Concert Review: Bring Me the Horizon

By: Xochitl Hansen

With great excitement I clutched my ticket as the venue security scanned my ticket, you see, I had been waiting for eight hours for doors to open. When a tour with such a line up comes to where you live, you simply do not miss this. After having security successfully scan my ticket,  I rushed into the venue and claimed my place at the barrier. With what only seemed like a minute - but happened to be an hour- the house lights went out and fog filled the venue, and with that the opening band took the stage.

Pvris

Having never seen them perform live, I was weary about seeing them. Though, the moment every single piece of the band kicked into full gear and Lynn Gunn's vocals came through the house speakers, I was blown away. The amount of passion that was pouring from every single member of Pvris was fantastic.   Though the set was only seven songs, they played fan favorites such as 'White Noise', 'St.Patrick', and 'My House'.  The night started calm, but Pvris was the best way to kick off the night.

Issues

Other then main headliners of the night Bring Me The Horizon, Issues was defiantly a band I couldn't wait to see. Having see them earlier the year when them came through Austin, Texas with All Time Low on the 'Future Hearts Tour' I knew there performance would not be bad! After a quick set change and a few extra minutes of bad house music, the lights lowered as the audience was shown Issues stage set up or 'backdrop'. The new backdrop Issues was displaying was delightful, having a southern feel it had everything from a dart board to a deer head!` As red and green stage lights began to display the full stage, Issues came out from the back with full force heading into the first song of the night 'Stingray Affliction'. As the set progressed and they played fan favorites such as 'Love Sex Riot' and finishing the nine set song off with' Hooligans', the crowds energy just increased to no end. By the time the band was about finished with their last song, the crowd was in full fledged concert mode as everyone didn't want the band to stop performing, but new it only meant we were that much closer to seeing the band of the night,Bring Me The Horizon.

Bring Me The Horizon

Now. the last time I caught Bring Me The Horizon (BMTH) was back in 2013 on the American Dream tour as they co headlined with rockers Of Mice and Men. Though, sadly, that time I was unable to make it through their set as I had broken my ankle seven songs in. So,this time I was going to redeem myself, plus enjoy their full set and I surely did. With a wonderful electronic background the smoke filled the stage the guys of Bring Me The Horizon rushed straight into the of the night and the first song of their hit album 'That's The Spirit'  Doomed. Not wasting a moment every single member of the crowd was off their feet and moving like it was their last night on earth. The energy in the venue was unreal, between the extremely active crowd and the non stop emotion being poured into any and every action the band did you could tell Bring Me The Horizon grew greatly as musicians. Comparing to the performance they gave back in 2013 to the shows performed in 2015 the effort, emotion, and passion shows that the ups and downs the members went through as singular people and together as band have molded them into the prime musicians we see today.As the night rolled the crowded continued to live on, a highlight of the night was when a double amputate man continued to crowd surf all through out the duration of BMTH's adding the the energy of the show. Play songs such as Happy Song, The House of Wolves, Shadow Moses, and even Throne. Add in more smoke machines, a large amount of confetti, and a few rounds in the pit  Ending the set on a high note, their encore was a older fan favrotie Blessed With A Curse and recent one Drown Last but not least, I personally ended the night with 2/3 set lists from the bands on the evenings bill- Bring Me The Horizon & Issues-  and a drumstick from Matt Nicholls.

Concert Review: The Foo Fighters with Royal Blood

Bands: Royal Blood and The Foo Fighters

Location: Citi Field in Corona, NY

Date: Wednesday, July 15, 2015

Written By: Emily Racanelli

Throne of Heart and Habit: The Foo Fighters

         

“That’s one of the great things about music. You can sing a song to 85,000 people and they’ll sing it back for 85,000 different reasons.” This statement by Dave Grohl has never held more true than at a Foo Fighters concert. Crammed into Corona, NY’s Citi Field on a weeknight in July were 40,000+ people, all from completely different walks of life. You have your fare share of families, parents with young children who couldn’t get a babysitter, and kids wearing NY Mets jerseys just looking for something to do on a summer night. On the polar opposite side, there are the middle-aged women adorning black leather vests, eager to relive the part of their life that came before kids and 9 to 5 schedules. These older patrons use this night as a rare opportunity to show off that small tattoo on the back of their neck that they got at 18 when they felt rebellious. All in all, it is a chance for self expression: come as you are.

Most of the concerts I go to make me feel like a kid again, packed into a club with Xs on the back of my hands, bumping elbows with angsty teens coated in colorful hair. When it came to the Foo Fighters show however, I was left feeling as though I hit a mid-life crisis before I can even legally rent a car. With the exception of a few toddlers, I was the youngest person in the crowd, singing along to Queen and AC/DC covers with adults desperate to hold onto the music they grew up on.

As I took my seat on the field level, I gazed out to the general admission floor to see the rowdy 40 year olds head banging to the opening act, Royal Blood. (Now of course, head banging was more than I expected to see--wouldn’t want anyone to throw out a hip!) Hailing from the U.K., the duo consists of just bassist/singer Mike Kerr and drummer Ben Thatcher. If you were to combine the classic and simple element of the White Stripes with the charisma and enthusiasm of Twenty One Pilots, you’d have Royal Blood. It’s a huge stage to fill with just two bodies, but they do it well and captivate the crowd for 40 minutes. The most intriguing element is the way Kerr is able to transform the bass into a lead instrument. Thanks to the assistance of a bass amp, guitar amp, and some foot pedals, Kerr gives the 4-string lownote-provider the punch and distortion of multiple electric guitars. If you didn’t know, you’d assume he was playing a guitar. To the majority of the crowd situated a lightyear away in the upper deck, it would take some serious convincing to prove that it is indeed a bass guitar doing the work of several leads and a rhythm. Tricks like this are what give hope to the future of rock music. You only have two guys in your band? Shell out the cash for a bunch of foot pedals and replicate a full ensemble; there’s always points awarded for creativity!

