The Devil Wears Prada Turn Back the Clock for Anniversary Tour

The Devil Wears Prada have been a part of my life for over a decade, first as a kind of scene-core guilty pleasure and later as a band that expanded my heavy music palate. Attending the 10th anniversary tour for the band’s third studio album, With Roots Above and Branches Below, serves as a reminder of how far the band has evolved and how much I still enjoy those cheesy early moments.

I remember hearing Mike Hranica’s shriek of, “I know a ghost!” followed by the br00talist of breakdowns while attending Warped Tour in 2009, thinking this was what heavy music was supposed to sound like. In a matter of two years, the band’s Zombie EP and Dead Throne would make tracks from With Roots Above sound silly. Even so, revisiting the album leading up to the show and witnessing the anniversary tour itself reminded me how much fun these songs really are.

Fit for a King

In support of the tour, Prada brought along noise rockers ’68, featuring Josh Scogin, formerly of The Chariot and Norma Jean, and Fit For a King, another metalcore act currently five albums deep into a run with Solid State Records, the new home for The Devil Wears Prada. Both set the table well for a night of guttural screams and bass-heavy breakdowns.

After a five song introduction, which includes the band’s recent cover of Julien Baker’s “Sour Breath”, Prada kicks into Roots. What I’m first struck by is how fun it is to sing along to these songs, particularly guitarist/clean vocalist Jeremy DePoyster’s parts. Midway through opening track “Sassafras”, the crowd joins as a choir for Depoyster’s lines of, “What should we ask for? Who should we turn to / If all we know is burning bridges?” It’s a wonderful blast from the past and a delightful preview of what’s in store.

The Devil Wears Prada

Indeed, the crowd is invested and involved, especially for tracks like “Dez Moines”, “Danger: Wildman”, and even the band’s softest track, “Louder Than Thunder”. Each of the album’s 11 tracks features at least one moment that brings the crowd alive – a clear signal of what makes an album special 10 years after its release.

While it’s true that the band would never write parts like the goofy keyboard interlude on “Big Wiggly Style” or default to such cringeworthy song titles post-2009, With Roots Above and Branches Below still serves as a time capsule, marking the moment when The Devil Wears Prada stood atop the scene. Their later work would explore the boundaries of modern metalcore before investigating more ambient and experimental rock sounds, pushing them beyond the Warped Tour crowd and placing them amongst new peers.

It’s almost hard to believe that the band I remember discovering as a group of hungry teenagers is now six full length albums and two EPs deep into their career. While I’ll never hesitate to dive into whatever The Devil Wears Prada releases, I’m grateful for a night allowing me to travel back to an album I had largely written off, forgetting that sometimes it’s okay to head bang to a silly breakdown with a smile on your face.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Jukebox the Ghost Jumpstart the Fun in Indianapolis

In college, when I became president of a student organization, I needed to collect around 75 phone numbers. To make the process of adding contacts less monotonous, I asked each member to send me their name and their favorite song of the moment. I listened to every song that was sent to me and responded with my thoughts; I had a lot of really fun conversations about music and made some new friends. Right away, though, the members of this organization knew two things: I like music, and I like to talk about music (good things to know, in all honesty).

And that is how I discovered “Girl” by Jukebox the Ghost.

Jukebox the Ghost

I was so excited to see Jukebox live. Their recent performance at The Hi-Fi in Indianapolis was a scream-every-word, dance-along, feel-good show; overall, a show I would return to again and again. I love Jukebox for their old-meets-new pop sound. They use keyboard settings that sound exactly like a classic piano, which feels both nostalgic and fresh in a sea of electronic-only pop.

The beginning of “Jumpstarted” is a perfect example; the huge keyboard build of the first 30 seconds culminates in a dance-worthy beat and high-flying vocals. Ben Thornewill (vocals and piano), Tommy Siegel (vocals and guitar), and Jesse Kristin (drums and vocals) tag-teamed noteworthy performances of “Everybody’s Lonely”, “Postcard”, “Time and I”, and “Stay the Night”. I wouldn’t say JukeBox’s lyrics are particularly groundbreaking, but the songs are so catchy. In my opinion, that combination makes great pop music.

