Queens of the Stone Age Bring the Catacombs to Detroit

Queens of the Stone Age, the most successful band in the desert rock/stoner metal genre, brought a very unique show to Detroit's Fox Theatre earlier this month, much to the delight of their dedicated fans. Known more for grungy riffs, up-tempo rockers, and lightning-fast guitar and drum work, QOTSA are currently on a short tour to promote their acoustic EP, Alive in the Catacombs, recorded among the bones and skulls underground in Paris, France last summer. Not simply featuring acoustic guitars and lighter arrangements of some of their hits, the band seized the extremely rare opportunity and access to record and film in the catacombs to present a theatrical run through a set of deep cuts, primarily from the second half of their catalog, in spite of a serious health issue frontman Josh Homme was experiencing at the time, which limited the project to only five songs though more were reportedly planned. While it would have been engaging and entertaining enough to perform an extended set of songs with similar arrangements, leaning heavily on a guest string quartet and featuring almost no percussion at all, Queens wisely seized the opportunity to take the idea into much broader and even more unexpected directions.

Advertising the tour as taking place in classier theaters in which the band would not normally perform their standard rock shows, and that the audience should dress up for the occasions accordingly, the atmosphere of the night was vastly different from a standard QOTSA concert. Fans who arrived in dresses and suits, shirts and ties, sexy gothic ensembles, and even Halloween costumes filled the seats, and those who made it in early enough were treated to a 40-minute opening set by Paris Jackson, daughter of Michael, who performed original material solo with only an acoustic guitar (and coincidentally was named after the home of the catacombs themselves). If that wasn't unique enough, the main performance began with a theatrical tone that lasted throughout and which was divided into three "acts," not unlike many plays, musicals, or operas. The first act wisely featured the entire five-track Catacombs EP, in sequence, performed essentially as it was in Paris and as it appears on the official release, with "Kalopsia" from ...Like Clockwork standing out as the best. Featuring that material right away led to even greater anticipation because fans assumed they'd heard those songs no matter what, but that left the rest of the show open to surprises, one after another.

Act two began when the musicians from the first act stepped off to the side of the stage and the curtain in front of which they'd been performing was raised to reveal a full drum kit with additional percussion and space for a small horn section and additional vocalists to join the string quartet who had already been part of act one. While some of the guest musicians came and went from the stage depending on the song being performed, in addition to the five primary members of the band, there were at times as many as 20 people on stage singing and/or playing in unison. While this certainly created a full and lush sound during each song, it also added to the theatrical tone and vibe of the concert itself. It felt almost like watching a filmed performance or a musical number that was part of a movie than any sort of standard or traditional concert. That the band were able to maintain this throughout the entire show is impressive in itself, but the song selection made the event even more of a fan's dream.

Building on the portmanteau-ed blend of the B-side "Running Joke" with "Paper Machete" from In Times New Roman..., which opens the acoustic EP, additional combinations of two or three different songs being mixed together were featured during the show's second act. Starting with "Someone's in the Wolf," which segued into a bit of "A Song for the Dead" and a few bars from "Straight Jacket Fitting" before returning to "Wolf" to conclude the piece, it was clear this show would be even more elaborate and intricately planned than was seen in the first act, especially with the expanded lineup of musicians. Areas of songs that would normally be full of guitars, keyboards, and drums were replaced with bombastic and even cacophonous bursts of horns, strings, and percussion, retaining the dynamic that exists in their original forms but presenting it in a new and different way. "Mosquito Song," an obvious choice for this type of show, however, was performed almost exactly the way it was written and recorded in 2002. More surprising were songs like the usually guitar-heavy "Keep Your Eyes Peeled," with key parts replaced by strings and horns, and even more so, the inclusion of "Spinning in the Daffodils," a song from Homme's side project Them Crooked Vultures, which QOTSA had never previously performed (in this case, mixed with a bit of "The Blood Is Love" from 2005's Lullabies to Paralyze). That particular piece may have been the peak of the show, but in the moment, it was only the conclusion of the second act.

Long-time Queens members including Troy Van Leeuwen, Mikey Shuman, and Detroit's own Dean Fertita (specially recognized at his hometown show) each adjusted perfectly to the alternate arrangements of the songs and in some cases added new elements to them since the parts they normally play on guitar, bass, or keyboard may have been taken by one of the horns or violins. For a show like this one that could have easily seen the band members playing what they would normally play anyway and simply doubling or tripling one part or another on top of the horns and strings, it's notable the band members would utilize the opportunity to add new elements to the songs instead, something that would certainly take more time and concentration to do, much less to do well. Drummer, Jon Theodore, still the "new guy" in the band after 12 years of service, particularly benefitted from such opportunities, as he was barely featured on the Catacombs EP, and since the alternate arrangements of these songs often left little room for the showy hard rock drumming he normally provides. It was clear he was excited to add to the movement of the songs in different ways throughout acts two and three.