Creativity might be an understatement when it comes to Dave Grohl’s onstage setup. For anyone whose has been without internet/cable for the past few weeks, you might be unaware of a little accident that happened during a Foo Fighters concert in Sweden. Fear not! In the middle of the set, Grohl narrated and presented a slideshow detailing exactly what went down. Mid song and with guitar in hand, he ran over to the side of the stage and ended up falling off, shattering his leg. (The X-Ray verifies that the bone was actually split in two!) Instead of calling it quits and seeking medical attention like any normal person, Grohl quickly rejoined the band onstage. He continued to sing and play guitar while an EMT stabilized the leg and allowed the Foo Fighters to complete the set. Fast forward a bit and the North American tour is about to start. With limited mobility and a need to have the casted leg elevated, Grohl drew a picture of a massive contraption: a throne with the FF logo on the back and guitars sticking out the edges. Did I mention that it also moves around the stage? As if Grohl wasn’t already an idol in the classic rock scene, this persistence to keep the show going despite a massive injury definitely earned every ounce of respect I could give.

The Seattle quintent opened the near 3 hour set with “Everlong.” Despite being confined to a chair, Grohl was playing with enough energy to put any other guitarist to shame. He banged his head and flailed his one working leg while telling the crowd, “I’m going to give it to you harder in this chair than I ever did on my feet!” He most definitely lived up to that promise. A few songs in and you wouldn’t even be able to tell the difference; Broken leg or not, Grohl was going to give this crowd their money’s worth. The band played an array of songs from their 20+ year career, such as the late 90s hit “Monkey Wrench” and “Congregation” off their latest album [Sonic Highways, 2014]. In addition to a slew of originals, Grohl and co. also tossed in a few classic rock covers, declaring themselves the “highest paid cover band in rock and roll.” Grohl and drummer Taylor Hawkins--whose ability to weave in intricate fills during short timings is the essence of a perfect percussionist--teamed up vocally for Queen’s “Under Pressure” and then quickly transitioned to the high octane “Let There Be Rock” by AC/DC.

While rock prevailed, the softer side came out as well. Halfway through the set, Grohl--with the assistance of crutches--came on stage for an acoustic rendition of “My Hero.” Every time the chorus rang in, the lights came on as he waved his crutches into the air, encouraging to crowd to rally up a noise complaint. Part of me was left wondering if he was going to snap those crutches in half because he was so excited, while the other portion was thoroughly engrossed in the song that was my “calling” to be a musician. I may have stated before that classic rock shows make me feel young, but this was a true moment of nostalgia. Suddenly, I was transported back to my first drum lesson at 12 years old, mimicking the flams and fills played by Hawkins in the chorus. Wearing a PVRIS beanie and Taking Back Sunday tank top, I may have been a walking advertisement for punk and electro pop, but that moment was a reminder of the rock and roll roots that I came from.

As the moment passed and reminiscing drew to a close, the show did as well. The Foo Fighters closed with “Best of You,” interrupted halfway through by a guitar solo from Grohl, whose throne spun around the stage. Even though it was past curfew, the party was just getting started. Hawkins grabbed a mic and raced onto the catwalk to cover Faces’ “Stay With Me” for the encore while Red Hot Chili Peppers’ drummer Chad Smith appeared out of thin air to take his place.

Soon after, the lights went up as the crowd was zapped back into reality and rushed to catch their trains home. It may have been 11:30 on a weeknight, but nobody seemed to care that they would be semi-conscious sitting at their office desk in a few hours, air drumming to “The Pretender.” That’s the kind of thing I hope for in the years to come for myself and fellow teenage music fans. Growing up is inevitable; there will come a day when that lip ring has to come out, tattoos covered, and hair dyed back to that shade of brown you haven’t seen since you were 15. However, just because the outside changes doesn’t mean the inside needs to as well. Bands like the Foo Fighters will be around for years to come, allowing you to be that person who hides under a suit from Mondays through Fridays. So come as you are, as you were, and as you want you to be.

Warped Review: Radio City

Words by: Xochitl Hansen

In Dallas, Texas, the 2015 Vans Warped Tour was blessed enough to receive a dose of Radio City. You see, these pop punkers were completely in their element before, during, and after they took the Ernie Ball Music Man Stage at the Gexa Pavilion.  From the moment their noon set time rolled around, the large crowd fed on the bands energy and likewise with the band.  Fresh off their performance at this year’s South By So What (Now called So What?! Festivals) Radio City raised a new bar for anyone performing the Vans Warped Tour this year and definitely in the future. The crowd was singing along with every word the vocalist sung, since they were playing songs from their recently released EP “The Greatest Game Ever Played”, which is currently on iTunes for $4.95-- you won’t regret getting it! Honestly, words cannot describe the show Radio City puts on; they are one of those bands you simply have to see in order to get the full experience. It’s understood that it takes a great amount of passion and drive to be able to perform on any stage, but when you see Radio City it’s simply destined.  These guys are a band you need to keep an eye on; because you don’t know what great thing they’ll be doing next!

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Concert Review: The Boys of Zummer Tour

Fall Out Boy using flames to light up their songs in the dark. 

Words by: Emily Racanelli

Lineup: Hoodie Allen, Wiz Khalifa, and Fall Out Boy

Location: Nikon at Jones Beach Theatre in Wantagh, NY

Date: Wednesday, June 24, 2015

           

The Boys of Zummer Tour: A Lineup To Remember For Centuries

Eight years ago, Nikon at Jones Beach Theatre hosted the Honda Civic Tour, headlined by Fall Out Boy with The Academy Is... as an opening act. The four Chicago natives played a lengthy set to a crowd of 20-somethings who raced over from their day jobs on a weeknight to hear underground hits such as “Hum Hallelujah” and “The Carpel Tunnel of Love.” (The latter of which was accompanied by the overtly gory music video featuring The Happy Tree Friends.) Nearly a decade later, FOB took that same stage with an entirely new confidence, trading in violent cartoons for EDM-infused drum solos and pyrotechnics.

