Wednesday, September 28, 2022

Taylor Hawkins Tribute Rocks London

 


The shocking untimely passing of Foo Fighters drummer, Taylor Hawkins, in March sent shockwaves through the rock world that are still reverberating even now. After months of quiet privacy and mourning, bandleader, Dave Grohl, announced two massive all-star tribute concerts for Hawkins, one in Los Angeles that just occurred last night, and an unforgettable, monster, 6-hour blow-out at London’s Wembley Stadium earlier this month. While the Los Angeles show is said to be available for fans to watch in the near future, the London show was given serious support and was carried (in part or in whole) on Paramount+, MTV, CBS, and other outlets around the world. Both cathartic and revelatory, this amazing concert reunited bands, saw friends and family jamming together for the first time (or the first time in a long time), and included a number of touching tributes from some of Hawkins’ many friends and famous favorites from his lifetime as a music fan, not to mention the half of his life he spent performing, touring, and recording professionally with a number of different projects beyond his most famous as the electrifying drummer of Foo Fighters.

Opening with the remaining members of the band on stage to welcome the hundreds of thousands in attendance and the millions watching at home, Grohl took on the responsibility of coordinating and participating in mini-sets with famous friends and rock heroes from throughout rock history over the course of the marathon event, with the other Foos playing a heavy supporting role starting around the show’s half-way point, concluding with a full set of their own, performing their songs without Hawkins for the first time, with the help of a host of guest drummers who sat in for one or two songs at a time before giving up the throne for another high profile guest. To say the event was heavy with emotion, for the audience and the performers alike, is a gross understatement, and many were seen to shed some tears or get temporarily choked up while singing or speaking, most notably Grohl himself who clearly loved Hawkins like the brother he never had.

Arranged in mini sets that averaged three songs each, the concert’s many guest performers alternated between significant and appropriate songs of their own, tracks known to be some of Hawkins’ favorites, and notable cover songs that touched on almost every era of rock history. Liam Gallagher started things off with Foo Fighters backing him on two classic tracks from Oasis’ debut album followed by Nile Rodgers and a modern version of Chic performing two highlights from David Bowie’s Let’s Dance album, which Rodgers produced in 1984. A re-emergence of Queens of the Stone Age singer, Josh Homme, to handle lead vocals on “Let’s Dance” was a perfect fit. Two of Hawkins’ many solo side projects, Chevy Metal and The Coattail Riders (essentially the same band that alternates between cover songs and originals), entertained with a run through Talking Heads’ “Psycho Killer” and T.Rex’s “Children of the Revolution” with vocals from Kesha before switching to three Taylor Hawkins originals, primarily featuring vocals from Justin Hawkins of The Darkness (no relation). A surprise performance of two Van Halen classics with Wolfgang Van Halen on lead guitar (something he had previously said he would not do, obviously breaking his own vow for a special occasion) resulted in a roaring take on “Hot for Teacher,” which also featured Grohl on bass and metronomic drummer, Josh Freese. Partly because of its unexpected inclusion and partly because of the near perfection with which the song was musically executed, that song in particular ended up being one of the strongest of the entire concert.


After a short set of mournful Jeff Buckley covers featuring Grohl’s daughter Violet on lead vocals, Supergrass, one of Hawkins’ favorite bands, former tourmates, and close friends, ran through three spirited originals, followed by a three-song performance from a reunited Them Crooked Vultures, the late ‘00s supergroup featuring Grohl on drums and Josh Homme on guitar and vocals alongside legendary Led Zeppelin bassist, John Paul Jones, playing on stage again for the first time in 12 years. While Homme’s vocals didn’t quite hit all the notes in their opening cover of Elton John’s, “Goodbye Yellow Brick Road,” a fierce run through their own, “Gunman,” and an emotional cover of QOTSA’s, “Long, Slow Goodbye” helped their short performance shine above many of the other greats who graced the day. A great set of three originals by The Pretenders, also featuring Grohl on bass, led into Joe Walsh and a reunited James Gang entertaining with their two most notable songs and a medley of other favorites in between, closing with “Funk #49” on which Grohl jumped in on a second drumkit. Violet Grohl then returned to the stage with producer/songwriter, Mark Ronson, to lead a loud singalong on Amy Winehouse’s “Valerie” while the stage was set for the next in the line of amazing guests behind them.

