The right to a name in the music industry with Brad Cox.

I have the pleasure today of speaking with Brad Cox, frontman of Baltimore-area rock bands We Love The Underground, Skitzo Calypso, and Niki Thunders.

Brad, all those bands must take up quite a bit of your time.  How long have you been making and releasing music?

I started writing and recording music in high school with a good friend and inspiration, Mr. Dave Pace.  I’ll never forget the first recordings or people that helped give me a lil’ push on the back [when I needed it most].  I started recording the first Skitzo Calypso album in 1996 – the first track, “Blinds” was penned in a Best Western on Santa Monica Boulevard – the things you’ll never forget.  So, to answer your question, about 23 years.  Even before Skitzo Calypso, I was releasing cassette tapes under various names/aliases/monikers and guesting on a range of local projects.

I’ve heard that you’ve been having trouble recently concerning a copyright or trademark issue surrounding the band Skitzo Calypso.  Could you fill us in on the details?

So, it’s simple, and I hope my fellow local/regional friends can learn a little something here, and that’s that online vendors, such as, but not limited to:  Etsy, Amazon, iTunes, CD Baby [and beyond] will not adhere to common sense, arbitrate or defend you in any capacity – essentially, contract law has tied their hands.  They won’t even talk to you.  Try finding a phone number for iTunes legal, I’ll wait.

In short, last Saturday night, November 4, I received a trademark complaint from CD Baby stating that a rap artist in California trademarked one of the words in our band name and that we were no longer allowed to use said word in our releases: Burning Down an Empire, Between the Lines & Beyond the Static, and The Shattering.  Due the complainant’s obvious neglect to challenge our other works, it became clear that the he was simply targeting anyone and everyone with said word in their name.  I’m reluctant to even identify which word [it was], because I don’t want to give this person any more attention than he deserves.  This isn’t the behavior of an artist or even a savvy businessman, it’s an act of harassment, by exploiting the vulnerabilities of online communities and contracts.

I think my good friend and drummer of Skitzo Calypso/We Love the Underground said it best: ‘You don’t make a name for yourself by trolling the web or buying a word, you do it by putting on solid musical performances and writing and releasing the best music you can.’  He’s correct – if anything this claim just points to the depths of the claimant’s insecurity and lack of actual substance.  On its face, it’s a false trademark infringement claim, which I now have the burden of unpacking.

The law is explicit: ‘First to Use’ not ‘First to File’.  His profile on the US Patent and Trademark Office website identifies:  FIRST USE IN COMMERCE: 20150120 [IE:  January 20th, 2015].  His trademark also only covers live performances, video production and audio production; it doesn’t state prerecorded audio.  Aside from the fact that his trademark is completely invalidated by our ‘First to Use/First Use in Commerce’ history, via financial records, tax filings and other such trails of our existence, the online vendor [who caved to an unreasonable ‘takedown request’] will not get involved.  They basically leave the burden on the seller to absolve the issue with the claimant.  So, literally, anyone could say anything, and your product is coming down until an agreement is reached between you (or your lawyer) and the claimant.

What have you tried thus far to resolve this conflict? 

I reached out to the individual and tried a very human approach – I explained our situation, our history, catalog and passion for music, with a request to withdraw his complaint from iTunes.  It took him a few days to respond, but he basically stated, ‘As an active musician, there are just too many bands with this particular word in their name.  I hope you understand.’  Great, I’m glad that you chose something so generic, that you feel a need to hold other peoples’ music hostage – so, basic!  Well, that’s fine, but if he did his homework he’d realize that there’s also a metal group in California that could trump his claim and get his product booted.  I’ve done a lot of homework on this guy.  He has zero legs to stand on and will be met brashly with attorneys.  It’s not really about Skitzo Calypso, it’s about standing up for ourselves [and others that may fall victim to such attacks] and for what’s inherently right.

To put this whole thing into perspective, our first album dropped when this individual was 7.  Our first documented online sales [from CD Baby] date back to 2003.  That doesn’t include the duplication of records and other various products that pre-date the convenience of online platforms.  It appears my only recourse is to follow the proper channels and to lawyer up.  Plain and simple, the longer this goes on, the more potential sales we’re losing and fees that will pile up.  It’s lose/lose for this individual.  They say you catch more bees with honey – if he wasn’t so short-sighted, he’d realize that artists working together [on a local/regional level] can have a mutually beneficial outcome.  The world’s a much smaller place in the age of digital media.

