Friday, February 10, 2023

2023 Grammy Awards Summary and Recap

2023 was another interesting year for the modern Grammy Awards. As they continue to move away from the more formal, predictable shows of previous decades, the show also continues to focus more and more on performances and less on the actual awards themselves, much like MTV's VMAs before them, handing out the vast majority of the 91 gramophone statues prior to the TV broadcast. Former Daily Show host Trevor Noah did a fine job as host, and no major flubs or wardrobe malfunctions were present on Sunday night's telecast, but the lack of truly engaging moments was also notable. 

The Grammys, like many awards shows and various other social institutions, have had some explaining to do in recent years about everything from nominees to winners to performers to presenters to public comments from the president of the organization (a position that has seen a recent change in occupancy) with regard to issues of diversity and sensitivity to nearly all minority categories of people. This year's show did a better job of working in adjustments in those areas more seamlessly, but older viewers have had a field day savaging it from top to bottom (also unsurprisingly). 

Notable performances this year included Brandi Carlile's up-tempo rendition of "Broken Horses," Mary J. Blige's well-staged and choreographed "Good Morning Gorgeous," and nice jam between Steve Lacy and Thundercat on the former's "Bad Habit," with Thundercat adding a second electric bass rather than replacing Lacy's bassist. Stevie Wonder performed a mini-set in tribute to MusiCares Persons of the Year and Motown legends Barry Gordy and Smokey Robinson. Wonder jammed on classics including The Temptations' "The Way You Do the Things You Do," with WanMor; The Miracles' "Tears of a Clown," with Smokey Robinson himself; and his own "Higher Ground" as a duet with Chris Stapleton who handled half the vocals and added some excellent guitar work. The In Memoriam segment this year featured focused tributes to Loretta Lynn, Takoff of Migos, and Christine McVie and included shorter performances by Kacey Musgraves, Quavo, and the trio of Sheryl Crow, Bonnie Raitt, and Mick Fleetwood.

Most notable of all, The Roots' drummer and bandleader Questlove arranged a ridiculous run through a celebration of 50 years of hip hop which featured (sometimes for only two to four lines of a song): Grandmaster Flash and (most of) the Furious Five, Run-DMC, LL Cool J, DJ Jazzy Jeff, Salt-N-Pepa, Rakim, Public Enemy, De La Soul, Scarface, Ice-T, Queen Latifah, Method Man, Big Boi, Busta Rhymes, Missy Elliott, Nelly, Too Short, Swizz Beats, The Lox, Lil Baby, GloRilla, and Lil Uzi Vert all in the same segment. It's as if the Grammys suddenly sent out ALL of the invites they hadn't offered to hip hop artists to perform for decades just this year, at the same time. The full-length versions of the songs these artists briefly quoted could have been a Grammy Salute to Hip Hop special of its own rather than being squeezed into the actual award show.

Having said that, a quick run-down of notable winners from the extended world of rock feature an entirely different crop of players, singers, and artists that would have made for an even more engaging and more diverse broadcast had more of them been part of the televised ceremony.

Jack Antonoff
*Producer of the Year, Non-Classical

Brandi Carlile
*Best Rock Performance-"Broken Horses"
*Best Rock Song-"Broken Horses"
*Best Americana Album-In These Silent Days

Dave Chappelle
*Best Comedy Album-The Closer

Stewart Copeland & Ricky Kej
*Best Immersive Audio Album-Divine Tides

Dr. Dre
*Global Impact Award

Berry Gordy
*MusiCares Person of the Year

The Grateful Dead
*Best Boxed or Special Limited Edition Package-In and Out of the Garden

Steve Lacy
*Best Progressive R&B Album-Gemini Rights

Kendrick Lamar
*Best Rap Performance-"The Heart (part 5)"
*Best Rap Song-"The Heart (part 5)"
*Best Rap Album-Mr. Morale & The Big Steppers

Taj Mahal & Ry Cooder
*Best Traditional Blues Album-Get on Board

Bobby McFerrin
*Lifetime Achievement Award

Christine McVie (w/Vince Mendoza)
*Best Arrangement, Instruments and Vocals-"Songbird (orchestral version)"

Willie Nelson
*Best Country Solo Performance-"Live Forever"
*Best Country Album-A Beautiful Time

Aaron Neville with The Dirty Dozen Brass Band
*Best American Roots Performance-"Stompin' Ground"

Nirvana
*Lifetime Achievement Award

Ozzy Osbourne
*Best Metal Performance-"Degradation Rules"
*Best Rock Album-Patient Number 9

Ma Rainey
*Lifetime Achievement Award

Bonnie Raitt
*Song of the Year-"Just Like That"
*Best Americana Performance-"Made Up Mind"
*Best American Roots Song-"Just Like That"

Smokey Robinson
*MusiCares Person of the Year

Nile Rodgers
*Lifetime Achievement Award

Slick Rick
*Lifetime Achievement Award

The Supremes
*Lifetime Achievement Award

Wet Leg
*Best Alternative Music Performance-"Chaise Lounge"
*Best Alternative Music Album-Wet Leg