The third and final act of the show continued to deliver a blend of material, but there were no more pieces with multiple songs blending together, and most of the tracks were deep cuts from the band's fourth, sixth, and seventh albums, such as "Fortress" and "Hideaway" from Villains and the title track from Like Clockwork..., already a piano ballad appropriate for a quieter concert. The rarely performed "You Got a Killer Scene There, Man..." was a highlight because of its scarcity, but two big surprises from this portion of the show included a brand new song, "Easy Street," which had only debuted the previous night in Chicago, and a very unexpected take on "Autopilot" from the band's second LP, a track written and originally sung by former bassist Nick Oliveri and the late Mark Lanegan. In this case, current bassist Mikey Shuman sang Oliveri's lead part and changed to Lanegan's backing vocal part during the final few measures of the song. This is essentially unheard of in QOTSA history where none of Oliveri's original material had been performed by the band since his departure in 2004. It was an absolute delight to hear them playing it again, even without him.

In spite of the excellent song selections, it was somewhat surprising a few key tracks that would easily have fit the tone of this concert were left out. Most notably, "Lightning Song," "Burn the Witch," and "This Lullaby" all would have worked well in this setting, but perhaps the band felt they were a bit too obvious to include and opted for others.

After a brief encore break, feeling almost like an after-thought, Homme and Shuman came back to the stage alone to perform a shortened version of "Long Slow Goodbye," accompanied only by Homme's sleighbell percussion. While a few fans attempted to clap along to the beat, the majority of the audience did not join in during the Detroit show, where video from other stops on the tour featured more rhythmic participation from the crowd. This fan-favorite deep cut was an appropriate, if not perfect, ending to a unique and very special performance that could really only come from QOTSA, though others may come up with interesting variations if they chose to attempt it with their own material. Fans old and new were overwhelmed with the creativity and talent that was constant through such a multifaceted show, and the band certainly must have felt a sense of freedom doing something so different from what they would normally. 

Queens of the Stone Age (Detroit, MI 10/3/25) set list:
Crickets Intro (intro tape)
------------------- 
Running Joke/Paper Machete
Kalopsia
Villains of Circumstance
Suture Up Your Future
I Never Came
------------------- 
Someone's in the Wolf/A Song for the Dead/Straight Jacket Fitting
Mosquito Song
Keep Your Eyes Peeled
Spinning in the Daffodils (Them Crooked Vultures)/The Blood Is Love (tease)
------------------- 
"You Got a Killer Scene There, Man..."
Hideaway
The Vampyre of Time and Memory
Autopilot
Easy Street
Fortress
...Like Clockwork
------------------ 
Long Slow Goodbye

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Tedeschi, Trucks, and Haynes Carry the Legacy of the Allman Bros. at Pine Knob

On an incredible late-summer night in Clarkston, north of Detroit, the spirit of the legendary Allman Brothers Band lived on through the music of two of its key former members, Warren Haynes and Derek Trucks. Touring together for the first time as co-headliners with their ace solo projects, The Tedeschi Trucks Band and Gov't Mule treated the jam-loving crowd to a night of hits, fan favorites, deep cuts, collaborations, and notable covers. Beginning with a short opening set from newcomer Nolan Taylor, the evening was elevated right away with Gov't Mule's opening number at just ten minutes after 7pm, an a cappella rendition of Son House's "Grinning in Your Face," a favorite of Haynes and local legend Jack White alike, followed by an extended run through their signature original, "Mule." After a few more signature originals, Mule began weaving in cover songs and quotes from tracks by other artists, including bits of The Allman Brothers Band's "Mountain Jam" and a bit of The Beatles' "Norwegian Wood" at the end of "Game Face" and a rousing take on Al Green's "I'm a Ram." Currently featuring only one founding member, bandleader Warren Haynes led this version of Mule through excellent performances of fan favorites like "Banks of the Deep End," "Sco-Mule," and "Rocking Horse" and jammed with members of The Tedeschi Trucks Band on "Dreaming Out Loud." 

With the tour itself clearly an excuse for collaboration throughout the night, it was no surprise that Derek Trucks joined the band for a soulful run through The Allman Bros.' classic "Desdemona" or that Susan Tedeschi would grace the audience with a beautiful take on the lead vocals for Mule's closing number, "Soulshine," another Allman Bros. staple. As three Allman songs had already appeared prior to the headliner even taking the stage, it was clear both bands continue to revere and celebrate the musical and historical significance of the rock and roll hall of famers that helped these players get their start and a foothold in the industry. 

