Over the years I seem to do less and less themed Idelic Hours. I didn’t give Mother’s Day a thought until last week’s show was cut and Sunday arrived. The day was pleasant enough. I talked to my mom. She’s 88 years old and doing so well. After all these years we pretty much “relate,” and I love her so for her wisdom and grace.

After all not everyone has it so easy with their mom. All said, it reminded my of my love for songs about “mamas.” It’s never too late to drop a few oldies into a mix of mostly new female artists.

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WORDS AND IMAGES: CHRIS LOOMIS | The 5th annual BeachLife Festival took over Redondo Beach for a three day celebration of music, art, and beach life culture. The 2024 edition of BeachLife included headlining sets from Sting and Incubus as well as performances from Seal, ZZ Top, Devo, Dirty Heads and many more. BeachLife curates its performances with an eclectic grouping of artists who span everything from rock to indie pop, country, new wave, punk, reggae and everything in between which makes for one of the premier festivals in the state of California.

Set up with four stages strategically placed throughout the festival grounds, the Hightide and Lowtide stages cater to the larger well-known acts, the Speakeasy stage allows for intimate acoustic performances from punk legends and indie artists while the Riptide stage mixes established artists and up and coming acts. What makes BeachLife standout amongst festivals is the Hightide and Lowtide stages NEVER overlap performances, and each artist gets a full 60 minutes on stage so you don’t have to make those tough decisions on what artists to watch and which to miss.

In addition to bringing top live musical acts to fans, the festival gives back to the community by partnering with nonprofit organizations in the area as well as offering multiple levels of VIP options, special culinary choices while dining side stage, galleries with art created by members of the music community, beautiful SoCal beach scenery, games, shopping and the opportunity to say “I was there” . . . what’s better than music on the beach.

While the weather was partly sunny and mild on Friday and overcast on Saturday, Sunday was plagued with high winds which ultimately forced the festival to shut down early (about 5:30PM) as dangerous wind gusts kicked up forcing Fleet Foxes, Trey Anastasio, and Sunday’s headliners My Morning Jacket to not play their respective sets—an unfortunate situation for paying fans and the bands, but safety first always wins.

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Greetings from Laurel Canyon!

Back to nature / A trip that I can’t take / People are thinking / That they’ve dreamed of this place / Back to nature / It was somewhere else / Back to nature / Right back on top of yourself

Woke up to a beautiful morning in the canyon. In the music business, no news isn’t always good news. Shit is still happening and I’m happy to report I’m in the mix.

This week’s Idelic episode is my mid-May report. Old friends and new friends are releasing cool new songs. I adore the new Jessica Pratt album. Lias Saudi, Justin Warfield, and Chris Goss released new songs.

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Greetings from Laurel Canyon!

If you need someone to talk to tenderly / Or lend a hand and help you on your feet / Don’t you know I live right up the street

All you have to do / All you have to do / All you have to do is speak your mind

I love obscure songs. This Marc Benno tune is gem. All ya have to do?

For this week’s episode I choose a very cool cover that brought back fond memories. After all it was Record Store Day. I love a great record cover and I have several hanging on my walls. I’m not exactly sure these “objects” mean so much.

What I do know is nothing in my life has prevailed in my possession longer than an album. Alice Cooper was the first rock concert my parents let me go to. It was fucking killer.

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Greetings from Laurel Canyon!

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.

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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.

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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.

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Greetings from Laurel Canyon!

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.

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Greetings from Laurel Canyon!

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.

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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.

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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.

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Greetings from Laurel Canyon!

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?

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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.

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Greetings from Laurel Canyon!

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.

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