Wilco
*Best Album Notes-Yankee Hotel Foxtrot (20th anniv. super deluxe)
*Best Historical Album-Yankee Hotel Foxtrot (20th anniv. super deluxe)

Ann Wilson & Nancy Wilson
*Lifetime Achievement Award

Edgar Winter
*Best Contemporary Blues Album-Brother Johnny

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Tuesday, January 24, 2023

The Top 10 Albums of 2022



2022 was another great year for rock music (and thankfully, aren't they all in one way or another), and there was no shortage of excellent new releases from veterans and new comers alike in most corners of the genre. Legends like Bruce Springsteen and Willie Nelson released well-received solo albums made up completely or mostly of cover songs, and the continuing adventures of the reunited '80s duo Tears for Fears caught some attention among critics as well as their longtime fans.

The alternative wing of hip hop and R&B continues to grow stronger this decade and last year gave the world notable and well-reviewed LPs by a reunited Black Star, The Weeknd, Pusha T, and SZA, each of whom were also invited to perform on network TV shows like Saturday Night Live, The Tonight Show, and others.

Veteran alternative rockers including Wilco, Spoon, Yeah Yeah Yeahs, and Arctic Monkeys all made welcome returns, some after releasing music only a few months prior and some after lengthy hiatuses of several years. Weezer issued a series of four EPs in lieu of one full album, each focusing on music indented to evoke a particular season. Newer alt-rock acts like The 1975, Wet Leg, and Perfume Genius each received praise and attention for their latest releases and were covered or referenced in concert by high profile names like Pearl Jam over the course of the year.

With respect to those artists and a number of others who graced listeners with more great songs and albums to add to their playlists and libraries of favorites, the 10 albums that stood out just a bit more in 2022 each offered something creative, new, and interesting within the context of the artists' established sounds and previous work.

10. Kendrick Lamar-Mr. Morale & the Big Steppers
This double LP (single CD), Lamar's first in 5 years, follows a period of writer's block during which he also began therapy and became the father of two children with his longtime partner and dealt with pandemic life, experiences that influenced deep reflection and personal exploration as he composed this collection of new songs. Classic hip hop fuses here with electronic and pop elements and production that includes rapped tracks without choruses, dramatically-acted interludes and narrative segments, and songs based entirely around singing, both from guest vocalists and Lamar himself, sometimes harmonizing while rapping. Stand-out tracks like "N95," "Father Time," and "Rich Spirit" comment on Lamar's own life and past as much as various stages of life itself and continues to feature his vulnerable honesty and creative delivery while offering unique takes on topics both personal and universal. "Auntie Diaries" and "Mother I Sober," featuring vocals from Portishead's Beth Gibbons, end the album with intensely, sometimes uncomfortably personal recollections of Lamar's childhood, offering a different version of the unguarded truths that also made Kanye West's earlier work stand out in the field of hip hop and beyond.

9. Stoner-Totally...
The sophomore release from Brant Bjork and Nick Oliveri's (Kyuss, Queens of the Stone Age, and countless others) latest project expands on but doesn't surpass their excellent debut album, released just a year prior, but it carries on classic desert rock traditions in sound, style, and production. Vocal duties are more balanced here than on the first album with Oliveri and Bjork tagging in and out from track to track on stand-out cuts like "A Million Beers," "Strawberry Creek," and "Turn It Around," but catch the band live to experience the skull-rattling power of their rock prowess in its proper environment.

8. Bjork-Fossora
Many artists released their "COVID albums" in 2022, songs and cycles written and recorded during months of lockdown and now ready to be released into the world, and Bjork was no exception. On her 10th LP, the highly-regarded, alternative rock performer continues to blend sounds from various genres to establish connected tones and lyrical themes between tracks with a mixture of electronic beats with woodwinds and keyboard melodies against plodding basslines that create entirely original music that is incomparable to that of any other artist. Fossora was composed partly under the influence of mushrooms which only adds to Bjork's already unique ideas and results in some of her most psychedelic tracks to date, including singles like "Ancestress" and "Ovule" as well as abstract pieces like "Mycelia." Arguably not the best place to start with Bjork for newcomers, Fossora is a modern culmination of many years of completely free artistic and musical expression.

   

7. Dead Cross-II
Mike Patton, Dave Lombardo and friends return with a second full-length of hardcore punk and thrash metal tracks that switch things up with a bit more experimentation musically and a chance for bassist Justin Pearson to handle lead vocals on a few tracks rather than being a copy or re-tread of their excellent self-titled debut from 2017. Tracks like "Heart Reformer" and "Reign of Error" fit perfectly next to those earlier songs while others like "Love Without Love" and "Christian Missile Crisis" offer interesting, alternate tones and elements which lead to a more engaging listen due to the variety.