           

Before any of these modern stage tricks could take place, a few acts had to come on first. Instead of up and coming pop punk bands, FOB decided to take with them a slew of rappers in an attempt to “diversify their fan base.” First up was Long Island native Hoodie Allen. Albeit in a totally different genre, Allen still managed to attack the same beloved pop punk theme of never growing up. This was exemplified in one of his closing songs, “Act My Age.” The (extremely catchy) chorus goes, “My friends grew up, they never get drunk/They’re gonna get jobs, they’re gonna pay bills/I’ll never do that.” I’ll admit, being a die hard punk rock fan, I was expecting several hours of auditory torture leading up to the main event, but Hoodie Allen pleasantly surprised me. Not only were his lyrics relatable, but his stage presence was captivating. A major upgrade from the small clubs he is accustomed to headlining, Allen was running from side to side and dancing around, eagerly trying to win over the restless crowd of teenagers. The bright moment of his set, however, was not his own song, but a cover of Lit’s “My Own Worst Enemy.” I’d like to give a shoutout to Allen’s guitarist who sang most of it--what an outstanding voice! He almost made me forget that Hoodie Allen was on stage. Would I have preferred a more alternative band as an opener? Yes, but if it has to be a rapper, I’m perfectly content with a guy who knows how to appreciate classic punk rock.

Unfortunately, a majority of the audience most definitely did not appreciate punk rock--or any other musical genre for that matter. The crowd was not your typical FOB crew, as it consisted of  mainly 12-15 year olds covered in weed-themed socks and shirts.These kids probably snuck out of their houses in completely different outfits and changed in the bathroom before Wiz Khalifa’s set.

The smell of marijuana wafted through the air as the self-proclaimed “King Of Weed” took the stage for his headlining performance. Throughout its entirety, you could see the immense eye rolls of older patrons adorning Taste of Chaos and Suicide Silence gear. These concert-goers are the real troopers, suffering through an obviously unenjoyable hour just to hear Fall Out Boy. Once again, I had the bar set pretty low, but was pleasantly surprised. I may have only been familiar with “Roll Up” and “Young, Wild & Free,” but Khalifa’s antics were enough to help me keep my composure. One thing I noticed though, he literally is unable to go a few minutes without mentioning weed. (Being sober to Wiz Khalifa is what wearing a shirt on stage is to Andy Hurley: something we probably won’t see in our lifetimes). Khalifa went as far as lighting up during his set and tossing giant inflatable joints into the crowd before the encore. My heart truly goes out to all the parents in attendance who I saw cringing in their seats and stuffing their ears with earplugs to drown out lyrics such as “So what we get drunk/So what we smoke weed/We’re just having fun/We don’t care who sees.”

Hopefully those parents took their earplugs out before Khalifa’s last song, as it most definitely showcased his ability to be serious as a performer. He closed with “See You Again” which is currently dominating radio stations nationwide. Almost immediately, the entire crowd sobered up and joined to together to sing the chorus. A set that may have started with topics of ignorance and disregard for life ended on a high note (see what I did there?) reminding these impressionable kids that when it comes down to it, you have to appreciate every second.

As the nighttime sky set in over the waterside venue, I was most definitely ready to enjoy every second of a band that has held a piece of my heart for the past 10 years. The intro to “Sugar, We’re Goin’ Down” began to play as the stage lights centered on the massive platform, occupied by Stump, Wentz, Trohman, and Hurley on a drum riser in the back. Since that classic song had been released, a lot has changed for these midwestern suburban heroes. Marriage, divorce, parenting, and a four year hiatus raised speculations that the Fall Out Boy that released From Under The Cork Tree in 2005 was no more. Fear not, the song is performed exactly the same as it was a decade ago, except Stump has honed in on his stage presence and shed a few pounds.

I’ll be the first to say that the quartet’s latest pop-infused album [American Beauty/American Psycho, released January 2015] had me worried that FOB setlists would no longer contain the classic B-sides that fans fell in love with as they moshed alone in their room on Friday nights. Fortunately, the 18-song set was evenly balanced, providing a dose of mainstream hits for the casual concert-goers (such as “Centuries” and “Irresistible”) and enough throwbacks for fans like myself who refuse to acknowledge that FOB is actually on the rotation for every radio station in the country.            

One highlight was “A Little Less Sixteen Candles, a Little More “Touch Me.” Some bands chose to retire their old songs when they change their sound (I’m looking at you, PVRIS!), but FOB is determined to have those obnoxious nonsensical song titles live on through the years. I think I speak for myself and everyone else who grew up with Fall Out Boy when I say that these guys can release whatever pop song they’d like, as long as hits such as “...Sixteen Candles” can stick around!

            

That is not to say the newer stuff isn’t equally as outstanding. From post-hiatus album Save Rock and Roll was “Alone Together.” Even though the excessively long titles are done, the lyrics are just as riveting. The second verse cries, “My heart is like a stallion/They love it more when it’s broken.” Thankfully, the words (courtesy of bassist Pete Wentz) aren’t the only thing that stays the same. No FOB show is complete without a few of his inspiring monologues. What hit home the most was when Wentz told the crowd that there’s nothing wrong with being an outsider. The world might look at you like you don’t fit in, but that doesn’t mean you give up. Embrace yourself for who you are."

It’s moments like these where lifelong FOB fans remember why they pay an embarrassing amount of money to go out on a weeknight and sit through hours of rap next to a pre-teen wearing a t-shirt with the weed leaf on it. It’s all for those few instances when you get transported back to the beginning. While most of the world is familiar with the classic hits, the crowd always falls mute when FOB closes out their set with “Saturday,” off of debut album Take This To Your Grave. No matter how successful they get, every show will end w/ Pete Wentz tossing his bass over to a tech as he screams along with the bridge. The metalcore side comes out as he says, “I read about the afterlife/But I never really lived.” From my seat on the upper deck, I scream along, acknowledging that yes, I have really lived. I lived in the generation where Saturday will always be more than just a day of the week, and nobody can ever take that away from me.

Wiz Khalifa makes his way over to the pit.