It was fun to see a band doesn’t take themselves too seriously. While Jukebox has a discography that could easily fill entire set, they opted to cover some really fun songs. From Electric Light Orchestra to Shania Twain, I was always on my toes and had a great time dancing along. I particularly loved when Jesse, the drummer, stepped out from behind the kit for a cover of “Havana” by Camila Cabello.

Jukebox’s humor and self-deprecation was also a highlight of the show. The keyboard was out of tune, causing the band to restart mid-song at one point. Ben forgot a few lyrics during the encore; he took an audience suggestion of “Victoria” instead. The band members took all of these bumps in stride. It was refreshing to see them laugh and banter during a show in a way that’s not robotic, a risk of some long-term tour shows that can come off a little scripted late in the run.

The Greeting Committee

I also have to give a huge shout out to the opener, The Greeting Committee. I saw them live in Cincinnati about a year ago, and I was absolutely blown away by how much they have improved as musicians. I really appreciate the bands that don’t rest on their laurels, continually working to bring a better sound and show to the audience. Brandon Yangmi’s riffs were spot on and Addie Sartino voice brings an almost grungy, rough-around-the-edges sound.

While it did not make this particular setlist, my favorite song by The Greeting Committee is “Someone Else”. Judging by their newest single, “Don’t Go”, I would definitely recommend keeping an eye out for their new album dropping at the end of this year.

by Katie Baird

kiel_hauckKatie Baird is a lover of music that firmly believes transitions between songs on playlists matter, albums are made to be listened to in order, and songs that don’t mention the title in the lyrics are just *better.” Her music obsession began with classic rock records and has evolved to include all genres, with a soft spot for alt pop. While she could talk about music all day, this is her first time writing about it.

A Night with Paramore on the After Laughter Tour

I have a concert bucket list. This may not be a surprise to anyone, but it’s true. Bands like Turnover, Pianos Become the Teeth and Switchfoot all made the cut and have been successfully crossed off. The band at number one? Paramore.

I’ve been unsuccessful in catching a Paramore show ever since I can remember, but I finally made it. I have now seen virtually every band I’ve ever wanted to see except for bands that are no longer active (My Chemical Romance *sigh*) and the new bands I find and become obsessed with (Off Road Minivan). I’m hoping to catch a Death Cab show later this year.

I don’t really know why I had never made it to a Paramore show. They’ve played Boston plenty of times since I’ve gotten into them but I’ve just always missed it. Usually it’s because of other shows or, if I’m being honest, because ticket prices are sky high. Well, June 20th rolled around and my schedule was free and tickets were approximately $35 (which, when Paramore is involved, is basically free). So I drove two-and-a-half hours to Gilford, New Hampshire, with lawn tickets in hand, prepared to have the best night of my life.

Soccer Mommy and Foster the People were the opening bands, but as stated above, the long drive caused me to miss Soccer Mommy and most of Foster The People’s sets. I got my ticket scanned to the sultry bass tones of “Pumped Up Kicks”. While we were waiting for Paramore to start playing, we heard through the pavilion grapevine that they were upgrading tickets for free. Instead of our lawn tickets, we ended up finding seats closer to the stage to watch Hayley and Co.’s set.

Paramore was incredible. Their concert experience is legendary, akin to fellow Fueled By Ramen acts Twenty One Pilots and Panic! at The Disco. Don’t know what that label is doing, but whatever it is, it’s right. Paramore opened with “Grudges” from their latest full length, After Laughter. It set the tone wonderfully and it was almost tear-jerking to hear Zac Farro, prodigal drummer returned home, sing the background vocal, “Why did we wait so long?” to Hayley’s reply of “To stop holding on”.

The setlist was a really great range of old and new tracks. Noticeably missing, per the usual post-2015, were any tracks from their first album All We Know Is Falling. A highlight was a re-imagined version of “crushcrushcrush”. I actually texted Kiel while they were playing it, saying they’d “After Laughter-ed” it. It had less of the punk sound and they added some 80s synths, which brought a cool new feel to what must be, at this point, an overdone track for the band to perform.