From the sound of it, this could easily happen to any musician or band.  Do you have any advice for others based on your own experience?

Don’t be bullied.  Don’t back down.

Beth Hart Brought ‘Fire on the Floor’ 2017 Tour to Atlanta’s Center Stage on Feb. 11

Beth Hart embarked on the first official stop of her Fire on the Floor 2017 North American Tour at Atlanta’s Center Stage on Saturday, February 11 for a dynamic bluesy filled night with Rachael Sage in support. I love powerful, strong women who tell stories. Not just about love, betrayal or heartache, but songs that are political – that make a statement about the world we live in, and that’s is exactly what Rachael Sage does, especially with her brand new song “This Darkness” it’s a song about the trials and tribulations of what the people at Standing Rock are enduring. Both Rachael and Beth are fierce women with fire running through their veins.

Beth feels more like the living embodiment of Janis Joplin mixed with a splash of Billie Holiday and a dash of Etta James, simply speaking Hart is utter undiluted rawness. Hart is out in support of eighth solo studio album, Fire on the Floor, which made its North America release debut on February 3. The 13-track album illuminates Hart’s bluesy rock, jazz infused funk that is filled with heart, compassion and empathy – and that is exactly what you get when you see her perform live. First and foremost, you get honesty blended with the joy of love and all the perils of heartache to match.

Center Stage was the perfect place to host an intimate Beth Hart experience, as she performed a collection of songs that transcended her career, from “Rhymes” to “One Eyed Chicken” to the sensual as hell “Close to My Fire” and of course no Beth Hart show would be complete without “La Song,” the song that put her on the map in the late 90s. From compassion to pure blues, the set felt like a love letter to the past, while still embracing the now with “Jazz Man” and “No Place Like Home.” Hart divulges pieces of her soul, not only through her lush smoke-infused golden voice, but each night she gets on stage to perform, she let’s out all her demons and gives a hell of a performance.

Seriously this woman is one of my all-time favorite artists. Beth is fierce, unafraid at the depths at which she rawly exposes her flaws and embraces them as truth; not only on stage but in real life as well, with a fire-lit performance that leaves you wanting more, yet thoroughly sated by the knowledge that you’ve spent an evening with greatness. And that is exactly what Beth Hart is, she is the embodiment of passion, with a brazen heartache and redemption all rolled together. From playing in Los Angeles clubs in the early 90s to traveling around the world to sold out shows with greats like Joe Bonamassa, this is a woman who is finally comfortable in her own skin. And there is nothing more glorious, than to see an artist fully come into their own.

Beth Hart is an artist you need to see, she will set your blood on fire with pure saturated goodness. Her voice is honey-tinted shades of bits of heaven as she mesmerizes you with pain, love and the journey of life. How this singer-songwriter expresses herself through her music breath-taking, and a must see. Don’t miss out on The Fire on the Floor 2017 Tour, it runs through March 25, ending at The Chicago Theatre.

Full Photo Coverage of Beth Hart

Full Photo Coverage of Rachael Sage

Cyndi Lauper brought ‘Detour’ to Atlanta Symphony Hall June 5

Written and Photographed by Danielle Boise

Cyndi Lauper brought 'Detour' tour to Atlanta Symphony Hall

Cyndi Lauper brought ‘Detour’ tour to Atlanta Symphony Hall

Cyndi Lauper definitely did deviate with her latest album, Detour. Going the route of old school country glamour mixed with a splash of rockabilly, Detour is not only delightful, but it’s a hell of a lot of fun in a way that only Lauper could pull off. She takes the best of classic country, circa 40s and 50s, and then puts her own twist on it and it’s absolutely heavenly. Cyndi Lauper brought her Detour tour to Atlanta Symphony Hall on Sunday, June 5, with The Peach Kings in support for a full night of heartfelt music.