Concert Review: We Like It Quiet Tour

Words by: Emily Racanelli

Bands: Nick Santino, The Summer Set, and Sleeping With Sirens

Location: The Studio at Webster Hall in NY, NY

Date: Sunday, June 14, 2015 

It’s Okay To Look Back: We Like It Quiet Tour Review

It may be 90 degrees on a Sunday afternoon, but that most definitely is not stopping the herds of fans from forming a line outside of New York City’s iconic Webster Hall as early as 11 hours before doors. Armed with backpacks full of water bottles and decorated in Sleeping With Sirens merch and Hot Topic bracelets, the excitement of the impending night seems to cancel out the dangerously hot weather. While the sun chooses to aim its focus on the area directly outside the venue, some fans make the executive decision to lend a helping hand. At 10:00 a.m., a Webster Hall employee gave a group of girls $20 to complete some maintenance work. With that money, the girls went to a nearby drug store and stocked up on ice pops to help fellow fans beat the heat.

Despite the unity displayed in the afternoon, it is “every man for themselves” once 6:30 rolls around. People edge their way to the front of the line while angry mothers voice their concern about their child being there first. Once everyone is slowly moved into the underground studio, they pack together near the stage (sans barricade) and await showtime.

First up is solo artist Nick Santino. The former frontman of band A Rocket To The Moon (they recently broke up) tries desperately to gain the attention of the slew of teenage girls who only care to see SWS vocalist Kellin Quinn. It’s a shame that a majority of the kids weren’t paying attention, as Santino’s vocals are some of the most spectacular I’ve ever heard. Not only did he sing with perfection, but he also managed to conjure up a catchy song with the help of just one acoustic guitar. I had never heard of him prior to this performance, but I am now a fan! His indie-esque musical style pairs nicely with the pop punk lyrics he writes. For example, the song “Bad Taste” talks about leaving home to find a place that better understands you. The standout of Santino’s brief set was a cover of Nirvana’s “Smells Like Teen Spirit.” I expected everyone to scream these lyrics, as it is a classic punk song, but I was wrong. The volume only crescendoed as the chorus rang in, “Hello, hello, hello, how low?” as a young generation barely crossing the threshold into high school sang along to the only line they were familiar with. At 18, I felt much older being the only one who actually knew more than the notable chorus. My disappointment with the crowd was overshadowed by my newfound infatuation with this “Sad little emo squirrel.” (Nicknamed coined by my friend Alicia). It fits well. Santino’s perfectly coiffed hair along with sappy lyrics and one guitar created a cathartic 30 minutes exemplifying that all you really need is some emotion and an instrument to follow your dreams.

The mellow mood quickly picked up when The Summer Set walked on stage. My personal favorites on the tour, the Arizona quintet was able to display that they can still put on a show without all the electronic loops their songs are known for. As usual when I talk about TSS, I need to point out drummer Jess Bowen. Despite being an acoustic show, she still had me mesmerized for the entire 45 minutes with her intricate fills and constant smile. The pop punk scene has a lack of female musicians, let alone drummers; Bowen is a role model for all the impressionable young girls in the crowd. As far as vocals go, frontman Brian Logan Dales is always on point. The set opened with “Maybe Tonight” as he danced around the extremely small and cluttered stage while pointing the mic to the crowd. Later on, Dales switched to the piano and slowed things down with “Heart On The Floor.” Before the song, he complimented NY by saying “New York is the best city in New York City.” Of course, hilarious remarks like this set the stage for new tune “Wasted.” Contrary to what the name implies, Dales states that it is not a drinking song. However, with the rowdiness of the NY kids, he declared it a song true to the title just for the night. If “Wasted” is any indication of the new record, TSS are surely sticking to what they do best: poppy love-core with an emphasis on staying young and having fun. After all, the chorus holds a statement that I would bet money will be tattooed on 20-somethings desperate to cement their pop-punk roots in the face of adulthood: “I believe that youth wasn’t wasted on us.” It sums up everything The Summer Set stands for. In a genre thematically centered on self-harm and bad breakups, TSS jumps in with just enough emotion to fit in but lyrics that set them apart.

The rowdy kids settled down for the next intermission but grew anxious as the scheduled set time for SWS came and passed. 15 minutes later, the lights went down and the volume went up. The stage was set up like a living room, containing a couch and old-fashioned television adorning the SWS logo. A band known for occasional screaming and head-banging inducing double bass drums suddenly scaled back, especially with the hit “If I’m James Dean, Then You’re Audrey Hepburn.” The song was re-released as a part of an acoustic album, but the live version was completed different. It featured a reggae-swing vibe that nearly made me forget how aggressive the original one is. This pattern followed suit with the remainder of the set, as Sleeping With Sirens took all of their songs and not only stripped them down but completely altered the timing and melodies as well. This kind of creativity had me wishing there could be a live DVD of the We Like It Quiet Tour. The setlist was evenly distributed, consisting of some classics as well as standouts off latest record Madness. One of the latter was “The Strays.” While vocalist Kellin Quinn may be a 29-year-old father, he still knows how to write lyrics that connect with the misunderstood overtly-pierced younger generation, saying, “I would rather be the stray than be nothing to no one at all.”

Feeling left out soon becomes avoiding feelings and worries in all with “Go Go Go.” SWS showcases that not every song needs to attach a heartfelt sob story to it, but simply a catchy chorus. Fans made the floor shake with their incessant jumping as Quinn sang, “Go go go, I don’t wanna take it slow/There’s plenty of time for us to finally get it right/Why don’t we crash and burn tonight?” As the crowd gathered their composure, the set came to an end with a cover of “Iris” by the Goo Goo Dolls. A staple for every SWS show, it always hit a nerve with the line “Yeah, you bleed just to know you’re alive.”

“Iris” may be a constant in the SWS repertoire, but it only makes sense to finish things off with a throwback classic from the band’s younger days, “If You Can’t Hang.” The first SWS song I ever heard, it still brings back those memories of being 15-years-old, heartbroken and lonely at 3 in the morning. Albeit upset I couldn’t mosh for the breakdown, which screams “Imagine that! / ‘Cause you’re such a pretty pretty face,” I was perfectly content singing the mellower version while acknowledging how far I’ve come since those late nights when I was younger.