For most of the rest of the concert after this point, the members of Foo Fighters remained on or near the stage to act as support for the remaining guests, beginning with two AC/DC classics featuring Brian Johnson and guest drums from Metallica’s Lars Ulrich. While the spirited run through “Back in Black” came off mostly well, Johnson was clearly winded as he began to sing “Let There Be Rock,” and whether due to age or being out of performance shape, it was a bit of a struggle to watch such a legend falter. Police drummer Stewart Copeland, one of Hawkins’ drumming heroes, joined the Foos next for a run through the lesser known but punky “Next to You” and their mega-hit, “Every Little Thing She Does Is Magic,” with vocals from Supergrass’ Gaz Coombes, performing for the third time that day. Next up were legendary Canadian prog rockers, Rush, performing for only the second time anywhere following the death of their longtime drummer and lyricist, Neil Peart, in 2020 (the first being at night two of the South Park 25th Anniversary Concerts at Red Rocks last month). While they did take a moment to include their earliest hit, “Working Man,” the Rush set was specifically focused on featuring two of the band’s most complex instrumentals, “2112 Part 1: Overture” and “YYZ,” clear favorites of Hawkins and of drummers everywhere. Vocalist, Geddy Lee, notably hit all of his (very) high notes compared to other ‘60s and ‘70s stars who weren’t quite able to do the same.

 After so many high-profile guests, it was clear the concert was nearing it’s peak, and the final guest set featured Foo Fighters backing the remaining members of Queen and various additional performers to contribute vocals in place of the late Freddie Mercury, most notably Sam Ryder whose rendition of “Somebody to Love” evoked George Michael’s legendary performance of the song at Freddie Mercury’s own tribute concert, held on the same grounds in 1992. While it had been unspoken throughout the concert, this event was more than a tribute and remembrance of Taylor Hawkins; it also served as a reverential tribute to a host of other fallen players and singers who have passed, especially over the last decade. David Bowie, Marc Bolan, Eddie Van Halen, Jeff Buckley, John Bonham, Amy Winehouse, Malcolm Young, Neil Peart, Freddie Mercury, and George Michael were all remembered and included, directly or indirectly, over the course of the night.


Lastly, Foo Fighters focused on presenting a set of their own songs, the evening’s longest, and it was both touching and awkward to watch them play those tracks together for the first time without Hawkins backing them up though the many guest drummers gave each song their all, creating additional emotional moments within nearly every song. All-star, Josh Freese, took the throne first, followed by Blink 182’s Travis Barker, a highlight performance of “Learn to Fly” featuring social media sensation, Nandi Bushell, and two extremely emotional songs with Rufus Taylor of The Darkness, son of Queen drummer and Hawkins’ other drumming hero, Roger Taylor. While it was sensible and somewhat predictable to include songs like “Times Like These,” “All My Life,” “These Days,” and “Best of You” in their set, it was somewhat surprising to see the band chose to include all of those heavy but appropriate songs rather than just some of them. A surprise appearance by 80-year-old Paul McCartney, who led the charge on two Beatles classics (“Oh! Darling” with help from Chrissie Hynde and “Helter Skelter”) was predictably a fan favorite, but his vocals wavered at times, especially during his first song. Closing out the night was a super-emotional rendition of “Aurora,” Hawkins’ favorite Foo Fighters song, with drummer Omar Hakim followed by the much-shared performance of “My Hero” featuring Hawkins’ 16-year-old son, Shane, filling in for his late father and simultaneously announcing to the rock world his intentions to follow in his footsteps. Lastly, Grohl took the spotlight solo as the other players stepped offstage and performed a quiet “Everlong,” notably with no drummer at all, drawing attention back to the reason for the concert, the loss of Taylor Hawkins. The idea that many of the same guests, and many who were not present in London, would assemble in Los Angeles to do it all again just a few weeks later is a bit overwhelming in itself after such a strong concert, but it’s also a testament to Hawkins’ influence and legacy. It’s nearly impossible to imagine Foo Fighters moving forward with anyone else on the drums, and they very well may not, but if they were auditioning potential replacements among the many guests who joined them this day in London, they have no shortage of capable, talented options to consider.