The Peach Kings open for Cyndi Lauper at Atlanta Symphony Hall on her 'Detour' Tour

The Peach Kings open for Cyndi Lauper at Atlanta Symphony Hall on her ‘Detour’ Tour

This fantastic duo, Paige Wood and Steven Dies, out of L.A., make up The Peach Kings. They started the night off with a soulful, indie alt-rock vibe that hit the right note. The chemistry between the duo was palpable, especially when they performed “Thieves and Kings,” but when they performed “Mojo Thunder” it was searing. This is a band that is on the rise and is one you want to keep on your radar. I always love who Cyndi has accompany her on tour, because of her I’ve been introduced to a wealth of talented performers, like The Dresden Dolls (who I am an uber fan anything Amanda Palmer does) and now The Peach Kings, who I cannot get enough of.

Cyndi Lauper brought 'Detour' tour to Atlanta Symphony Hall

Cyndi Lauper brought ‘Detour’ tour to Atlanta Symphony Hall

Cyndi is such a unique and lovely soul and with each song she performed, she gave a little bit of herself to all of us. She started the night off with “Funnel of Love” (a Wanda Jackson cover), followed by “She Bop,” “Heartaches by the Number” (a Ray Price cover), “ I Drove All Night,” “The End of the World” (a Skeeter Davis cover), “Walking After Midnight” ( a Patsy Cline cover), “I Want to Be a Cowboy’s Sweetheart” (a Patsy Montana cover), “You Don’t Know,” “When You Were Mine” (a Prince cover), and ended the regular set with “Money Changes Everything” (a cover of The Brains). For the encore, Cyndi did a cover of Eddy Arnold’s “Misty Blue” followed by the tear jerking “Time After Time.” And of course, no Cyndi Lauper show would be complete without “Girls Just Want to Have Fun” where she had The Peach Kings join her on stage for a rousing rendition of the 80s classic. For her final song of the evening, Cyndi did a medley of “A Part Hate” mixed with “True Colors.”

Cyndi Lauper brought 'Detour' tour to Atlanta Symphony Hall

Cyndi Lauper brought ‘Detour’ tour to Atlanta Symphony Hall

For me, I am truly a byproduct of growing up in the 80s, with Cyndi being an idol of mine. “Girls Just Want To Have Fun” was my generation’s anthem of choice. Like a great bottle of wine, Cyndi Lauper has just gotten better with age. And each time I’ve had the distinct pleasure of seeing her perform live, it’s like it’s the first time; it’s pure perfection. There is so much love and heart that she explodes into each performance, but what makes her shows so special is how she gives insight into her personal life. With Detour, she gave us glimpses into her childhood and what it was like growing up as an Italian in Brooklyn. The crazy Saturday morning cartoons and songs helped inspire her with this album. But for me, the most impactful part of the night was right before she did “I Want to Be a Cowboy’s Sweetheart” because she paid homage to a time, not too far back in our history, where for a woman the best you could hope for in order to become anything was to be attached to a man. It was a very powerful statement and one that resonated with me personally.

Cyndi Lauper brought 'Detour' tour to Atlanta Symphony Hall

Cyndi Lauper brought ‘Detour’ tour to Atlanta Symphony Hall

If you get a chance, this is a tour you do not want to miss out on. It’s fun and full of so much energy and the best thing is’ you leave happier and lighter than when you walked in the door. Who wouldn’t love that?

Photo Gallery of Cyndi Lauper

Photo Gallery of The Peach Kings

 

Nashville in Concert at Fox Theatre in Atlanta

I, along with approximately twenty-five hundred people, took over The Fox Theatre on Wednesday April 27 to see the artists from the ABC smash-hit TV show, Nashville for the Nashville in Concert tour for an absolutely glorious evening to rejoice in the joys and wonders of the songs from the show.

Clare Bowen performing with her fiance, Brandon Robert Young in Nashville in Concert at The Fox Theatre in Atlanta

Clare Bowen performing with her fiance, Brandon Robert Young in Nashville in Concert at The Fox Theatre in Atlanta

Personally, as a fan from the show from the beginning, it was a great opportunity to witness (for all of us fans) the songs that have played not only a key role in the story line of the four seasons run of Nashville (fingers crossed for a fifth run in the fall), but songs that personally hit each of us as well. Like all great music does, it’s a collective experience, yet personal journey we join along together in. What was so fantastic about Nashville in Concert was getting the chance to see these musicians who are actors, who then play musicians on television perform in a live setting – in one sense it was very meta for me.