That pretty much sums up why there were a fair amount of older patrons, such as myself, scattered throughout the prepubescent crowd. It is not because we refuse to develop our taste in music, but because these songs are a reminder of how much we’ve grown since first being introduced to this genre. It was obvious that most of the high school kids in attendance were attracted to this music because reality just doesn’t seem to make sense; it’s a crossroads where you wonder if anything will ever get better. Rest assured, someday those kids will be the adults  hanging in the back of the venue singing along to the words that used to be the only thing keeping them alive. Now, they won’t feel the same rolling off your tongue. That moment is an affirmation that you are no longer that lonely 15-year-old with puffy eyes and broken skin. You got better.

Concert Review: Restoring Force: Full Circle Tour (Of Mice & Men)

Photo from Wikipedia

Review by: Reanna Simmons

Post hardcore band Of Mice & Men kicked off their U.S. headlining tour for their album Restoring Force: Full Circle. This tour included Volumes and Capture The Crown as the opening acts. Restoring Force: Full Circle is a reissue of their previous album with three new songs, and an acoustic version of a song off of Restoring Force. The tour kicked off on April 25th, in Jacksonville, Florida, and would end on July 9th, in Mexico City; however, the band had to cancel the remainder of their headlining tour following frontman Austin Carlile’s hospitalization.

I don’t know if I would call this lucky, but other Of Mice & Men fans and myself were fortunate enough to see them on this headlining tour. The night of the show took place at The Regency Ballroom in San Francisco. This would be my first time at this venue. The location of the venue is relatively nice, and I say that because when I go to a concerts in San Francisco it’s usually held at The Warfield. Before the show had started fans were told that Capture The Crown wouldn’t be performing at this  show. That night only Volumes and Of Mice & Men would perform.

Volumes is from Los Angeles, California. Last year the Los Angeles natives released their most recent album No Sleep. The band finally took stage, and the lights began to dim. Darkness filling majority of the venue. Fans started to chant. “How’s the west coast feeling toniiiiiight?!” is all you hear through the speakers. Slowly but surely the pit started to open up by within seconds of a breakdown.

Concert goer Madison Souza, 16, shares her thoughts on the band Volumes, “They’re a really good band -- just like Issues, and Let Live.”

Bands like Volumes know how to get a crowd going, and by the looks of it tonight was going to be sick.

Photo Credit: Adam Serrato

During the show the band played songs of their latest album No Sleep, played a few songs off their 2011 album Via, and even rejoiced on playing in SF at The Regency Ballroom. As their set came to a close fans were ready, and in wonder to see what Of Mice & Men has in store. Again lights begin to dim, and a heavy bass drop fill the air through the loudspeakers.

“YOU ALL HAVE SOMETHING TO SAY, OR SOMETHING TO ASK. I DON’T LIVE IN A CAGE, IT'S NONE OF YOUR, YOU ALL HAVE SOMETHING TO SAY, OR SOMETHING TO ASK I DON’T LIVE IN A CAGE, IT’S NONE OF YOUR BUSINESS!” frontman Austin Carlile screams into his mic opening up the show with Public Service Announcement. 

Photo Credit: Adam Serrato

Fans were jumping, and shoving with excitement. Finally, Of Mice & Men is on stage getting their crowd going.

“Restoring Force has a lot more of a deeper meaning,”  says Souza. “I’m definitely looking forward to all the throwback songs.”

If you have yet to check out their latest album you definitely should. It’s almost like the rebirth of a band in an album, and it confronts a lot of issues. It’s genuine. Throughout the show the band played songs all across their albums -- from their self-titled to their second album The Flood, and of course Restoring Force. Of Mice & Men’s set lasted about an hour and fifteen minutes with a two song encore. The band closed the show with The Depths, and You Are Not Alone.

Concert Review: PVRIS with Born Cages at Webster Hall

Webster Hall marquee flaunting the sold out show. 

Emily Racanelli

Bands: Born Cages and PVRIS

Location: The Studio at Webster Hall in NY, NY

Date: Monday, June 1, 2015

PVTIENT FOR PVRIS

            Sitting outside of well-known NYC nightclub Webster Hall at 7:30 on a Monday morning, it begins to rain profusely. That accompanied with the bitter wind chill and several glances from people walking by who see me covering my backpack with an umbrella while sitting on a damp city sidewalk only seems to make me even more excited. It could be a hurricane and I guarantee that myself and other fans (identified as the “CVLT”) would still lineup hours in advance just to see 9 songs by the Boston trio that is taking the world by storm with their electronic infused alternative sound.

            When the dungeon doors open to let people into the tiny underground studio (the smallest of three rooms at Webster) fans lock legs to secure the few front row spots. Without a barricade, us not so poor unfortunate souls rest our arms on the stage while attempting to maintain our balance in the midst of those behind trying to get closer. Soon enough, 8 p.m. rolls around and the opening act takes the stage.

            Prior to this show, I was unfamiliar with NYC-based trio Born Cages. Therefore, it made me even more impressed when I was thoroughly entertained throughout the entire 30 minute set; not once did I glance at the time on my phone. The standout was lead singer and guitarist Vlad Holiday, whose frequent guitar solos paired nicely with the electronic keys playing in the background. (Combination of rock with the stuff you’d hear in a night club). Holiday fits the “misunderstood indie musician” profile perfectly, as he was adorned in tight jeans ripped at the knees and a mop of messy hair nearly covering his eyes. His stage presence was phenomenal, as he leaned over into the crowd while his fingers moved across the fretboard with ease. Definitely keep an eye on these guys, as they have a bright future ahead of them!

            After the crowd was hyped up by the pleasantly surprising Born Cages, it was time for the main event! Just as our clothes were drying off from the rain we were about to be soaked in sweat from an energetic set. PVRIS played 9 out of 10 songs from debut album White Noise, opening with “Smoke.” What stood out was the perfection of lead singer/guitarist Lynn Gunn’s vocals. You could play her live performance side by side with the recorded version and not be able to tell the difference. She goes from an aggressive tone with “You make your way into my veins/Course right through my limbs and dig your way into my brain” to a soothing lullaby-esque one in the acoustic version of “Eyelids.” Stripped down to just the vocals and support from guitarist Alex Babinski, it was an emotional few minutes that let Gunn’s lyrical capabilities shine through. The most memorable moment, however, came at the end of the song. As all true PVRIS fans know, the recorded track ends with a voicemail left by Gunn’s girlfriend, Alexa San Román, (vocalist/guitarist of Long Island band Love, Robot) of whom the song is written about. Standing next to me was 2/3 of the Massachusetts band FIRE | DRIVE, who screamed the entire message, rallying the crowd to help complete the song in it’s entirety.

