On August 21 , The Smashing Pumpkins and Noel Gallagher played Ameris Bank Amphitheater.
TAM Photographer Chuck Holloway was on hand to capture the evening.
For more tour dates, visit Noel Gallagher and The Smashing Pumpkins websites.
Smashing Pumpkins – Cadence Bank Amphitheatre – 2019
Noel Gallagher – Cadence Bank Amphitheatre – 2019
On August 20 , Live and Bush played Cadence Bank Amphitheater.
TAM Photographer Chuck Holloway was on hand to capture the evening.
For more tour dates, visit the Live and Bush websites.
Live – Cadence Bank Amphitheatre – 2019
Bush – Cadence Bank Amphitheatre 2019
On Oct 8, Simple Minds, brought Walk Between The World’s Tour 2018 to The Tabernacle Atlanta.
TAM Photographer Chuck Holloway was on hand to capture the evening.
For more tour dates, visit Simple Minds’s website.
Simple Mind’s– The Tabernacle Atlanta – 2018
This past September 27th, Atlanta’s own Buckhead Theater hosted Bullet For My Valentine (visit the BFMV website) on their 2018 Fall Tour for their new album Gravity with guests We Came As Romans and Bad Omens. The venue was packed out with fans eager to see this stacked lineup to kick off their weekend early. Below are some highlights from the show, courtesy of photographer Maksim Sundukov.
Photos by Maksim Sundukov
Photo Gallery – We Came As Romans
Photo Gallery – Bad Omens
Photo Gallery – Bullet For My Valentine
The SweetWater 420 Festival returned to Atlanta’s Centennial Olympic Park on April 22 – 24 for the annual musical and beer festival for the ultimate SweetWater experience. From an all-star musical lineup of acts consisting of approximately 50 bands, ranging from The Roots, to The People’s Blue of Richmond to our very own Ludacris, the SweetWater 420 Festival was the place to be at with an amazing cross section of music from rock to R&B to hip-hop to bluegrass to electronica and indie all mixed together to give it the perfect vibe for a fantastic weekend. There was something for everyone to indulge in.
The music was hot and the beer was cold, especially in The SweetWater Experience Tent where you had the opportunity to taste test up to 40 distinct beers, sit down and listen to brew masters, then follow up with Q & A sessions afterwards. Plus there was always the chance of sitting down and having a beer or two with a band, like Leftover Salmon.
What makes the 420 Festival so special and such a huge part of Atlanta is it’s really more than just having a good time, yes, that is part of it, going out and having fun with friends, listening to some of your favorite artists perform live, but it’s also about being with people in a pretty cohesive environment and respecting the environment that we all share together. The saying at the festival is “we’re here for a good time, she’s here for a longtime” (referencing mother earth and to pay respect and homage to her).
Founder of The SweetWater Brewery said it best “When you love what you do, it’s not work.” And how could you not love the perfect weekend in spent in Atlanta being immersed in music, beer, amazing food and great works of art from local artists.
All photos by Danielle Boise for Target Audience Magazine.
The Tabernacle played host to Coheed and Cambria on Monday, March 14 as they tour supporting their new album, The Color Before the Sun. Though the crowd started a little cold for Silver Snakes, with the exception of two die hard fist pumping fans, their come on hard, driving intro proved that there couldn’t have been a better choice to open tonight’s show. The bassist has more energy than any bassist I’ve seen outside the thrash metal scene. He rides the music like waves, but never stops below a slow simmer of energy. The grabbing hook of Silver Snakes is their seamless transition into electronic styles and back, it’s unexpected and well done. Silver Snakes saved their best for last and by the end had the crowd, which had doubled in size, enthralled. It is my hope that those guys made some new friends tonight. At any given point, I only counted an average of five cell phones during their set.
I The Mighty followed Silver Snakes. Their style is a blend of heavy, moshing thrash and plaintive emotional sung harmonies. They have a very broad dynamic range, going from barely there whispers to full out thrash between measures. They kept up a high energy set, nothing dragged and the audience loved it. I the Mighty is so tight because the singer and guitarist have been playing together since high school. They have a new album coming out, Connector, and have been trickling singles out over the last few months on Spotify and soundcloud.