Another great thing about getting the chance to see Charles Esten (aka Deacon Claybourne), Clare Bowen (aka Scarlett O’Connor), Chris Carmack (aka Will Lexington) and Aubrey Peeples (aka Layla Grant) perform their own music was that it was so vulnerable, yet inviting at the same time. They were willing to share their personal journeys with all of us. Not to mention we got to hear a new music from the show that hasn’t aired as of yet.

Chris Carmack performing in Nashville in Concert at The Fox Theatre in Atlanta

Chris Carmack performing in Nashville in Concert at The Fox Theatre in Atlanta

In the beginning each artist came out to do one song individually, after that they kind of alternated between one another and did duets for the rest of the evening. Chris Carmack started the night off with his first song, followed by Aubrey Peeples, Clare Bowen and then Charles Esten. For me, Chris Carmack performance was pure showmanship, and can he play a mean blues guitar. The highlight was when he performed “Pieces of You” (which is one of his original songs). His parents drove in four hours to see him perform at The Fox Theatre and you could tell he was so honored to be there. That was the key theme of the night for all the artists up on stage, it was about humility, honor and just being a sense of gratefulness that they were able to connect with their fans in a true and honest way.

Aubrey Peeples performing in Nashville in Concert at The Fox Theatre in Atlanta

Aubrey Peeples was up next and the only words that came out of my mouth were “damn can she sing.” I mean I knew she could sing from the show, but live – it was like a dream, as she performed “The Book” which is a new song that is set to be played on the second to last episode of the season. She also performed “Too Far From You,” “Soul Survivor” and “Break it to Me Gently.” Clare Bowen, along with her fiance, performed together for all of her songs. It was so sweet and endearing seeing them so in love with each other.

For me, the personal favorite moment was “Hand to Hold,” which happens to be the song that reconnects Clare’s character, Scarlett, with her uncle Deacon (Charles Esten) as they performed it together at the Beverly in the show. Clare was raw and exposed as she announced to the audience that she would be returning back home (Australia) in a few weeks to donate as much bone marrow to her brother as she could, because he has always been her rock, the one person she has turned to her whole life and now he needs her. For her to be so unfiltered and honest was tear jerking. And the voice that she has is like angels singing.

Charles Esten performing in Nashville in Concert at The Fox Theatre in Atlanta

When Charles Esten stepped onto stage, he said “being on Nashville is like a fine meal, but being here with you is like dessert.” Which sent everyone into a frenzy. Charles Esten was a lot of fun up on stage, he was really feeling himself and having a blast, part himself and part his character shined through, as he played “Just Like You.” For the final song, the entire cast came back on stage with Esten and as a tribute, for the sake of a tribute only, they performed “Purple Rain” in honor of Prince, as The Fox Theatre was the last series of shows Prince performed prior to his untimely passing.

This was a truly amazing experience to have, not only as a fan of the show, but as a fan of music. If you get the chance to see Nashville in Concert, this would be a ticket worth buying.


Nashville Live in Concert Photography – Photos by Danielle Boise

2016 SweetWater 420 Festival Coverage

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.

 

Saturday, April 23 420 Festival Photography Coverage

Chrome Pony

North Mississippi Allstars

Maceo Parker

Tokyo Police Club

Dawes

The Word

Rebelution

The Roots

AWOLNATION

Bastille

The SweetWater Experience Tent

Atmospheric – This is what it’s like to be at The SweetWater 420 Festival. Filled with later, friends, beer and a great time.


Sunday, April 24 420 Festival Photography Coverage – photos by Danielle Boise

Leftover Salmon

People’s Blues of Richmond

Waking Astronomer

Voodoo Visionary

Manchester Orchestra

Nahko And Medicine For The People

Atmosphere

Michael Franti & Spearhead

The Bright Light Social Hour

Ludacris

Robert DeLong

Ben Harper & the Innocent Criminals

The SweetWater Experience Tent

Atmospheric – This is what it’s like to be at The SweetWater 420 Festival. Filled with later, friends, beer and a great time.