Just after sunset, Tedeschi Trucks Band took the stage to enthusiastic applause from their many faithful fans and followers and to many who were seeing the band for the first time. Groups with this level of talent that also work outside the mainstream of rock music are probably always performing to people who have seen them 100 times and people seeing them for the first time every time they play. TTB's 12 members occupy every square foot of the stage, many alternating between multiple instruments during or between each song, and their professional delivery and road-tested groove was a perfect fit at Pine Knob. Drawing on tracks mostly from the middle of their catalog, TTB blended swampy southern rock with classic soul and plenty of psychedelic spice as they jammed on "Anyhow," "Soul Sweet Song," "Midnight in Harlem," and the rocking "Made Up Mind," their best-received original song of the night. Running strong for over 20 years now, the co-band leader spouses (Tedeschi and Trucks) made the vibe almost familial among the many Mule and Allman fans in the crowd. Like any great jam band, plenty of choice cover songs were also featured, including the Sleepy Jon Estes classic "Leaving Trunk" and a bit of Jerry Garcia and Robert Hunter's "Sugaree" as part of their own "Angel from Montgomery."

Without leaving the stage for an encore break, TTB put the exclamation point on the evening by inviting Warren Haynes back to the stage for an amazing performance of the Allman Brothers staple "Whipping Post," and then additional members of Gov't Mule joined in for the last song of the night, a loud and spirited take on Joe Cocker and Leon Russell's arrangement of The Beatles' "With a Little Help from My Friends," made famous at Woodstock and in the opening and closing credits of The Wonder Years. These final songs together were played for over 20 minutes and were the most engaging songs of the entire night with everyone on stage and in the audience singing along. While this particular show was the last of the bands' shared summer tour, there's a delightful comfort in knowing they would pack up and move on to the next city to do it all again a day or two later and that there's a good chance they'll both be back to continue to spread the gospel of rock and to carry on the legacy of The Allman Brothers again very soon.

Tedeschi Trucks Band (Clarkston, MI 9/10/25) set list:
Anyhow
Devil Be Gone
Who Am I
Soul Sweet Song
Leaving Trunk (Sleepy John Estes)
Volunteered Slavery (Rahsann Roland Kirk)
Future Soul
Angel from Montgomery/Sugaree (Jerry Garcia)
Do I Look Worried?
Midnight in Harlem
Made Up Mind
Whipping Post (Allman Bros. Band) (w/Warren Haynes)
With a Little Help from My Friends (The Beatles) (w/Gov't Mule)
----------------------------------------------------- 

Gov't Mule (Clarkston, MI 9/10/25) set list:
Grinning in Your Face (Son House)
Mule
Same As It Ever Was
Banks of the Deep End
Game Face/Mountain Jam (Allman Bros. Band)/Norwegian Wood (Beatles)
Sco-Mule
Dreaming Out Loud (w/members of TTB)
I'm a Ram (Al Green)
Desdemona (Allman Bros. Band) (w/Derek Trucks)
Rocking Horse

Soulshine (Allman Bros. Band) (w/Susan Tedeschi)
---------------------------

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Nine Inch Nails Peel It Back in Detroit!

After seven years away, Rock and Roll Hall of Famer Trent Reznor and the legendary Nine Inch Nails returned to Michigan to perform in Detroit's Little Caesars Arena last Friday night. Their signature blend of dark, moody music and atmosphere accompanied a well-rehearsed set of hits, deep cuts, and fan favorites which left the adoring audience well satisfied but always ready for more. The members of Reznor's famously rotating backing band were all NIN veterans, including keyboardist Atticus Ross (a full-time member of the project since 2016), guitarist Robin Finck, multi-instrumentalist Alessandro Cortini, and recently returned drummer extraordinaire, Josh Freese, rejoining the group for the first time since 2008.

The production of the show itself is second to none with carefully designed lighting, projections, and other effects perfectly synchronized with specific moments in each song, sometimes recalling some of the band's earlier productions, such as the Self Destruct tour in 1994 and Fragility in 2000. Unique to the Peel It Back tour, however, was the placement of three separate stages in a column from the top to the bottom of the floor of the venue, which not only allowed for even more elaborate lighting changes but brought the performers to different positions within the venue throughout the show, somewhat recalling The Rolling Stones' Bridges to Babylon tour with a B-stage in the rear of the floor which the band walked to and from during the concert.