Glassjaw has been around since 1993, through some lineup changes around the core of the band: singer Daryl Palumbo and guitarist Justin Beck. They had a decent following in the late 90s post-hardcore scene, but they were never my cup of tea. That’s okay, though, because I heard plenty of people eager to see them before the show. The singer and bass player were energetic, prowling the stage and engaging the audience. I thought the guitar player was a little bit subdued for the music, wearing a heavy raincoat (for some reason) and standing still the entire time. They are showcasing some new material on this tour, their first actual tour, aside from a few performances here and there at major festivals around the world (Again, they’re not my favorites, but don’t think they don’t have a big following) in preparation for an as-yet-untitled forthcoming album. You can hear their latest song, on their soundcloud page. Their latest EP is 2011’s Coloring Book.
Alright folks, I’m not going to lie to you. I LOVE Coheed and Cambria. They’re probably my favorite band of all time. So I can sit here almost all day and talk to you about how incredible their music is, how in-depth and well thought out the story behind the music is, how crazy the lead singer’s hair… blah blah blah. Like any other Coheed and Cambria fan, my interest in the band is rampant, hysterical, and un-ending. That’s why I’m not going to sit here and talk about the band, because while the band may be who makes the music, and who plays the songs. Coheed and Cambria is not what makes a Coheed and Cambria show… that job belongs to the fans.
The call and response from band to audience is like nothing I’ve ever seen before. It’s not as simple as the guy playing the least amount of notes telling us to clap our hands, and we the people obeying. No, this participation is premeditated without practice. If you’ve ever wanted to be in a movie scene when the school breaks out into the same choreographed song spontaneously, this is where you want to be. With the rise and fall of each song and chord, everybody in the sea of fans shifts and sway in a way all their own, that always fits with everyone else. You don’t have to be in the middle of the small ocean of bodies to feel the tides change. You can feel it in the explosive energy when the band lays it on thick with floor toms, bass, and power chords, or in the absolute chorus of voices when the band drops out completely and the “Children of the Fence” cry “MAN YOUR OWN JACKHAMMER!”.
In short, if you go to a Coheed and Cambria show, whether it’s your first time or you’ve been going for years on end, whether you’re on the floor with hundreds of others, or in the balcony. Expect to see, no, to FEEL a spectrum of emotions from the entire building. Coheed and Cambria are not the show, YOU are the show.
On October 2, 2015, Atlanta alternative rock group, Sevendust, will release their 11th studio album entitled Kill The Flaw. While I’m not long-time fan, I do remember jamming out to the album Next in my best friend’s Honda Civic following its release nearly 10 years to this day. I also distinctly remember telling myself that I should pick up their 2010 release, Cold Day Memory, shortly after it had come out, only to fail to do so. Somehow it just seemed appropriate, when the opportunity to check out the new album came across my plate, that I should tell everyone how awesome it is in order to make up for that previous failure. And I assure you, it is awesome.
I can’t offer anyone a comparison to past albums, with the exception of saying that the production on Kill The Flaw is far more polished than Next, but that’s to be expected from an album that has the benefit of arriving a decade after the other. What I can offer is the pleasure of knowing that this is not simply a collection of a few great songs in a batch of lemons. Each track steps up the plate with the intent of knocking your expectations out of the park and not a single one strikes out. Now, I surely have my favorites, which I’ll touch on shortly, but from the opening track, “Thank You,” until the closer, “Torched,” this quintet is relentless in its efforts. This is my first Sevendust experience with original guitarist, Clint Lowery, in the fold. I was already familiar with him from his work with his brother’s (Corey Lowery) band, Eye Empire, to which he contributed compositions, as well as his role as guitarist for Walking With Giants. In fact, vocalist Lajon Witherspoon and drummer Morgan Rose contributed to the former’s debut release as well, but I’m beginning to digress.