CD Review: ‘Aura Vista Motel’ by Vaudeville Etiquette

By Danielle Boise

Seattle-based band, Vaudeville Etiquette follows up their 2014 debut album, Debutants & Dealers with the release of their sophomore album, Aura Vista Motel, which was released on May 6.  And believe me, I’ve listen to this album dozen upon dozen times and there is not one track on the album that disappoints. The entire collaboration is a brilliant follow up and to an already stunning debut that they made back in 2014. I can only imagine where Vaudeville Etiquette will go from here.  The 11-track album is engaging as it takes us on a beautiful journey into the land of psych-folk that blends beautifully with bluegrass roots with seamless harmonies, and the chemistry between Bradley Laina and Tayler Lynn is palpable and utterly transfixing to listen to.

Aura Vista Motel starts of strong and bold, like a really great cup of coffee and really kicks you into gear with “Crosseyed Crazy.” The steel guitar plays a significant part in the creation of this album, giving it the foundation from which the whole album uses as the building blocks for a masterful creation.

With poignant lyrics like, “Will I ever get it right?”  from the song “Aura Vista,” is truly reflective in nature by showing us the deep and painful, yet beautiful nature of a “shipwrecked soul.” “Damn Lovely” starts out with a raw sensuality that slowly builds into a blistering fire, leaving the listener to feel as if you’re unspooling from the inside out. I will say that “Bridges” has a Springsteen vibe to it that is just fun to listen to as a stand-alone song.

“Room 417” truly isn’t a song, but more a transition from the beginning of a relationship that brings us to the “Tipping Point,” which is filled with fiery passion. It’s bold, demanding with so much hurt and pain, along with all the chemistry that fuels all those opposing emotions is laid out raw right before the listener to consumer wholeheartedly with “we can get along, if we just don’t talk.” I think anyone who has ever been in a relationship, can understand and completely get those feels of when they reach the tipping point in their own relationship and all you want is for the other person to be quiet in order to get along.

When listening to “Set it on Fire,” I had this odd sense of feeling dismal mixed with a vision of an old carnival ride that encases the underlying tone of the song for me, it’s like you can feel the end in the distance coming closer to the horizon. Almost in one sense hunting it down and in another avoiding it at all costs.

I love the lyrics on this album, they are so utterly exposed and vulnerable on the inner workings of relationships. Of how in one sense we bind ourselves tightly to another only to see it unravel before our eyes. Vaudeville Etiquette puts all these feelings together eloquently in a way that transpires to the heart of the nature of relationships, like “let’s dance with the devil ‘til it breaks our hearts” in “Helpless Heart” the lyrics are both poignant and bittersweet in the ways of the heart and the strife of love. “You were such a restless soul, easy to the touch, but hard to hold.” Is another perfect example of the craftsmanship that went into creating this honest album.

“Empty Hands” is filled with a beautiful sadness that underlines the entire song, “learn how to hold our cold and empty hands.” “Til The Wheels Unwind” has a bit of a country kick to it as the song carries the burden of the distance that builds inside relationships with unreasoning sensibilities while becoming immobile to your lover’s needs.

Aura Vista Motel ends on a bittersweet note with “Leaving Song” which is absolutely gut wrenching by shatters the listener into a million pieces with so much truth and honesty, “my love covered in rapture from the pale blue doves. I’ve got no choice but to leave you ‘til the work is done.”

What I find the most intriguing thing about this album is that there are so many layers and levels to it. It’s all from where the listener is in their life to how the music will fill their soul up. For me with each new spin I hear something new, and get a greater appreciation of the masterpiece that I truly feel that Aura Vista Motel is. This is definitely an album you will want to listen to more than once. So go out and buy a copy on CD, download it from iTunes or wait until they press it to vinyl (and they will be doing that shortly), but regardless of how you listen to it, just listen to it. It’s so worth the spin, so give it a twirl.