*Read the entire set list below!
*Click here to view a capture of the original live webcast (before it’s taken down!)
*Watch the (slightly) edited, official concert on Paramount+


Taylor Hawkins Tribute Concert #1

(London, England * 9/3/22)

Complete set list:

 

Foo Fighters (w/Liam Gallagher)

-“Rock ‘n’ Roll Star” (Oasis)

-“Live Forever” (Oasis)

 

Nile Rogers (w/Chris Chaney and Omar Hakim)

-“Let’s Dance” (David Bowie) (w/Josh Homme)

-“Modern Love” (David Bowie) (w/Gaz Coombes)

 

Chevy Metal

-“Psycho Killer” (Talking Heads)

-“Children of the Revolution” (T. Rex) (w/Kesha)

 

The Coattail Riders (w/Justin Hawkins and Josh Freese)

-“Louise”

-“Range Rover Bitch”

-“It’s Over”

 

Wolfgang Van Halen (w/Dave Grohl, Justin Hawkins, and Josh Freese)

-“On Fire” (Van Halen)

-“Hot for Teacher” (Van Halen)

 

Violet Grohl (w/Dave Grohl, Alain Johannes, Chris Chaney, Greg Kurstin, and Jason Falkner)

-“Last Goodbye” (Jeff Buckley)

-“Grace” (Jeff Buckley)

 

Supergrass

-“Richard III”

-“Alright”

-“Caught by the Fuzz”

 

Them Crooked Vultures

-“Goodbye Yellow Brick Road” (Elton John)

-“Gunman”

-“Long, Slow Goodbye” (Queens of the Stone Age)

 

Pretenders (w/Dave Grohl)

-“Precious”

-“Tattooed Love Boys”

-“Brass in Pocket”

 

James Gang

-“Walk Away”

-“The Bomber: Closet Queen/Bolero/Cast Your Fate to the Wind”

-“Funk #49” (w/Dave Grohl)

 

Violet Grohl (w/Mark Ronson, Chris Chaney, and Jason Falkner)

-“Valerie” (Amy Winehouse)

 

Foo Fighters (w/Brian Johnson and Lars Ulrich)

-“Back in Black” (AC/DC) (w/Justin Hawkins)

-“Let There Be Rock” (AC/DC)

 

Foo Fighters (w/Stewart Copeland)

-“Next to You” (The Police)

-“Every Little Thing She Does Is Magic” (The Police) (w/Gaz Coombes)

 

Rush

-“2112 Part 1: Overture” (w/Dave Grohl)

-“Working Man” (w/Dave Grohl)

-“YYZ” (w/Omar Hakim)

 

Foo Fighters (w/Queen and Rufus Taylor)

-“We Will Rock You” (Queen) (w/Luke Spiller)

-“I’m in Love with My Car” (Queen)

-“Under Pressure” (Queen and David Bowie) (w/Justin Hawkins)

-“Somebody to Love” (Queen) (w/Sam Ryder)

-“Love of My Life” (Queen)

 

Foo Fighters

-“Times Like These” (w/Josh Freese)

-“All My Life” (w/Josh Freese)

-“The Pretender” (w/Travis Barker)

-“Monkey Wrench” (w/Travis Barker)

-“Learn to Fly” (w/Nandi Bushell)

-“These Days” (w/Rufus Taylor)

-“Best of You” (w/Rufus Taylor)

-“Oh! Darling” (The Beatles) (w/Paul McCartney and Chrissie Hynde)

-“Helter Skelter” (The Beatles) (w/Paul McCartney)

-“Aurora” (w/Omar Hakim)

-“My Hero” (w/Shane Hawkins)

-“Everlong”

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Tuesday, September 20, 2022

STONER Rocks Ferndale’s Magic Bag

 


A few weeks ago, as the summer evening began to draw to an earlier close, the rock fans of the Detroit area were treated to an evening of veteran desert rock by new projects from key figures that helped create and define the subgenre 30 years ago. STONER, a hard rocking three piece, features Kyuss drummer, Brant Bjork, on lead vocals and guitar and infamous Kyuss/Queens of the Stone Age/Mondo Generator/Dwarves bassist, Nick Oliveri, who also contributes backing and lead vocals, brought their throwback ‘90s rock style to The Magic Bag in Ferndale to a small but thoroughly engaged and supportive audience. Touring to support their newly released second LP, Totally…, STONER brought new music in the style of the songs that brought them early underground success, making it instantly recognizable and even comfortably predictable to fans who have followed their work with various other acts. Devoid of any real gimmicks, STONER are somewhat novel for having their sound in a time when mainstream music, even the rock side of it, has long since moved on to other sounds, styles, and younger artists.