Kill The Flaw is an alt. rock behemoth, armed with a concoction of chunking riffs, dissonance and melody, not to mention a tacklebox of hooks. It’s difficult for me to even narrow down what to tell you about, but at this exact moment Lowery is surfing through my ear canal with the melodious-turned-explosive solo of “Forget.” Shortly thereafter, Witherspoon’s voice cascades over that same eardrum with the opening lines of “Letters,” which is as intense as it is emotional, as powerful as it is gentle. On the rest of the album we find piano lead-ins to bone-crunching riffs (“Cease And Desist”), acoustic steel-string goodness with a Southern twang (“Chop”), and just a few moments here and there that bring to mind Static-X, such as haunting, suddenly manifesting screams during “Peace And Destruction.” But let’s go back to “Chop” for a moment, because this has to be my favorite song off the album. There is so much going right here that I can’t figure out, for the life of me, why it wasn’t one of the singles released to promote the record. From the Southern steel-string that winds back and forth with pummeling electric riffs and the soaring vocals, this song just POPS! The Southern-tinged atmosphere adds a down-to-Earth quality, while little touches like the rapid-fire rhythm lick behind the chorus just take it to another level. Not to mention, this track has a contagious groove that permeates through the rest of the album as well.
Sevendust has been releasing albums for the last 18 years and, while I’m not a fan of smoking, this album certainly seems to be lit. From the very first notes until the sound has faded from my ears, I’ve been hooked on this record. If this is what I’ve been missing over the last 10 years then I have some catching up to do. Kill The Flaw finds the band in top form, with no signs of slowing down or running out of things to sing about or pummel into dust. And it certainly sounds like they’re having a blast doing it!
For more on Sevendust, visit:
Official Website
Purchase Kill The Flaw from: iTunes | Amazon | Google Play | From The Band
Facebook
Twitter
Spotify
“HELLO MOTHERF**KER!” is the chorus of Faith No More’s most recent single and the words they chose to reintroduce themselves to American audiences. It was a welcomed greeting. With the exception of a handful of shows in 2010, Faith No More has not mounted a full U.S. tour since their breakup in 1998, and not released an album since 1997’s Album of the Year. That all changed with the release of Sol Invictus in May and a world tour that stopped by Atlanta’s Masquerade Music Park Thursday, July 30, 2015.
Sweden’s Refused opened up the show in the sweltering heat with a ten song set consisting mostly of songs off their newest album, Freedom, and a few off 1998’s The Shape of Punk to Come. The heat didn’t stop the band, especially vocalist Dennis Lyxzén, from delivering an energetic set that primed the crowd for Faith No More, even teasing the audience with about 30 seconds of Slayer’s “Raining Blood.”
If you’ve seen any recent video clips or late night talk show performances from Faith No More, you’ve probably noticed the all white attire the band has adopted for this tour. The white theme also included the stage set, props, background, and even the keyboard. The front and back of the stage was adorned with dozens of colorful flower bouquets, making it look more like a church prepared for a funeral than a stage ready for a rock concert.
The set list could not have been better. Faith No More played a balanced cross section of their catalog; three or four songs off every album from Angel Dust to the current release. “Evidence,” “The Gentle Art of Making Enemies,” and “Last Cup of Sorrow” were highlights in a set. “Epic” was, of course, a crowd favorite, as was their cover of the Commodores’ “Easy.” During “Midlife Crisis,” vocalist Mike Patton gestured to the band and they immediately shifted the style of the song to a more funky R&B vibe. They allowed the crowd to absorb this altered version for over a minute before seamlessly slamming back into the guitar-driven chorus. The band sounded great and was in perfect sync. The strength, versatility, and range of Patton’s vocals were as strong as ever and especially evident on “Ashes to Ashes” and a spotless rendition of Herb Albert’s “This Guy Is in Love with You.” to close out the night.
Faith No More continue to push boundaries and redefine themselves. Sol Invictus is a true Faith No More album, meaning that it sounds nothing like their previous efforts, and nothing like any other band. Do yourself a favor and catch one of the shows on this tour to witness one of the most original bands of the last thirty years. The tour runs through September 25. Tickets for the remaining dates can be purchased at Faith No More’s official website.
Gallery – Refused
Gallery – Faith No More
The Bostonian alt-rock band, Guster made a stop at The Tabernacle in Atlanta as part of their Evermotion tour, which kicked off Jan. 17 and runs through May 2. Kishi Bashi was in support Friday, Feb. 13 at the Tabby to warm up the just shy of a full house crowd. Kishi Bashi started the night off by performing songs off his 151a album, including one of my personal favorites, “Atticus, in the Desert.”