Beginning with an hour of live mixed music by DJ Boys Noize on his own rear stage, the scheduling of the show allowed for continuous music for nearly three hours as no time was needed to allow for a set change prior to Reznor and company taking the stage. Beginning with quieter, piano-based renditions of "Right Where It Belongs" and "Ruiner" before segueing into the usual blend of loud guitar and electronics, once Nine Inch Nails got up and running, the intensity and the tempo alike remained constant throughout. With almost no between-song banter, some transitions between songs were so brief the next song almost began on the previous song's next beat. It wasn't quite making a dance party out of these intricately written and performed tracks, but it was about as close as you could get without that result being the intention. It made for an engaging and unique experience compared to any other average rock show where a player may need to tune and instrument, or the singer decides to tell a story about where they had lunch that day. 

Full throttled renditions of "Wish" and "March of the Pigs" established the tone for the rest of the night, and while the set leaned heavily on the band's masterpiece, 1994's The Downward Spiral, with about half of that album being performed, they balanced those songs out with 21st century material like "The Lovers" and "Less Than" from the Add Violence EP,  A cool new remix of "Vessel" from Year Zero, and both "Copy of A" and a new remix of "Came Back Haunted" from Hesitation Marks. NIN have also produced a new soundtrack album for the third installment in the Tron film franchise, and they included the lead single from that record but played no other new material in Detroit. Transitioning between stages throughout the show, the third portion, performed on the B-stage, included collaboration with Boys Noize who provided additional live remixing to four of the night's particularly electronic songs, including the legendary "Closer," appearing in a new mix without the quote from "The Only Time" that has been omnipresent for over 25 years.

The fourth and final segment of the show, performed on the main stage, contained some of the most personal and most impressive moments. After a blistering "Mr. Self Destruct," now played in a lower key, the crowd was gifted a performance of the previously rarely featured hit "The Perfect Drug," which stood out even more with Freese dominating the song's complex drum solo, getting some of the loudest crowd response of the night. After that, Reznor introduced the Freese and the rest of the band and gave respect to David Lynch, the late writer/director with whom Reznor collaborated on Lost Highway, Twin Peaks, and other projects. He then mentioned how great it was to work with another David and launched into David Bowie's "I'm Afraid of Americans," a track Reznor famously remixed for its original single release, complete with Bowie's sampled voice coming from the keyboard as in his recording. Such a timeless song always feels relevant, and the audience and musicians collectively bonded over love for Bowie near the end of the concert.

Concluding with experienced precision, "The Hand That Feeds" led to "Head Like a Hole," the only track included from the band's debut LP, and finally the emotional ballad, "Hurt," a standard closer since its first release 31 years ago. With a project like Nine Inch Nails, it's hard to be disappointed with any combination of songs they may choose to perform. It's more about how there are so many excellent tracks to choose from, it's impossible to include them all. Reznor has famously turned Nine Inch Nails on and off as a project like the power button on a synthesizer, so there's no way of knowing whether or not this is a one-off tour or the launch of a new productive era outside his award-winning scoring work with Ross. In any case, catching this particular show, if you can, would be a wise idea.

Nine Inch Nails (Detroit, 8/22/25) set list:
Right Where It Belongs/Somewhat Damaged
Ruiner
Piggy (nothing can stop me now mix)
--------- 
Wish
March of the Pigs/All the Pigs, All Line Up (tag)
Reptile
The Lovers
Copy of A
Gave Up
-----------
Vessel (w/Boys Noize)
Closer (w/Boys Noize)
As Alive As You Need Me to Be (w/Boys Noize)
Came Back Haunted (w/Boys Noize)
------------ 
Mr. Self Destruct
Less Than
The Perfect Drug
I'm Afraid of Americans (David Bowie)
The Hand That Feeds
Head Like a Hole
Hurt
---------------------------


*(watch bootleg video of the full show here!)*

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CAKE Rocks Sterling Heights!

Fans from Detroit and nearby areas rejoiced at the return of CAKE to Michigan Lottery Amphitheatre at Freedom Hill in Sterling Heights last week, and the alt. rock veterans delivered a strong night of their signature tunes, including their biggest hits and plenty of fan favorites. CAKE is a group who famously only tour, write, and record when they wish, and several years often elapse between their periods of activity. In this case, they are touring prior to the release of their long-awaited seventh LP, which is expected to arrive this fall. One new song, "Billionaire in Space," was performed as a preview. Singer John McCrea and company delighted fans with comical interludes between most songs, and the band seemed very comfortable and well-rehearsed throughout. 