Opening the show was a mostly improvised set from MarioLalli and the Rubber Snake Charmers, which also featured contributions from Oliveri and STONER drummer, Ryan Gut. Lalli, a desert rock legend himself, possibly best-known for writing and signing the original, Desert Sessions version of QOTSA’s, “You Think I Ain’t Worth a Dollar, but I Feel Like a Millionaire,” conducted his supporting players with cues to increase or decrease volume and tempo, leaving room for him to work in spoken vocal segments, sometimes from memory, and other times reading from a notepad on his phone. The Magic Bag show included a break between two longer, improvised pieces to feature Oliveri’s lead vocals on a performance of Roky Erickson’s, “Bloody Hammer,” originally a B-side from QOTSA’s Songs for the Deaf. Following his opening set, Lalli himself got back to work manning the merch table for the rest of the night. This tour is clearly a low-budget, no-frills operation.

After a short set change, STONER took the stage and launched into “Rad Stays Rad,” the opening track from their debut LP, Stoners Rule, and by the end of the night had included all of the songs from the album at some point in the show. In addition to a new song, “No Brainer,” which has yet to be released, the band included rocking renditions of four songs from their latest LP, most notably the swampy blues of “Strawberry Creek,” and a fast run through Motorhead’s tribute to one of the late Lemmy Kilmister’s favorite bands, “R.A.M.O.N.E.S.,” which fans cheered and sang along to without it being introduced or credited at any point. Excellent guitar work from Bjork balanced well with amazing and hard-hitting drums from Gut and a return to form for Oliveri, essentially reprising the position he played 20 years ago in Queens of the Stone Age (participating in some singing and songwriting but holding down the supporting position on Bjork’s songs equally well).


The two-song encore surprised fans with back-to-back Kyuss covers, in this case, “Gardenia” and “Green Machine,” with Bjork and Oliveri trading off vocal duties in place of John Garcia. These songs got the best and most enthusiastic response, somewhat predictably, but didn’t really sound much different than the band’s originals they had been playing all night, which further highlighted the group’s songwriting and performance chops, in general and compared to their work writing and recording those same songs several decades prior. An extended guitar solo that devolved into a wall of ringing feedback ended the show as the players from both bands extended their appreciation and briefly mingled with a few concertgoers near the stage and later near the merch table and in front of the venue following the show. While STONER didn’t blaze any trails or break any new musical ground at The Magic Bag, or even on their albums, for that matter, they are a living legacy of a sound and style that became integral to rock’s evolution from the 20th into the 21st century, and it’s somehow reassuring to know these characters are still rocking hard, and very, very loudly, all these years later.


Mario Lalli and the Rubber Snake Charmers – set list:

Improv #1 (jam)
Bloody Hammer (Roky Erickson)
Improv #2 (jam)

 

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STONER – set list:

Rad Stays Rad

The Older Kids

Evel Never Dies

Stand Down

Own Yer Blues

No Brainer

Nothin’

Party March

A Million Beers

Strawberry Creek

Driving Miss Lazy

R.A.M.O.N.E.S. (Motorhead)

Tribe

Fly Girl

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Gardenia (Kyuss)

Green Machine (Kyuss)

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Tuesday, September 13, 2022

2022 VMAs: still a farce, but Gen-X thrown a bone

 


August 28th saw MTV (formerly, Music Television) host its 38th annual Video Music Awards show, this time from Newark, New Jersey, of all places. The three hour+ broadcast, not including the 90-minute pre-show, continued the recent tradition of being a blend of boring and quizzically unwatchable, especially depending on the age of the viewer. While MTV’s focus on teens and twenty-somethings is nothing new, the combination of that and the artists which are being embraced by (and in some cases, pushed upon) that modern audience leads to a blend of performances and moments that could range from significant to completely dismissible. Considering it has been over a decade since the channel has regularly included anything related to music (at all), the value and validity of continuing these awards regardless is debatable. Having said that, it seems this year’s show at least reacted to the ongoing complaints about how youth-focused it has become and offered about 25 minutes of content to engage Gen-X viewers around the shows’ half-way point.