Melanie Martinez sells out Atlanta’s Buckhead Theatre on April 5

Written & Photographed by Danielle Boise

Melanie Martinez 'Cry Baby' Tour at Buckhead Theatre in Atlanta

Melanie Martinez ‘Cry Baby’ Tour at Buckhead Theatre in Atlanta

Melanie Martinez splashed onto the music scene in 2012 as a contestant in the third season of the NBC hit reality show, The Voice, which landed her a record deal with Atlantic Records. Martinez has been able to craft an incredibly eye-opening way of showing us all what lurks behind the pretenses of perfection and shatters that illusion with cleaver hooks and a dreamlike voice. She dropped her Dollhouse EP in 2014, which was then incorporated into her debut album released in August of 2015, Cry Baby. Since the release Martinez has been on a whirlwind tour for to support this incredible project. The 13-track album is not light-hearted fare, but it a gorgeous conceptual album that is the perfect solution to any bad day.

Melanie Martinez 'Cry Baby' Tour at Buckhead Theatre in Atlanta

Melanie Martinez ‘Cry Baby’ Tour at Buckhead Theatre in Atlanta

Martinez finally made her way to Atlanta on Tuesday, April 5, for her sold out show at The Buckhead Theatre with Mainland in support. For a standing room only show, as it was completely sold out, as has been the case with the majority of Martinez’s stops on her Cry Baby Tour. People drove in from all over the southeast, lining up as early as 8 am for a 7:30 pm show, in order to get to be as close as possible to this fast rising star.

What’s so wonderful about The Buckhead Theatre is that while it’s not the smallest venue in Atlanta, it holds approximately 1,500 at full capacity, but has this delightful retro feel – while maintaining an intimate atmosphere, that both the fans and artists truly appreciate and was the perfect place to host the Cry Baby tour.

Mainland opened for Melanie Martinez sold out 'Cry Baby' Tour at Buckhead Theatre in Atlanta

Mainland opened for Melanie Martinez sold out ‘Cry Baby’ Tour at Buckhead Theatre in Atlanta

The alternative New York-based trio, Mainland opened the show with performing songs off their soon-to-be-released Outcast, out on 300 Entertainment later this summer. This was the masterful blend of music that balanced each other out perfectly for its honest intent and pure moments of connection, conception and poignant lyrics across the board between both Mainland and Martinez.

With a 14-song set list, Martinez pretty much played her Cry Baby album in track order, by starting off the evening by popping out of a crib for “Cry Baby” followed by the powerfully hypnotic “Dollhouse.” The dark illusions of “Sippy Cup” was up next, with the most expressive lyrics being “Kids are still depressed when you dressed them up.” It’s a powerful reflection, mirrored back to us on the context of perception. How perception actually alters the landscape of reality. Yet reality still exists under the context of layers of disbelief, where the lies we tell ourselves only to shout to the world at large live in. It’s a mind-boggling, Melanie’s artistry to her wordsmith skill set to craft a delicious sentiment that translates so accurately. I truly feel she is a voice of a generation that needs to be heard and this is their path to being understood.

Melanie Martinez 'Cry Baby' Tour at Buckhead Theatre in Atlanta

Melanie Martinez ‘Cry Baby’ Tour at Buckhead Theatre in Atlanta

Of course “Carousel” was up next, you can’t have a Melanie Martinez show without “Carousel.” Followed by “Alphabet Boy,” “Soap,” “Training Wheels,” “Pity Party,” “Tag,” “You’re It,” “Milk and Cookies,” “Pacify Her,” “Mrs. Potato Head” and ended the regular set with “Cake.” For Martinez’s encore she came back out for one final song and end the night on an impeccable note with “Mad Hatter.”

What is so remarkable about Melanie Martinez is there is no pretense, she is a woman who is playing by her own set of rules, and boy are they a glorious set of rules. She is a voice of a generation that is needs to be heard. There is nothing quite like seeing her perform live, as she is fully in the moment and brings us all along for the ride. Martinez is a delightful performer, who is maintains being down-to-earth and earnest. And if you get the chance to see her live, do.

 

Full Photo Gallery of Melanie Martinez

Full Photo Gallery of Mainland

Dropkick Murphys’ 20th Anniversary Tour Rocks Atlanta

Review and Photos by Danielle Boise

It had been since 2008 since the Los Angeles-based punkobilly meet psychobilly, rock trio, Tiger Army performed at the Tabernacle, and they did not disappoint as they opened for the Dropkick Murphys’ 20th Anniversary Tour at the Tabby on Saturday, March 5 in the heart of downtown Atlanta. With a high energy set, that included “Rumble” and “FTW,”  along with debut a new song, called “Prisoner of the Night,” off their soon-to-be released spring album. Tiger Army got the crowd primed for Dropkick Murphys, and did a hell of a job doing that.