As many other groups have taken to doing over the past five to ten years, the concert was billed as "An Evening with CAKE," meaning no opening act and an intermission during the band's performance. Much like other notable alternative rockers, such as Maynard James Keenan and Jack White, CAKE requested no photos or video be taken during the performance although in a gentler, suggestive way. An announcement requesting attendees to avoid using their phones during the performance played prior to the band's intro tape, but they were not required to lock their phones in pouches (like some of White's recent tours) nor were they threatened with ejection from the show for having a phone out (like at Keenan's shows). 

CAKE wisely feature more from their 1996 breakthrough album Fashion Nugget than any of their other releases, but they work hit singles and a few deep cuts from their other five albums as well. The band opened with "Frank Sinatra" and ran through zippy versions of "Stickshifts and Safetybelts" and the stuttering "Perhaps, Perhaps, Perhaps" during the first set, and they featured "Daria" and their biggest hit, "The Distance," during the second half of the concert. Crowd participation is encouraged during almost every song but is most audible during hits like "Sheep Go to Heaven," and "Never There" where the chanted backing vocals can be shared with the audience (as McCrea's unique delivery varies in pace and style through most of the lead vocals, making them harder to sing along with, even if you know most of the lyrics). While the stage itself was relatively undecorated, McCrea controlled a lighted, spinning mirror ball with a foot pedal throughout the concert, including it for at least a few moments during nearly every song.

McCrea is involved with a number of causes, of which is reforestation, and for several tours, he takes a moment during each show to give away a potted tree to the first fan who can shout out what kind of tree it is and who promises to plant it and send a picture. In Sterling Heights, the winner took home a cherry tree, an appropriate choice for Michigan, whose Traverse City is known as the cherry capital of the world. Following the intermission and tree giveaway, the band continued with notable selections from their debut LP, "Comanche," "Ruby Sees All," and "Rock 'n' Roll Lifestyle" as well as 2001's Comfort Eagle, opening the second set with the twangy new wave of "Love You Madly" and treating fans to one of their biggest hits, "Short Skirt/Long Jacket" during the encore. While CAKE have included an original arrangement of Black Sabbath's "War Pigs" for years, choosing to include it to open the encore was a bit more poignant following the recent death of original Sabbath vocalist, Ozzy Osbourne.

By time the concert concluded, the assembled fans were seemingly satisfied, but the show felt a little brief, overall, and could have benefitted from even one or two more songs, especially during the second set. In spite of that, the band's performance was consistently high quality throughout, and it's clear why CAKE's music and shows are so widely beloved. 

Cake, Sterling Heights, MI (8/13/25):
Frank Sinatra
Sheep Go to Heaven
Wheels
Stickshifts and Safetybelts
Long Time
Perhaps, Perhaps, Perhaps (Osvaldo Farres)
Meanwhile, Rick James...
Billionaire in Space
Sick of You
--------------------------- 
(intermission)
---------------------------
Love You Madly
Rock 'n' Roll Lifestyle
Comanche
Ruby Sees All
Daria
Never There
------------------- 
War Pigs (Black Sabbath)
Short Skirt/Long Jacket
The Distance

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Upheaval Brings the Metal to Grand Rapids!

Michigan metal heads rejoiced at the return of the annual Upheaval festival in Grand Rapids, now having completed its fifth year. This two-day, outdoor concert is held in Belknap Park and has hosted a number of metal and hard rock's biggest bands and countless up and coming acts, including KoRn, Godsmack, Disturbed, Sevendust, and many others. This year's gathering boasted sets by Rob Zombie, Falling in Reverse, Crossfade, and Taproot to name some of the biggest. Upheaval has successfully continued to operate long enough to bring in metal and hard rock lovers from around the region, seemingly regardless of the lineup of performers, and while it's a far cry from the peak years of Ozzfest, the metal festival that will forever be the blueprint and comparison for any other, it's also significant for younger metal fans to have opportunities like Upheaval, Inkcarceration, Aftershock, and others, to attend and share in the communal experience of live heavy metal.