Moving beyond discussing the artists with the most nominations or who won the most awards, such as Jack Harlow, Doja Cat, and Harry Styles, the list of those with connections to the world of rock music and rock history remained small. Modern pop-based alternative acts such as Billie Eilish, were focused on less this year, and the trend of broader inclusion (and/or pandering) of artists of varying race, nationality, sexual orientation, and genre continued. More surprisingly was MTV’s recognition for Taylor Swift’s recent output, having now been among nominees for over 15 years putting her past the sell-by date for most artists featured by the channel. The few notable artists among the winners included The Weeknd, Red Hot Chili Peppers, Maneskin, and Nicki Minaj, most of whom also performed during the awards show.

While performances from emerging artists during the pre-show and during commercial bumpers (from the “Extended Play Stage”) yielded little interest, a few new artists, such as Yung Gravy and JID, showed potential, at least compared to their contemporaries and most of the actual award winners. Performances during the main show varied from predictable pop and pop fusion acts, such as Lizzo, Khalid, and Jack Harlow, to the Latin pop of J Balvin and Bad Bunny, and the K-pop of Blackpink, with very little to offer rock fans in most respects. Italian newcomers, Maneskin, were given just under three minutes to run through one of their recent singles amid lights, pyro, and a troupe of dancers that looked out of place next to the band. A “wardrobe malfunction” had by bassist Victoria De Angelis led to jarring cut-aways and wide shots to avoid broadcasting full frontal nudity on the live show, but even casual fans of the band have seen them often perform in various stats of undress, and after a similar incident occurred last month at Chicago’s annual Lollapalooza festival, it begs the question of how much of an accident it really is for this young lady to end up topless on stage, especially during a high-profile broadcast performance. An overly hyped reunion performance from Panic! At the Disco closed the show long after it ran out of steam, and even hip hop as a style was barely represented among the performers, something almost unthinkable on this show even 8 or 10 years ago. Aside from Nicki Minaj’s lengthy medley in honor of her receiving the Video Vanguard Award (with Michael Jackson’s name still attached to it depending on the outlet reporting the information), only Snoop Dogg and Eminem’s recent NFT-hocking collaboration, “From the D 2 the LBC” was the only hip hop song performed.

That performance arrived around the show’s mid-point, finally throwing Gen-Xers a bone after years of whining that only the youngest listeners were being represented on the show. Shortly after that, the throw back moments continued when the legendary Red Hot Chili Peppers were highlighted and honored with a Global Icon award (a recognition even above Video Vanguard, which they won over 20 years ago). After a hilariously stoned and out-of-place introduction by comedy duo, Cheech and Chong, legends in their own right, the Chili Peppers performed two songs, “Black Summer,” the lead single from their most recent LP and the winner of the Rock Video of the Year award, and “Can’t Stop,” a classic jam from…wow, even that song is 20 years old. An awkward few moments of acceptance speeches by three of the band’s members concluded with a notice that guitarist John Frusciante says it all with his smile and his amazing guitar playing, to which he smiled and waved without speaking into the microphone at any time. Drummer, Chad Smith, also took a moment to dedicate the award to the memory of his friend and Foo Fighters drummer, Taylor Hawkins, who was celebrated with a 6-hour marathon concert in London a week later.


The tone of the show quickly fell back to a Gen-Z focus after the old people were ushered off the stage, and thus, any sort of engaging momentum fell as well. It’s long been discussed that the VMAs no longer serve the purpose they once did (if they ever did to begin with) and that with MTV choosing to mostly avoid music altogether, it should either be discontinued or at least converted into an annual performance special, leaving the awards out entirely. Regardless of the reasons why the network chooses to still pretend the need and desire exists to broadcast these awards now as they did decades ago, it’s clear that everyone involved makes too much money for them to stop airing it. It almost seems like the VMAs are the one music-related thing the channel even spends money on over a year’s time, but only time will tell how long it can be sustained.

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