            Aside from the love-stricken slow tunes, the 45 minute set was filled with upbeat electronic anthems as well, such as “Fire.” One of the best PVRIS songs to see live, it crescendos throughout the verse to a chorus and the signature dance that goes along with it. The song begins with just a simple electronic background, as Lynn softly sings, “Don’t blame your death, on the shit in your head/That you claim eats you like a virus for days on end.” It soon becomes a full-on power anthem as drums come in and the chorus finishes with the trio doing a synchronized one-two sidestep (the kind that is often found between awkward pre-teens at a middle school dance, but much cooler here) that the crowd mimics with what little leg space is available.

            Once the dancing dies down, the bass line picks up. Gunn introduces “Holy” as “a song about a**holes who don’t practice what they preach.” Bassist Brian MacDonald lays down a low riff while the electronic drums play that all-to recognizable backbeat as Gunn sings about poor unfortunate souls. While the subject of the song may have been a bad soul, I most definitely was anything but. In fact, that entire crowd was a group of lucky fortunate souls. With tickets selling out in mere minutes, we all managed to snag a spot to a show that will be remembered for years to come.

            Since their appearance on The World Tour this past winter with Pierce The Veil and Sleeping With Sirens, PVRIS has been climbing in popularity. It is only a matter of time until Gunn becomes even more of a female icon in the music industry and people learn how to pronounce the band name without hesitation. When these guys are selling out stadiums, the couple hundred people crammed in that sweaty club will always trace it back to the roots of the band they fell in love with before the world knew about them.

            Further emphasizing their talent and potential for total domination, PVRIS closed out the set with hit single “My House.” The crowd went so crazy during the breakdown that they started surfing over bodies and tumbling onto the extremely small stage that barely had enough room for the musicians themselves. The beautiful chaos ensued as Gunn screamed, “Haven’t you heard?/I’m not yours anymore/I’m not yours anymore/It’s my soul!” That craziness made the entire day worth it.

            I may have left the show with bruises on my thighs from being forced into the stage and back pain induced by fans who crossed the boundaries of personal space, but I got to be front and center to see the band that has given me a new outlook on life. Being in that moment where nothing else matters in the world is what makes the journey to get there appear to be trivial. Suddenly, sitting on sidewalks in pouring rain, spending twice as much on transportation than the actual ticket, and being covered in other people’s sweat seems like nothing. Not only did I get to be within arms length of my favorite band, but I made a bunch of new friends as well. If this show was any indication, PVRIS and the CVLT have a lengthy and successful road going forward and I can’t wait to be a part of it!

You can catch both Born Cages and PVRIS on the entire Vans Warped Tour this summer! Also, be sure to vote for PVRIS and watch them perform at the APMAs on July 22, airing on AXS TV.\

Gunn showing off her powerful vocals as she screams into the mic.

Gunn taking a break from her guitar while gazing into the crowd.

Concert Review: The Story So Far

Words by: Emily Racanelli

Band: The Story So Far

Location: The Grand Ballroom at Webster Hall in NY, NY

Date: Thursday, May 21, 2015

            Disclaimer: Souvenirs, Terror, and Four Year Strong were the opening bands. However, I did not arrive in time to see them and therefore cannot comment on their performances.

The Story So Far: Jumping On Stage and Getting Enraged

“Hard shove, feel the heavy weight!” The Story So Far frontman Parker Cannon may be singing about a broken heart, but my concern is a broken bone. The heavy weight I’m feeling is from all the 20-somethings aggressively swaying back and forth--in addition to the several mosh pits that break out every few minutes. What else is to be expected of a show complete with 16 upbeat steady pop-punk songs, angrily screamed/sung at lightning fast speed?

The Walnut Creek, California natives opened their set with “Things I Can’t Change” but not before Cannon stepped onto the stage to already deem this his best birthday in years. Yes, not only was this show set to be a massive cathartic experience for every fan looking for a weeknight escape from their mundane lives, but also a celebration for the 23-year-old who has spent the last few years living on the road.

Cannon welcomed the fans to join the party, as the non-existent barricade allowed each and every person to hop up on stage and then surf into the the crowd. I’ll have to admit, watching the face of the security guard on the stage might have been the most entertaining part of the night. He laughed and shook his head as teenagers (some adorning heavy backpacks) fell from the sky and created a dent in the tightly packed mosh below. I may not have been willing to risk brain damage, but I understood where these kids were coming from. There’s something about singing along with lyrics like “Told me that you had to leave/But how the f**k does that change anything?” that creates a rage inside people’s chests. We all conjure up a mental image of the person who ripped our heart out, and together, that angst is compiled into a friendly aggression (as friendly as aggression can be!) as we cast our bodies adrift and put complete trust in total strangers.

Aside from the boisterous crowd, the real standouts were the new songs taken from the band’s latest self-titled album, which had been released two days prior (on May 19th.) Bass-laden “Heavy Gloom” may have been slower than the typical TSSF high-energy angsty anthem, but it cleverly encapsulated the pop-punk spirit fans are all-to familiar with. The second verse roars, “I hope you feel the heavy gloom when you’re all choked up in a crowded room/And your life trips up over those shoes/That you paid too much for but not in dues.” Halfway through every song I’d need to pause to catch my breath, which is why it didn’t surprise me that Cannon let the crowd carry the melodies for him. He’d sing a few lines and then point the mic to the audience, who would keep the tempo while he paced the stage.