Rob Zombie was the lone veteran, legacy act at this year's Upheaval festival, headlining the main stage on the first night, and thoroughly entertaining everyone who outlasted the heat to make it to the end of the day with a blend of solo hits, recent radio singles, and highlights from the '90s peak of his work in White Zombie, which unsurprisingly seems to get the biggest reaction from the audience whenever it's featured. Zombie took a moment to reflect on this year being the 30th anniversary of White Zombie's final LP, Astro Creep 2000..., joking with the audience that their parents used to get thrown out of school for wearing Zombie T-shirts during that album's era. Crossfade did well closing out the second stage and attracted a large crowd though they ran into technical issues during the first few songs that took some time to iron out before their set got up and running. Architects performed a great blend of radio singles that were well received and album tracks which seemed to better represent their sound as members of the band sported Ozzy Osbourne and Nine Inch Nails shirts (coincidentally a week before Ozzy's death but a week after his triumphant final performance in Birmingham, England). Ann Arbor's own Taproot also had a mid-day set on the main stage and balanced new material with notable songs from their first few albums in the '00s. Depending on where one may have been in the festival grounds at any given point, three stages means constant music, and sets from Scene Queen, Horizon Theory, The Plot in You, Return to Dust, and The Funeral Portrait, among others, kept the rock going all day. Even the third stage featured engaging performances from emerging artists like Paralandra and Mr. Denton on Doomsday, an engaging fusion act that splits the difference between KoRn, Primus, and Faith No More.

As has been the case throughout Upheaval's five-year run, the decision to host this event in the middle of July is one of its biggest drawbacks. Members of the audience not only need to buy a ticket, secure transportation, and possibly, parking, lodging, etc., but they must also endure the punishing sun and oppressive heat and humidity for up to two full days, depending on how much of the weekend they are in to experience. While outdoor, summer concerts have always had to battle dehydration, providing shade, sufficient first aid, and adjusting to the elements as needed, recent summers have seen this challenge become progressively more significant and impactful. It's simply too much to assume that the average ticket holder can withstand the heat for such a long, continuous stretch, and Upheaval and all outdoor concert venues and promotors should take note. Even now it already feels like events like these are a limited time offer, and it shouldn't surprise anyone to see fewer of them and possibly a transition to indoor performances, even during the summer, where there is more ability to control the environment.

Having said that, the Upheaval crowd still seems to attend and participate with enthusiasm, and as long as there are enough interested fans and enough available artists to perform, there's a good chance it will continue on for years to come in one form or another. Aside from helping the crowd stay cooler, bringing in a few more big-name legacy acts to validate the price of admission would probably have a positive impact on overall attendance. As long as kids continue to discover and dive into the colorful world of heavy metal history, there will always be room for a big show like Upheaval, but if promoters wish to attract life-long metalheads as well, ending each night with one or two veteran all-stars from the genre would help it to cement a lasting legacy among the many American rock festivals of the 21st century.

Rob Zombie set list (7/18/25 - Grand Rapids, MI)
Electric Head (pt. 1) (White Zombie)
Super-Charger Heaven (White Zombie)
Feel So Numb
Well, Everybody's Fucking in a UFO
Superbeast
Meet the Creeper
Dead City Radio and the New Gods of Supertown
More Human Than Human (White Zombie)
The Triumph of King Freak
Electric Head (pt. 2) (White Zombie)
Creature of the Wheel (White Zombie)
House of 1,000 Corpses
Lords of Salem
Living Dead Girl
Never Gonna Stop
Thunder Kiss '65 (White Zombie)
------------------ 
Dragula
------------------------------- 

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Crossfade set list (7/18/25 - Grand Rapids, MI)
Starless
So Far Away
Lay Me Down
Dead Memories
The Deep End
Colors
Already Gone
Dead Skin
Killing Me Inside
Death Trend Setta
Prove You Wrong
Cold
------------------------ 

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Architects set list (7/18/25 - Grand Rapids, MI)
When We Were Young
Whiplash
Brain Dead
Curse
Deep Fake
Meteor
Impermanence
Doomsday
Blackhole
Everything Ends
Seeing Red
Animals
--------------

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Taproot set list (7/18/25 - Grand Rapids, MI)
Smile
Again & Again
Mine
Myself
Calling
Fractured
Favourite Song
So Eager
Poem
--------------- 

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Weird Al Gets Even Weirder at Pine Knob!

Weird Al Yankovic, the living legend of funny music and pop culture icon, has been on the road this year with his Bigger & Weirder Tour to the delight of fans young and old across the country. Unlike Yankovic's previous outing, a tour that focused specifically on deep cuts and non-hits, a treat to both hardcore fans and to his band alike, the new tour's set list focuses again on his biggest hits, most familiar tracks, and spotlights some newer material he has released in the decade since his last LP, 2014's Mandatory Fun. In addition to the hits (complete with several costume changes and necessary video breaks to allow for them), Yankovic has also expanded his usual, always excellent, four-piece backing band (most of whom have toured and recorded with him since the early '80s) to include four additional musicians, allowing for more interplay with horns, percussion, additional guitars and keyboards, and even sound effects that make the performance sometimes evocative of those of some of Yankovic's musical heroes, such as Spike Jones and Frank Zappa.