“We are going to sing both old songs and new songs alike tonight.” Ryan Miller
Fun is the only thing that comes to mind when I think of Guster, as they present themselves in a very laid back, relaxed manner, but illuminate sheer glee on stage as they sang new songs off their seventh studio album, Evermotion, along with old fan favorites. Guster’s 24 song set included: “Long Night,” “Careful,” “The Captain,” “Ramona,” “Doin’ It By Myself,” “Barrel of a Gun,” “Lazy Love,” “Come Downstairs and Say Hello,” “Do You Love Me,” “Kid Dreams,” “Satellite,” “Simple Machine,” “Never Coming Down,” “Bad Bad World,” “Demons,” “Center of Attention,” “One Man Wrecking Machine,” “Endlessly,” “Amsterdam,” and “This Could All Be Yours.” The encore included: “X Ray Eyes,” “Gangway,” “What You Call Love,” and ended with “Happier.”
Mar 29 Vancouver, BC Venue w/ Kishi Bashi (solo)
Mar 30 Seattle, WA Neptune Theatre INFO
Mar 31 Portland, OR Crystal Ballroom
Apr 1 San Francisco, CA The Fillmore ***SOLD OUT***
Apr 2 Los Angeles, CA The Wiltern
Apr 8 Madison, WI Orpheum Theater w/ Kishi Bashi (solo)
Apr 9 Minneapolis, MN State Theatre w/ Kishi Bashi (solo)
Apr 10 Chicago, IL Riviera Theatre w/ Kishi Bashi (solo)
Apr 11 Detroit, MI St. Andrews Hall w/ Kishi Bashi (solo)
Apr 14 Cleveland, OH House of Blues w/ Kishi Bashi (solo)
Apr 15 Cincinnati, OH Bogart’s w/ Kishi Bashi (solo)
Apr 16 Columbus, OH Newport Music Hall w/ Kishi Bashi (solo)
Apr 17 Pittsburgh, PA Stage AE w/ Kishi Bashi (solo)
Apr 18 Rochester, NY Water Street Music Hall w/ Kishi Bashi (solo)
Apr 20 Charlotte, NC The Fillmore w/ Kishi Bashi (solo)
Apr 22 Raleigh, NC Lincoln Theatre w/ Kishi Bashi (solo)
Apr 23 Charlottesville, VA Jefferson Theatre w/ Kishi Bashi (solo)
Apr 24 Philadelphia, PA **SOLD OUT** Theatre of Living Arts w/ Kishi Bashi (solo)
Apr 25 Philadelphia, PA Union Transfer w/ Kishi Bashi (solo)
Apr 30 Burlington, VT Higher Ground w/ Kishi Bashi (solo)
May 2 Portland, ME State Theater w/ Kishi Bashi (solo)
Jun 12 Manchester, TN Bonnaroo Music Festival
By Danielle Boise
The ’90s stronghold band 311 will release its 11th studio album on March 11, which is dubbed 311DAY. This release further marks the first indie release from the band since its early unsigned days. Stereolithic is by far is the best album to date, with 15 tracks that will please not only the causal listener but also diehard fans. The alt-rockers in 311 transitioned from the early ’90s into the present with a free-flowing mixture of rock, infused with reggae and rap blends. Stereolithic creates the perfect pitch of honest music that, at about an hour in length, leaves your head lost in a sea of lofty clouds, while your toes touch cool waters.
“Ebb and Flow” starts the album off strongly. The lyrics “the lights are on, but no one is home” and “living within a dream” thrust the listener past the catchy hooks and jam rock, sinking further into the meaning of the song.
“Five of Everything” uses a sweet sentimentality that pushes the listener to move forward, while embracing the now. “Showdown” acts as a warning before the strike, allowing the listener to see and taste red while listening to the song. Still, a sense of urgency abounds in “Revelation of the Year” with its line, “Don’t get stuck in the destruction over here.”
“Friday Afternoon” has endearing, sentimental and thoughtful qualities that make it a candidate for best song on Stereolithic. If not “Friday Afternoon,” then “Showdown” deserves the title.
“Tranquility” shows 311 has come full circle, with a bittersweet send-off that is truly transcendent and graceful in its goodbye.
Thematically, many of the songs revolve around moving on and moving forward on Stereolithic. A sense of invigorated life breathed into 311 leaves the listener caught between one instance and the next, yet still yearning to stay anchored in this moment. Some of the fun, funk and psychedelic rock that 311 lays down with an eerie perfection on Stereolithic also carries a thought-provoking journey for the listener.