The acoustic portion housed another great set of choices. They played their BBC One cover of Drake’s “Passionfruit”, then “Misguided Ghosts” from 2009’s Brand New Eyes, and finished with “26” from the new album. It was, in a word, poignant. A lot of After Laughter’s songs are full of heavy content, and even though they disguised that aspect with energetic music, it was hard to ignore the evident pain Hayley feels when singing “Forgiveness”.

Another interesting choice was the addition of “No Friend”. This was a spoken word track on After Laughter performed by Aaron Weiss of mewithoutYou. Paramore used it as both a jam session and a water break and it was basically epic.

There were several traditions that were kept. One was Zac’s performance of one of his side project songs, which is definitely worth checking out. The other was the choosing of audience members to finish “Misery Business”. These were things I’d only heard about and they were just as wonderful in real time. The band had a three song encore and ended with the lead single from After Laughter, “Hard Times”.

In short, it was the best night of my life. Completely worth the wait, but I left wondering why I hadn’t just gone for it sooner. I can’t wait until they come around again.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

The Unmatched Urgency of Underoath on No Fix Tour

Before last week, I’d never set foot in Fort Wayne, Indiana, and although my sightseeing while inside city limits was minuscule, it did offer an opportunity to keep things fresh. My attendance at the No Fix Tour represented my 8th time seeing Underoath live, now in six different cities.

I say this as a biased fan, but also as someone who has now attended more concerts that I can easily recount: Underoath consistently puts on one of the best live performances on the planet. Their latest stop at Piere’s Entertainment Center, a relatively nondescript mid-sized venue in the middle of Indiana, was still cause for wonder and respect, even after all these years.

Underoath

Even aside from my own fan-boy outpouring, the spectacle of Underoath’s live performance is well documented. What often seems to go unspoken is their ability to stack the bill. Over the years, I’ve seen Underoath bring along bands like As Cities Burn, Every Time I Die, mewithoutYou, letlive., Saosin, The Devil Wears Prada, and the list goes on. The build-up to the main event is always worth watching.

The No Fix Tour once again provides a fresh group of faces for Underoath fans. Limbs, Veil of Maya, and Dance Gavin Dance all provide a worthy warm-up for heavy music fans with a diverse set of sounds. The early rounds are truly won by Dance Gavin Dance, a band in the midst of their own renaissance, ready to drop a new album this year as they roar into their second decade.

PODCAST: Listen to our interview with Chris Dudley of Underoath on the band’s No Fix Tour

Yet, once again, Underoath has a way of making the lead-up feel pedestrian as they take the stage to flashing lights, shadowy synthesizers, and scattered images flashing across the screen behind them. When Spencer Chamberlain takes the mic, unleashing the opening screams of “On My Teeth”, pandemonium ensues.

Underoath

What makes this latest trek for Underoath so exciting is the potential for exploration. The band’s Rebirth Tour focused on two albums from 2004 and 2006, while this current tour celebrates the release of Erase Me while still making room for tracks from other albums like Lost in the Sound of Separation and Ø (Disambiguation). The night is structured around new tracks, but is littered with fan favorites and unsung tracks from the past.

For a band so tied to the nostalgic memories of fans, it’s a treat to watch the crowd sing along to new songs like “Rapture”, “No Frame” and “Bloodlust”. Even unexpected performances of tracks like “A Moment Suspended in Time” and “Paper Lung” elicit delight from the crowd. For a band with such a deep well of diverse tracks to draw from, it makes every performance fresh and exciting, no matter how many shows you’ve attended.

While it’s true that golden oldies like “Writing on the Walls” and “Reinventing Your Exit” still steal the show, there’s no denying that this new incarnation of Underoath is moving forward. Their shows consist of polite nods to the past coupled with a renewed energy to expand their sound and their audience – all while playing with a sense of urgency that is unmatched by their peers. I don’t know about you, but I think it’s going to be a while before I tire of seeing Underoath live.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

 

The Contagious Joy of Echosmith on Inside a Dream Tour

There’s just something about watching someone do something they truly love that’s genuinely rewarding. It brings a smile to your face and fills your heart. It’s familiar and it can even instill you with confidence about yourself and your own aspirations. That’s the feeling I got watching Echosmith on stage at Old National Center in Indianapolis last week.