After performing a sold-out show at Traverse City's annual cherry festival, Yankovic and the band visited the historic Pine Knob amphitheater in Clarkston, MI (north of Detroit) for a strong run through the finely paced and choreographed show, entertaining fans who have been seeing him for decades as well as many seeing him for the first time, some attending with their parents or even as a whole family. The evening began with a comical opening set by Puddles the Clown (as Puddles Pity Party) who offered his trademark comedy and cover songs before appearing briefly in Yankovic's first number, which began about 20 minutes later, taking a cream pie to the face. The Bigger & Weirder show itself is not dissimilar to Yankovic's other tours going back to at least the early '90s, and each successive tour maintains a similar framework, only rotating songs in and out of the set or adjusting the order of some every few years, in addition to highlighting some of his most recent work. For example, "Tacky," his show opener, was also the first song performed on each date of the Mandatory Fun tour in 2015 and is still produced similarly with Yankovic singing it as he is filmed walking from his dressing room to the stage, after the band has already begun playing, and projected to the audience on closed circuit screens. All-time favorites like "One More Minute," "Smells Like Nirvana," "Dare to Be Stupid," "Fat," "White & Nerdy," and "Amish Paradise" are guaranteed, and a well-rehearsed medley of bits and pieces of other hits and fan favorites arrives around the mid-point of the show (though the songs featured in the medley also get rotated from tour to tour). 

Yankovic is also known for his signature polka medleys, where he retains the original lyrics of several popular songs but arranges them as a polka, and a standard Weird Al show usually contains a performance of his most recently released polka, in this case, last year's "Polkarama!" which includes hits by Billie Eilish, Adele, Miley Cyrus, Olivia Rodrigo, Taylor Swift, and others. Much of the remainder of the set is divided between a handful of deep cuts that were not necessarily hit singles but are loved by fans and by the band, such as "Everything You Know Is Wrong," "Skipper Dan," and "eBay," and newer songs, which now consist of special projects and tracks created for TV and movies, such as "Captain Underpants Theme Song," "It's My World," and "Now You Know," from the hilarious biopic sendup Weird: The Al Yankovic Story, from which a few scenes were also shown on the monitors during costume changes. The other notable holdover from Yankovic's recent deep cuts tours that has now been integrated into his standard show is the featuring of one straight cover song, all original lyrics and music (which changes each night). At Pine Knob, the crowd was treated to an energetic run through Paul Simon's classic "You Can Call Me Al," which Yankovic deadpan introduced as how he responded to someone who asked him how he prefers to be addressed.

As the opening of the show remains consistent with previous recent tours, so does the closing, which centers primarily on two of Yankovic's three Star Wars themed songs, "The Saga Begins" and "Yoda," also including an onstage appearance by the local regiment of the 501st Legion of costumed stormtroopers, a dedicated group of Star Wars fans who have organized around the world, often appearing for charity and at children's events. To say that this portion of the show (or any other) pushes the boundaries of acceptable nerdity or geekdom would be an understatement, and both Yankovic and the audience clearly love it.

Beyond the regular cycle of touring and continuing to deliver a strong, engaging, and hilarious show every night, it's clear this particular tour feels a bit more significant to Yankovic and may even be a sort of late career victory lap where he's taking the opportunity to feel the appreciation from his fans and to celebrate a job well done. Yankovic will be 66 years old in a few months, and like many other Boomer and Gen X musicians, may be looking at wrapping things up, at least with regard to a tour of this size and scale. His singular style will never be duplicated or repeated, and those who have been lucky enough to see him live or even to enjoy his career in real time have been given a special comedic, musical gift and countless laughs and joy for nearly half a century. Weird Al Yankovic's Bigger & Weirder Tour continues through late September including a performance at Miller Auditorium in Kalamazoo, MI on September 17th.