Tiger Army

Tiger Army

“The boys are back and they are looking for trouble.” For 20 years, Dropkick Murphys has been providing fans with a a ruckus, patriotic-infused, good-old fashion Irish kick-ass time. Full of fast and furried songs spent with throttled meaning, along with supporting a variety of community based causes. The Boston pride runs deep and proud throughout Dropkick Murphys as they brought their own style of rock to the Tabernacle for a sold out show that rivaled any other that I’ve seen there. Seriously, you can’t go wrong with a DKM show.

Dropkick Murphys 20th Anniversary Tour

Dropkick Murphys 20th Anniversary Tour

With a 26-song set list, the Dropkick Murphys did not disappoint, as they kicked into gear with the rock portion of the night with “Johnny, I Hardly Knew Ya” followed by “Out of Our Heads,” “Walk Away,” “Famous for Nothing,” “Sunshine Highway” and a delicious  Clash cover of “Career Opportunities.” DKM performed the beautifully haunting “Rose Tattoo,” a new song off their latest release, Singed and Sealed in Blood, followed by “The Auld Triangle,” “Heroes From Our Past,” “Caps and Bottles,” The Press cover of “21 Guitar Salute,” a Rodgers & Hammerstein cover of “You’ll Never Walk Alone” followed by “Flannigans Ball” and “The Ghosts of Rock & Roll” before entering their acoustic portion of the night, with songs like, “Barroom Hero,” “The Gang’s All Here,” “Sandlot,” “The State of Massachusetts,” “The Gauntlet” and ended with “I’m Shipping Up to Boston.” For the encore Dropkick Murphys came back out onto stage “Worker’s Song” and then brought the throttle of fans onto the stage for the final songs, “Kiss Me, I’m Shittfaced,” “Skinhead on the MBTA,” and ended on a high note with “Having a Party.

Dropkick Murphys 20th Anniversary Tour

Dropkick Murphys 20th Anniversary Tour

What I have to say I love the most about Dropkick Murphys is not only their dedication to their music and their fans, but they bleed red, white and blue to the core; very patriotic and gives back to the community through Children’s Charities and honors returning vets and other military organizations, feeling regardless of what side of the line you fall on that these men and women deserve the respect and honor that should be granted to them.

Dropkick Murphys 20th Anniversary Tour

Dropkick Murphys 20th Anniversary Tour

Honorable, humble and full of hell – that’s the Dropkick Murphys through-and-through, and worth the ticket price everytime. They continue their US tour through March 20, ending at Brighton Music Hall in Massachusetts before heading to Europe this summer.

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Full Photo Gallery of Dropkick Murphys

Full Photo Gallery of Tiger Army

Jess Glynne plays sold out show at Atlanta’s Terminal West Jan. 26

Written by Danielle Boise & Photos by Chuck Holloway

Jess Glynne played a sold out show at Atlanta’s Terminal West Thursday, Jan. 26. The soulful, Jess Glynne‘s breakthrough moment came in 2014, when she was featured in Clean Bandits’ “Real Love” and she has only skyrocketed from there to have grown into the truly astounding artist, with pop-dance beats interlaced as she breaks down genres to create her own place in music; with her debut album, I Cry When I Laugh. Glynne’s nearly sold-out US tour just ended, but “Hold My Hand” singer is tour endlessly throughout Europe through the middle of August. This is a bucket-list artist; you will want to see her when you can. Until then, check out her I Cry When I Laugh, give it a spin. It will not disappoint.

 

Jess Glynne’s set-list included: “Strawberry Fields,” “Ain’t Got Far to Go,” “Real Love/Finally/Rather Be,” “Home,” “Love Me,” “Gave Me Something,” “It Ain’t Right,” “Why Me,” “Bad Blood,” “My Love,” “Tears Dry on Their Own (Amy Winehouse cover),” “Take Me Home,” “You Can Find Me,” “No Rights No Wrongs,” “Don’t Be So Hard on Yourself” Encore included: “Right Here” and “Hold My Hand”

 

Full Photo Gallery of Jess Glynne