Even without a promised new full-length, Echosmith has managed to maintain the steam they generated in late 2013 with single “Cool Kids” and the success of their debut, Talking Dreams.  Last year’s promised new album turned into an EP titled Inside a Dream, which may have been one of the most overlooked releases of 2017, harnessing the band’s charm with the introduction of well-executed synth-pop.

Echosmith

With those new dance beats now in their arsenal, Echosmith’s live performance has morphed into a therapeutic party of excitement and release. As the band took the stage to “18” from their recent EP, singer Sydney Sierota’s smile lit up the room. The band, consisting of siblings Sydney, Noah, and Graham, parted with their eldest brother Jamie in 2016 when he stepped away to care for his newborn. In his absence, the band has carried on without losing a step on stage.

Despite their early success, it’s these unheeded new tracks that steal the show in the band’s live performance. Yes, it’s easy for onlookers to sing along to Talking Dreams tracks like “Let’s Love’, “Terminal”, and “Bright”, but fresh performances of “Future Me”, “Get Into My Car”, and “Hungry” breathe excitement into the crowd. The best moment of the night includes a stirring performance of “Goodbye”, complete with exploding balls of confetti that rain down on the bouncing congregation.

Echosmith

The tracks on Inside a Dream succeed in tackling the frustrations of youth, regret, and heartbreak while operating atop sparkling synth sounds akin to 1989 or the latest release from PVRIS. It’s a juxtaposition that harkens to the band’s early days while providing a look at what it means to say goodbye to your innocence.

All of this is what makes the smile on Sydney’s face as she sings such a joy to watch. At one point during the evening, she asks the crowd who came to the concert alone and invites those nearby to put arms around their shoulders and sway to the song. It’s a communal experience, which makes sense, because Echosmith has continued to so confidently convey what it means to grow up. Does it hurt at times? Of course. But there’s something to be said for finding comfort in those that journey alongside you.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Underoath: Hiding in The Subterranean

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Underoath, appearing in Chicago for a secret show to celebrate the release of their new album,Erase Me, brought with them a day of sacrifice. Freezing temperatures and strong winds mocked those waiting outside The Subterranean for hours for one of the few entrance wristbands, and then again later in the evening just to get inside. However, the effort to make it was rewarded with a short, intimate set with the band that couldn’t have happened any other way.

Small, dark and doing its best to look like a basement, The Subterranean is a small venue. The stage rises just above the crowd and leaves little room between the performers and their fans. It is a perfect venue for cutting out the negative space as much as possible. For those in attendance, it was hard earned.

“I got here around eleven this morning to get a wristband, and the line was already back here,” one guy said as he pointed to the entrance of a Starbucks down the street from the venue. A particularly cold gust of wind caught everyone off guard, but he just shook his head at us. “It was colder this morning.”

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For all of their effort, Underoath appeared and rewarded the crowd of 200 with a short, brutal set. With the audience leaning directly on the stage, vocalist Spencer Chamberlain figuratively, and then literally, stood on top of them.

The secret show was a reward for the diehards. Starting with “On My Teeth”, the 40-minute set traded singles off of Erase Me (“Rapture”, “No Frame”) with some of the most popular songs of old. Announced as dedication for their older fans, Underoath jumped straight into “It’s Dangerous Business Walking Out Your Front Door” and “Reinventing Your Exit”. “Writing on the Walls”, the only song from Define the Great Line closed out the evening.

Keyboardist Christopher Dudley traded smiles with the crowd. Guitarists Timothy McTague, Grant Brandell and James Smith bounded with what limited movement they could muster on the tiny stage. Aaron Gillespie, hidden in dark and masked with fog and shining lights threw all of his energy into decimating the drumset.

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Short, sweet chaos.

For fans, spending the day waiting was worth it. Everyone seemed abuzz with how amazing it had been, all whispers of the cold long forgotten. “I waited 15 years to finally see them,” said one person waiting to retrieve their coat, “I can’t imagine a better way to have seen them for the first time.”

There is an excitement that swallows fans when a band reunites that wraps them in nostalgia. But the energy that follows a new release is something else entirely. If the excitement they showed Chicago to be in full motion once again is any indication, the future of Underoath is promising a lot of great things to come.