Weird Al Yankovic, 7/2/25 (Clarkston, MI) set list:
Fun Zone (intro tape)
Tacky
Mission Statement
Polkamania!
(drum solo)
Everything You Know Is Wrong
One More Minute
Smells Like Nirvana
Dare to Be Stupid
Medley: Party in the CIA/It's All About the Pentiums/Bedrock Anthem/My Bologna/Ricky/Ode to a Superhero/I Love Rocky Road/Eat It/Like a Surgeon/Word Crimes/Canadian Idiot
Fat
Captain Underpants Theme Song
Now You Know
You Can Call Me Al (Paul Simon)
It's My World
Skipper Dan
(drum solo reprise)
eBay
Stop Forwarding That Crap to Me
White & Nerdy
Amish Paradise
------------------------------ 
Toccata and Fugue in D Minor, BWV 565 (Bach)
Cell Phones
The Saga Begins
Yoda
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Puddles Pity Party, 7/2/25 (Clarkston, MI) set list:
I'm Always Chasing Rainbows (Harry Carroll)
Come Cry with Me (Glyn Styler)
Who Wants to Help the Clown? (interlude)
Crazy Train (Ozzy Osbourne)
*(unknown song)*
Who Wants to Help the Clown? (interlude)
Estoy serntado aqui (Los Lobos)
Come on Up to the House (Tom Waits)
In the End
Stairway to Gilligan's Island (Little Roger & The Goosebumps)
My Heart Will Go On (Celine Dion)/Enter Sandman (Metallica)/One (Metallica)

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Devo Rocks Detroit!

De-evolution was on full display at the historic Fillmore (formerly The State Theatre) the last Saturday in June when Devo brought their 50th anniversary/farewell tour to Detroit. The faithful fans and followers of the legendary art punk collective lined the streets around the venue for hours ahead of the show, and the band delivered an amazing night of music to all. Primarily focusing on music from their first and third albums, Devo ran through hits and fan favorites that apply to the modern political and social landscape as well or better today than when originally released. Co-lead singers Mark Mothersbaugh and Gerald Casale maintained consistently high energy throughout the show, leading the rest of the band and many on the GA floor in the group's trademark robotic choreography and running in place all evening. 

Opening with the pulsing beat of "Don't Shoot" from 2010's Something for Everybody, Devo's most recent album, the rest of the performance dug back into the late '70s and early '80s with spirited renditions of "Peek-A-Boo!," "That's Good," and "Girl U Want" engaging the audience who sang and danced along. Playing their signature song, 1980's "Whip It" near the end of the first third of the concert was somewhat surprising but fit in well among the order of the other songs and got an expected, enthusiastic response from the crowd. 

Somewhat similarly to Weird Al Yankovic's carefully choreographed mid-show costume changes, Devo utilized video breaks that allowed them to feature various outfits from different points in their history, such as their iconic red energy domes, then the bright yellow tear-away jump suits, and even the triangular smocks emblazoned with a single letter from the word "Devo" as seen in some of the videos and live performances in the early '80s. The middle of the show, especially, harkened back to the bands earliest days of success with a run through their creative deconstructions of The Rolling Stones' "Satisfaction" and Johnny Rivers' "Secret Agent Man," followed by signature tracks from their debut LP, including "Uncontrollable Urge," "Mongoloid," and "Jocko Homo," which resulted in the night's most engaged crowd responses ("We are Devo!") and featured a portion of "Round on the Ends, High in the Middle, O-Hi-O" in spite of the performance being in Michigan and surely enemy territory for most Ohioans.

The third act of the show was presented more as an encore but included some of the strongest moments of the night, especially on "Freedom of Choice" which no one in the band needed to set up or explain in these post-postmodern days in politics and society and concluded with a lengthy rendition of "Beautiful World," the sarcastically clean-sounding and upbeat tune that compares conflicting social outlooks. Mothersbaugh donned his famous Booji Boy mask and sang in that character's comical falsetto to close the show, much to the delight of the crowd.

While Devo were one of the pioneers of working with projections and visual effects on backing screens, they continue to show contemporary artists and concertgoers new and effective ways in which they can be used, especially with the technological advancements of the last 35 years. The night was both a treat for long time fans who got to experience Devo live potentially one last time and even more so for younger fans who may have missed their entire classic run and possibly even subsequent reunions. Now featuring three founding members (Mothersbaugh's brother Bob is also still on guitar and vocals), Devo push themselves hard to represent their legacy and to maintain a tone in their delivery that is both uniquely their own while being an inspiration to countless bands and artists from over the past half-century. 

Devo (6/28/25 * Detroit, MI) set list:
(Rod Rooter intro video)
Don't Shoot
Peek-A-Boo!
Going Under
That's Good
Girl U Want
Whip It
Planet Earth
------(Carl Sagan video interlude)---------- 
Satisfaction (Rolling Stones)
Secret Agent Man (P.F. Sloan)
Uncontrollable Urge
Mongoloid
Jocko Homo/Round on the End and High in the Middle O-HI-O (Bryan/Hanlon)
Smart Patrol
Mr. DNA
Gates of Steel
-------(Devo Corporate Anthem video)-----
Star-Spangled Banner (Key/Smith) (tease)
Freedom of Choice
Gut Feeling
Slap Your Mammy
Beautiful World (w/Booji Boy)
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