Instead of letting this constant habit go without comment, he paused the set to jokingly apologize. He said, “Sorry I’m a little sluggish, I’ve been smoking all day.” If anything, I appreciated his honesty. Having recorded most of his music while high, it only seemed fitting that he’d be in an altered state of mind when performing live. (But this doesn’t mean you should do drugs, kids!) He then promptly stated, “Anybody in here straight edge?” The room feel silent with the exception of myself and a 30- something guy standing a few feet away from me. Pleased with my minority status, I was ready to get back into the music.

The boys closed out their set with “High Regard.” One of the quicker paced TSSF songs, it goes, “Tried to tell me that you knew from the start/That I would come to know that most would never enter my heart/‘Cause I’m colder than the others that’s what sets me apart/You manipulate and try to shine a light on my dark.” Arguably the best verse Cannon has ever written, I must’ve spent several hours before the show memorizing it via youtube and lyric websites. For some reason, there seems to be an accomplished feeling when you can race through lyrics at the same speed as the original singer. By this point I was so exhausted that I had positioned myself on the floor of the venue outside the main room, but it was just as exciting to scream “It’s my life, you should bounce and never call again” while being supported by the cold marble wall near the staircase.

It’s lyrics like these that explain why people put themselves through so much trouble for a show. Drenched in sweat and on the verge of passing out, it all becomes worth it when you can scream a line that makes you feel less alone in your tribulations. Although I would’ve liked to see a mellowing out in the set with “Clairvoyant” and “Navy Blue,” The Story So Far still managed to take my breath away--literally, the verses are so fast there’s no time to catch your breath--and create a memorable Thursday night.

Nothing has been announced as of yet, but with a new album we can most likely expect TSSF to hit the road again in the fall!

Concert-goers (girl on far right) make their appearance on the stage before diving into the pool of sweat below.  

Cannon and co. play to the sold out crowd

Concert Review: Ronnie Radke's Three Ring Circus

From mindequalsblown.net

Words by: Savanah Ruiz

Hi, everybody! So, Wednesday night I went to the NYC date of Falling In Reverse’s tour, which was appropriately named Ronnie Radke’s Three Ring Circus. If you haven’t heard of it, the tour features something Falling In Reverse hadn’t done before, which is perform Dying Is Your Latest Fashion in its entirety. Dying Is Your Latest Fashion is Escape the Fate’s first full length album, and was made when Falling In Reverse frontman Ronnie Radke was still in the band, making it a widely known album in the Escape the Fate and Falling In Reverse fandoms. So, back to the tour. On top of Falling In Reverse playing all of Dying Is Your Latest Fashion, Ghost Town opened for them and Falling In Reverse would do another set where they play their songs, hence it being a three ring circus (three setlists in total). When I first heard about this tour, I immediately bought my ticket, being a major fan of Escape the Fate’s first album, Falling In Reverse, and Ghost Town. Overall, if you’re looking a show with interesting music, over the top set decorations, and a quirky vocalist, this tour is the one for you.

The Venue- The date I went to was at the Best Buy Theater in New York City. This is a venue I was slightly familiar with since in March of 2014 I had gone there for Asking Alexandria’s Break Down the Walls Tour, and to say I love this venue is an understatement. The venue features a number of bars, a spacious pit for an indoor venue (in my opinion), and seating for those who don’t want to stand, and even a VIP balcony (which I don’t really know much about but thought I would mention), making it a great venue to go to if you want somewhere with a lot of space. When I went to the Asking Alexandria concert, I remember it being very hot, which was still enjoyable since that’s how it is at most concerts, but this time it was somehow perfect temperature, and it just added to the amazing time I had. I spent time in the pit, the area that separates the pit from the higher area (don’t know how to describe it that well), and even in the seating area, and I have to say no matter where you are you can still enjoy the show, especially since the Best Buy theater has TV’s that show a live feed of the show, which you can see from the seating area since it is very far from the stage. Overall, I really have no complaints about this venue, and highly recommend going there if you ever have the chance.

Stuff to bring beforehand- In case anyone plans to go to a concert anytime soon, I thought I’d mention a few things I find necessary to bring everytime I go to a concert. First, you absolutely need earplugs. They save you the pain of injuring your eardrums, and filter the sound perfectly so you can hear the band instead of the sound of speakers blaring. As Jeremy Saffer put it the other day, once you lose your hearing, you never get it back. Second, money is a must. Whether it’s for parking, band merch, or drinking, you’re going to need money at one point, so it’s always good to carry some cash even if it’s just a twenty. Third, a fully charged phone is a given if you want to take photos and plan on meeting any band members, since you can’t take a picture with a dead phone. Lastly, something to sign, even if it happens to be your ticket is something you should consider bringing even if you don’t plan on meeting anyone. Ghost Town ended up having a free signing after their set, so always plan for the unexpected.

Ghost Town- Ghost Town was the opening act, and I think they were a great way to introduce the tour. I’ve been a fan of them for quite some time, so I was not disappointed by their performance. They played songs they’re known for like “You’re So Creepy” and “I’m Weird”, while also playing new songs they have yet to release. I was in the pit for this performance so I didn’t see them that well, but they were still very good and I’d love to see them again.

“Dying Is Your Latest Fashion”- For this part of Falling In Reverse’s performance, they took on the stage name Dying Is Your Latest Fashion, and performed (you guessed it) Dying Is Your Latest Fashion. For this set, they chose to keep the stage very simple, and the only thing decorating the set was a big banner featuring the artwork from Dying Is Your Latest Fashion. This set seemed very intimate, and was just full of nostalgia for me. The songs were performed with skill, and even if you don’t like Ronnie Radke or Falling In Reverse, they put on a good show. The only thing I will say about this set is that they skipped two songs from the album (“Friend & Alibis” and “When I Go Out…”), which was very disappointing considering the main feature of this tour was the promise of the whole album being performed. Although that was a bit of a let down, I was still enjoyed the songs they did perform, my favorite being “Cellar Door”, and would love to hear them live again if I ever have the chance.