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by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and got into a Secret show. He is officially cool. Don’t take that away from him…. Please?

Tonight Alive Level Up on Get Free Tour

If you read my review of Tonight Alive’s latest release, Underworld, you’ll know that I thought it was fantastic. It’s poignant, energetic, and everything I was looking for. When they came to Boston, I knew Tonight Alive was a band I wanted to experience up close and personal.

The Get Free Tour started at the beginning of February, and Boston was one of the last dates of the tour. There were four bands in the lineup: Picturesque, Broadside, Tonight Alive and Silverstein.

Tonight Alive

The night actually flowed pretty well, with only about 10 minutes in between sets. I moved around the room a little bit to try to get a better view of the stage (Paradise Rock is set up weirdly) and did manage to find a good spot. Broadside is a band I was excited to see, as their 2015 release Old Bones was a summer favorite of mine. The crowd was into the set, but frontman Ollie Baxter’s attitude and stage presence distracted from the band’s performance, similar to Picturesque’s set before them.

As Tonight Alive took the stage, the band’s progression from a young, scrappy act to seasoned professionals that have come into their own became clear. The band showcased the balanced, energetic stage presence that comes with experience – moving as one unit with everyone equally playing their part.

Tonight Alive

If there was ever a doubt that vocalist Jenna McDougall can sing, it only took their acoustic version of “Oxygen” to dispel the myth. Tonight Alive were high energy and McDougall  really engaged with the crowd. She was attentive to the other guys in the band and the friendships between them seem strong and genuine.

One thing I really appreciated was how McDougall used the entire stage. It’s not a big stage and doesn’t cover the entire length of the floor, but she was intentional in making sure everyone, from the left side of the stage to the balcony, was having a great time and felt like they were part of the experience. She used the time in between songs to drive home a message of freedom and self-esteem.

Tonight Alive

As a newer fan of Tonight Alive, I wasn’t quite as connected with the band as older fans are. They played a lot of tracks from their older albums. I assumed that the majority of the set would be from Underworld, but that wasn’t the case. Each song flowed well and it was evident that they were diligent in choosing their setlist. I chuckled upon realizing that McDougall appeared to have the lyrics to Lynn Gunn’s verse in “Disappear” written on her hand.

Having to sit through the opening sets to get to Tonight Alive’s awesome performance was totally worth it. I hope I can catch them again when they come around, because their energy is completely infectious. The ideas of empowerment and the ability to change the world by changing our thought patterns are so important in today’s culture. Tonight Alive deserves every bit of acclaim they’ve received.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Neck Deep Take “The Peace and the Panic” on the Road

Neck Deep have been on my concert bucket list for a while now and I finally got to check them off. They’re one of my favorite bands, and every time they’ve come to my area, I’ve been busy. So when they took The Peace and the Panic tour to The Palladium in Worcester, Massachusetts, I got tickets as soon as I could. I wasn’t missing out this time. So far, this is the best show of 2018. (It’s only the second I’ve gone to so far, but let’s forget about that for a little while, guys.)

The show opened up with Creeper, and like Neck Deep, they’re from the U.K. I listened to them a little bit on the way to the show and I liked the fact that the lead vocalist’s voice was so unique. A lot of times, I feel like punk music can be a bit sonically redundant, but the lead singer has such an original vocal style that I can’t mistake a Creeper song for a song by any other artist. I experienced my first circle pit during their set, so that was mildly frightening, but interesting, nevertheless. A fun fact I learned about this band is that they’re on Roadrunner Records, the same label that used to host the meme-famous Nickelback.

Creeper

Next of the four bands was Speak Low If You Speak Love, who were the self-professed “mellow” band on the tour, but they still held their own. They were also the only band from the U.S. on the tour. Unfortunately, I spent most of the show in the merch line, but I actually thought it gave me a better idea of what the band sounded like live. A lot of times I’m focused on being close to the stage, which definitely muddies the sound, and it was kind of nice to have a fully cohesive idea of each band’s style. They released a new album a couple of weeks back called Nearsighted. They played a seven song set, four being from the new album. I’d strongly suggest everyone check it out, as I love the sound of it.

Speak Low

Finally out from the endless merch line, I slipped back into the crowd for Seaway. They’re from Canada, which anyone could guess from the fact that they have a song called “Keep Your Stick on the Ice”. Seaway continued the opening excellence with a fantastic set, proving once again: Always get to the show early, kids. You never know where your new favorite band is hiding. The band’s energy was great, they sang a lot of (what seemed to me) classics from their discography, and really enjoyed their time on stage. I love to see that authenticity from a band, it really helps me get into it regardless of whether I know the band or not.

Finally, after waiting for a long time, Neck Deep got on stage. For their set-up, they covered the stage in a huge white sheet, to provide an air of mystery, I suppose. They played what could only be called an explosive set. It was totally worth the wait to see them in an indoor venue, rather than at Warped or another festival like that. It’s more personal and there are less distractions.

Neck Deep

They opened with “Happy Judgement Day” from their latest album, then proceeded to play a well balanced mix of their new and old stuff. They also played “December” from their 2015 release, Life’s Not Out to Get You with the full band, rather than the original acoustic recording. They released the full band version on a deluxe version of that album, but I was surprised that they played it that way. I figured it would be the start of the inevitable acoustic part of most of these shows. They ended up playing “Head to the Ground” acoustically, a song with a chaotic and angry original recording. I thought it was a cool twist.

Something I really liked about The Peace and the Panic is how mature it is from a lyrical standpoint. Both Ben Barlow (lead vocals) and Fil Thorpe-Evans (bassist) sang “Wish You Were Here” and you could’ve heard a pin drop. The moment felt so genuine, the crowd waved lighters in the air instead of cell phones. The band took the opportunity to talk about mental health and how their hope as a band is to help people see the value in their lives. It was a really wonderful time and something that’s much needed in the alt scene.

They played a two song encore and ended the show with “Where Do We Go When We Go”, which was honestly the perfect song to end such a great show with. It was high energy and the final track on the album, so it tied everything together nicely. It was a great night and I hope I’ll get the opportunity to see them live again.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

The Killers Take “Wonderful Wonderful” on the Road

I’ve never been a huge fan of The Killers. It’s not to say that I have anything against them, I just never found a spot for them in my library. Other than their magnum opus, “Mr. Brightside”, and a few other tracks, I’ve never really delved into their discography.

That being said, I was hanging out with some friends recently and they were telling me about how they were going to Boston to see the band that evening but that one of them had backed out and that there was an extra ticket. They asked if I wanted to go and I agreed. Their latest album Wonderful Wonderful was released in September of last year and was announced to be the final album from the band, so I figured it was now or never.

The opener they chose for the tour was a gentleman named Alex Cameron. He has writing credits on a few of the songs from Wonderful Wonderful. Even though that album is great, I didn’t think Alex Cameron was anything to write home about. Granted, I’m very picky when it comes to music. He has an 80’s pop vibe, and, even though that’s a genre I’ve been exploring more and more lately, Alex Cameron’s take on it didn’t appeal to me.

The show started a bit late so I know he probably had to cut a few songs from his setlist. The only song that really stood out to me was the final song he played, titled “Marlon Brando”. It featured a super cool saxophone solo that brought a bit of interest to what was otherwise a strange set. Alex Cameron is better on his recordings, so if you’re inclined, he also released an album in September of last year called Forced Witness.

Next up were The Killers. Since it was the Wonderful Wonderful album tour, it was only fitting that they open with the title track. My concert buddies and way-bigger-fans-of-The-Killers-than-me discussed at length whether they’d play the conch shell sound at the beginning of the show and I regret to inform anyone excited by that prospect that they did not. I thought it was a strange opener as it’s more of a mellow track, but I suppose when you’re Brandon Flowers you can play whatever the heck you want.

Each Killers album was pretty well represented during the performance. They mostly played songs from their first album, Hot Fuss, but I didn’t complain because that meant I knew a few more songs. They chose an interesting theme, stage-presence wise. Brandon Flowers’ piano was encased in what appeared to be the Mars symbol and the three female back-up singers’ mics were encased in the Venus symbol. The backup singers were a fantastic touch; really talented ladies, but not at all what I expect from The Killers. I guess I still think it’s 2005 and expected to find Brandon Flowers wearing guyliner or something. Oh well.