Falling In Reverse- The last set of the night was Falling In Reverse performing their songs. This setlist included FIR classics such as “I’m Not A Vampire” and “Tragic Magic”, while also featuring new fan favorites like “Sexy Drug” and “The Bitter End”. I’d have to say this set was my favorite, and I got the perfect view of it from the area above the pit. For this setlist, they went all in, and the stage featured a huge white riser where the drummer was, lots of lights that moved around, and a banner that had a carnival tent on it. Ronnie’s on stage mannerisms were hilarious, everyone performed amazingly, and all in all it was a very entertaining set. I also have to mention the introduction to this set because it was a great way to start it off. I don’t know how to describe the clip they played for the intro, but I will say it was very empowering, and it was amazing when the curtain dropped and “Chemical Prisoner” started playing. The only thing that could really trump the opening was when Ronnie hyped up the pit, said they were going to perform the “heaviest” song they’ve ever made, and then started singing “Bad Girls Club”, which made the whole venue crack up. I have nothing bad to say about this set.

Final Comments- To conclude this review, I just want to say this concert was my favorite out of the concerts I’ve been to, and if by any chance any of the members of Falling In Reverse or Ghost Town see this, everyone put on an amazing performance. Also, I met a lot of amazing people there, including Justin of Riddle Me This, and Kevin of Ghost Town. All in all, this was just a great concert.

Concert Review: The Summer Set - Gettin’ Down On A Tuesday Afternoon

Words by: Emily Racanelli

Stephen Gomez (front) gazing into the crowd as
Bowen (back) goes crazy mid solo.

It’s 11 o’ clock in the morning, and while most of the world is situated into their weekday routine at work or school, a small crowd begins to form on the massive football field at Nassau Community College. The barricade is up, the instruments tuned, and a banner hangs from both sides of the stage warning patrons not to crowd surf or mosh. The Summer Set, a quintet from Scottsdale, Arizona, walks onto the platform to start their soundcheck. The anticipation builds as vocalist Brian Logan Dales does vocal warm-ups into the mic, sampling a variety of Top 40 songs. While the band’s new sound guy tries to get his act together, guitarists John Gomez and Josh Montgomery adjust the distortion on the instruments, while bassist Stephen Gomez (not a coincidence, John’s his brother!) lays out a killer riff of low notes. The crowd builds as drummer Jess Bowen takes the stage, showcasing her remarkable talent with consecutive triple bass kicks. With hearts pumping and the sun beating down, The Summer Set walks off the stage to check the backing tracks they have stored on a MacBook.

Overtly excited from having the chance to watch soundcheck, the audience gets rowdy as 11:45 rolls around and that MacBook starts to play a familiar intro. The band walks on the stage (for real this time) and kicks off the set with Lightning In A Bottle. Aside from the typical upbeat poppy vibe that The Summer Set is known for, the lyrics make it all the better. During the chorus, Dales sings the words every kid in their teens adopts as a motto, “We’re catching lightning in a bottle/Don’t give a f*ck about tomorrow!” It’s safe to say that with the amount of recklessness that occurs in college, it’s pretty obvious why everyone sung that line particularly louder than the rest of the song.

 Bowen with her signature hair whip.

While Lightning In A Bottle (a single off latest album Legendary) had the crowd amped, it was no match for the chaos that ensued during the throwback Chelsea. A classic TSS song, it brings back memories of being 12 years old and dancing around your room after falling head over heels (or head over spiked boots?--Don’t judge, it was that “No one understands me and I only shop at Hot Topic” phase!) for that new love interest. Montgomery spins around the stage while Dales sings with the crowd, “Chelsea, Chelsea, tell me you love me!/I think it’s ‘bout time we get down, get down/I want more.” Yes, I most definitely wanted more of that fun, poppy music.

           

In a scene overwhelmed with bands who focus on breakups, (Mayday Parade) self-harm, (Pierce The Veil) and addiction (Beartooth), it’s good to have songs that balance it out by not taking life so seriously. Don’t get me wrong, this powerful music is the reason why we get hooked to pop punk to begin with, it’s comforting. However, sometimes you just want to listen to something that doesn’t make your chest ache. For those times, The Summer Set is a go-to.

           

Albeit optimistic, TSS does hit a nerve on occasion, such as with the song Mannequin. Probably one of the band’s more emotional hits, it starts off with Dales toning his voice down an octave singing, “You and I fell apart like a rag doll torn at the seams/Then he came in, stitched up the pieces like some kind of hero.” He stutters and chokes through each word, making it obvious that these lyrics--which he wrote--have a personal meaning to them. The song crescendos into a heartbreaking power ballad, with Bowen violently attacking the symbols and drawing the crowd’s attention during the chorus. She tosses her backwards baseball cap off and asserts her presence as one of the most talented drummers in the alternative scene. Instead of keeping the beat, Bowen engages with the lyrics. Her drumming in tandem with the words, “He’ll pick you up just to knock you down/One day I’ll see you both in hell” is a reminder as to why The Summer Set is a novelty in the pop punk scene. They maintain the emotional depth and can still keep the audience dancing.

           

This diversity came through when the band covered the song Sing by Ed Sheeran. Dales hopped off the stage and joined the crowd in the field as he rapped through the verses and (remarkably) mastered the extremely high-pitched chorus. Originally, the song is solid, but I’d have to say that TSS’s amped up version, complete with real drums and guitars, is even better!

           

Once everyone settled down from being able to be within arms-length of Dales, the concert was drawing to a close. It was capped off with Boomerang, arguably one of the most well known songs by The Summer Set. John Gomez played the song’s signature opening acoustic guitar segment while Bowen joined in with a steady bass/snare drumbeat. It was the perfect way to end the day--err, afternoon.

When the group walked off the stage and the crowd started to disperse, reality finally set in that it was only 1 o’ clock in the afternoon on a Tuesday. The Summer Set would be flying to their next destination, and I would drive home to study for my Spanish test. The day wasn’t even half over, and already it was memorable. It exemplified that there are definitely some perks to being in college, such as getting out of class at 11 a.m. and driving down the road to see one of your favorite bands play on a weekday afternoon.

You can catch The Summer Set mellowing out on the We Like It Quiet Acoustic tour this summer in support of Sleeping With Sirens!

Setlist I received after repeatedly harassing the people dismantling the stage, signed by drummer Jess Bowen.

Dales (front) singing while John Gomez (left) tunes his guitar.