The setlist was really well put together and shows just how long they’ve been doing this. They played a lot of fan favorites and deep cuts, and even played my favorite song, “When You Were Young”. Brandon then stated that it was, “time for them to go to New York City,” and went to leave the stage, accompanied by protests from the crowd. Naturally, they came back and played “Mr. Brightside” and my night was made. It was an impressive set and I’m glad I took the opportunity to experience it. The tour ends in July in Paris, France, so you’ve got plenty of time to make it to a show.

After arriving home at 1 a.m. the next morning, I saved all of their albums and plan on listening to them chronologically and truly educating myself. I’m a real fan of The Killers now, folks.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

mewithoutYou Celebrate 15 Years of “[A→B] Life” on Recent Tour

If I had to describe mewithoutYou’s recent stop in Cambridge, Massachusetts, in one sentence, it would be this: “Come watch Aaron Weiss shred the flowers taped to his mic stand while he screams the lyrics to ‘Gentleman’.” I watched their stagehand come through with a bouquet and duct tape in between guitar tuning and soundcheck. I smiled and thought about how sweet it was, not even realizing how insane their set would be. This show was my first experience seeing mewithoutYou and I was not disappointed. All three bands that played were full of raw energy and talent.

The first band to take the stage was Slow Mass. Based in Chicago, they are one of the most talented opening acts I’ve seen this year. The energy they exude is completely infectious. I love seeing a band interact with one another on stage; I love a band who is in touch with all of their members, equally. The bassist stood out for her intricate and unique playing, as well as for her use of subtle vocals. Their second song, “Dark Dark Energy” especially displayed their creativity and originality. I never wanted their set to end.

Slow Mass

I feel like bands choosing support for their tours have been more intentional and considerate, and it has paid off. Some of the best bands I’ve heard have been opening acts and it thrills me to see newer bands going on the road with bands who are seasoned and getting to watch today’s opening bands grow into their sound and eventually become tomorrow’s headliners.

I typically grab my merch before the show so I was all set by the time Slow Mass took the stage. Needless to say, I made another purchase after their set and let the band know how impressed I was. (Seriously, look them up – you won’t be disappointed). They’re loud and heavy and drove their sound forward in a way that really ignited the crowd and got us into the mood for the rest of the night.

The next band was Pianos Become the Teeth. I saw them perform in 2015 with The World Is a Beautiful Place and I Am No Longer Afraid to Die and I was so excited to see them play again. Their last album, Keep You, really resonated with me when I first heard it and I enjoyed getting to hear those songs live again. They also played a new song, “Charisma”, and that got me even more pumped for their 2018 release, Wait for Love. They really brought the show into a quieter spot with a lot of their setlist, mostly tracks from Keep You, which was a bit of a break when compared with Slow Mass.

Naturally, the whole reason the Sinclair was full was because of mewithoutYou. A band full of mystery and the topic of whimsical legends, I was excited to see how they’d bring that persona into their stage presence. They played their album [A→B] Life in its entirety, in honor of the 15-year anniversary of its release. The album is known for its heavier sound; I could hear the strain in Aaron Weiss’ voice as he yelled out the lyrics and it brought a new perspective to why they pulled back on a harsher vibe in their later releases.

mewithoutYou

There was actually a date on the tour where he lost his voice and they had to play the whole album acoustically. That was not the case, however, for this particular show, and the crowd was full of energy and raw affection for both the band and the songs that we’ve all been enjoying for a decade and a half.

Everyone around me stopped moshing after the band finished playing [A→B] Life and stood with rapt attention to the stage as Aaron and his brother Mike played the acoustic, hidden track version of “I Never Said That I Was Brave”. Aaron then stayed on stage alone with his acoustic guitar and played “Chapelcross Towns” and “Goodbye, I!” I’ve never heard a venue so quiet before. It was truly a lovely testament to just how much respect mewithoutYou garners. The rest of the band then returned and played five more songs from their discography, my favorite being “Torches Together”.

It’s truly special to be able to go to shows and spend the evening with people who are there with you to celebrate a musical milestone. mewithoutYou has been such a steady musical influence and it was a privilege to be able to experience an album that is still relevant 15 years later.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.