                         

6. Red Hot Chili Peppers-Return to the Dream Canteen
The second of two new (double) LPs from the legendary Red Hot Chili Peppers expands on the first by taking the tunes in experimental, often psychedelic directions, sometimes recalling their great funk and punk tracks of the past 40 years and sometimes working in newer sounds with synthesizers, drum loops, and extra-grungy guitars. Standout tracks like the singles, "Tippa My Tongue," referencing Sly & The Family Stone, and "Eddie," an ode to the late Van Halen guitarist, are immediately engaging and prominently feature excellent guitar work from returning axe-man John Frusciante, but lesser traditional/more experimental songs like "My Cigarette," "Handful," and "In the Snow," as well as Frusciante's synth work and electronic manipulation of recorded segments of vocals and instruments make Return to the Dream Canteen unique among the band's many other excellent albums.

                           

5. Jack White-Entering Heaven Alive
The second of two new albums from alternative rock's last (or at least most recent) guitar virtuoso, Jack White's Entering Heaven Alive leans hard into softer, acoustic music for the duration, a first among albums from White's many projects. This collection is the quiet counterpart to the louder, very electric Fear of the Dawn, both presenting material White wrote and recorded during the COVID lock down which blended well with each other on his amazing, accompanying world tour but were separated on the two LPs. A few songs here might have benefitted from a more electric arrangement or sound a bit too similar from track to track, but "Queen of the Bees" and "Madman from Manhattan" stand out because of the uncommon instruments, such as xylophone, and hip hop vocal phrasing. "Love Is Selfish," the most achingly beautiful track from either of White's 2022 albums, is the strongest cut here and carries the less-engaging songs on its back to result in a strong, thematic musical statement. (Read our full review of the album here.)

4. The Smile-A Light for Attracting Attention
The excellent debut album from the latest of many Radiohead side projects, this one including that band's primary songwriters, Thom Yorke and Johnny Greenwood, The Smile ended up creating a record that sounds more like Radiohead than most of the last two Radiohead LPs. Blending signature guitar, piano, and vocals with strings and horns on 13 focused, engaging tracks, The Smile found success on tour throughout 2022 as well and seem poised to continue with more material rather than retreating or returning to their primary band just yet. Yorke's vocals, as emotional as ever, vary from anger on "You Will Never Work in Television Again" to pained heartache on "Speech Bubbles." The groove of "The Smoke" is as funky as these blokes have ever been together, and many tracks feature a nice blend of guitar effects and electronic accents and flourishes. After a number of songs that would fit well alongside tracks from Radiohead's In Rainbows, The Smile casually toss in "Free in the Knowledge," a song that sounds like a forgotten outtake from The Bends, returning to a writing style Yorke and Greenwood have hardly explored since about 1994.

 

3. Red Hot Chili Peppers-Unlimited Love
The first of two ambitious new albums from the veteran funk-punk-alternative rockers, their 12th overall, and their first with returning guitarist/vocalist John Frusciante following a 10 year absence from the band, Unlimited Love packs a dizzying amount of music into its 17 tracks and lengthy run time. The recording sessions yielded 50 finished songs, partly due to working during the COVID lockdown, and the variety among them is staggering. Leaning here more into straightforward rock, funk, and the fusion for which the band became known during and after 1999's Californication, tracks like "Black Summer," "Aquatic Mouth Dance," and "She's a Lover" offer familiar but sharply-executed sounds fans have enjoyed for over two decades, but RHCP are still interested in adding and working with new elements as well, both within the songwriting itself and with the methods of production. It can't be overstated how much Frusciante's return brings to the table in both of these areas, and each track features additional decoration and manipulation via synthesizers and effects added to vocals and instruments alike, standing out the most on "Heavy Wing," on which he sings lead during the chorus. The funky flow of "Poster Child" mixes in elements of hip hop while running through a list of shout outs to various figures in rock history while the single "These Are the Ways" incorporates tones of grunge, adding even more classic sounds to the group's toolbelt. (Read our full review of the album here.)

2. The Mars Volta (self-titled)
Perhaps the most surprising and unexpected return in alternative rock in 2022 was that of The Mars Volta, the psychedelic-prog-fusion group who had disbanded a decade prior and moved on to other projects. The engaging new album and subsequent tour were highlights for long-time fans and for those who had discovered them during their years of inactivity. The updated version of The Mars Volta retains their Latin musical references and continues to alternate between English and Spanish lyrics but has a more focused approach and a more mature, experienced tone compared to the band's earlier work. While songwriters Omar Rodriguez-Lopez and Cedric Bixler-Zavala continue to add electronic experimentation throughout, there is a better balance between acoustic and traditional rock instruments on their self-titled LP than on their previous release in 2012. Singles like "Black Light Shine" and "Graveyard Love" got the most attention from the group, but the creative mixing of styles on "No Case Gain" and "Que Dios Te Maldiga Mi Corazon" are even more interesting and add variety among the more focused or less musically adventurous tracks which all fit and flow together well here. (Read our full review of the album here.)

                           

1. Jack White-Fear of the Dawn
A electric blue shock of high-voltage, modern garage rock, Jack White's fourth solo LP set a tone in the spring of 2022 that no others could match or surpass. With a blazing collection of 12 (mostly) fast and fuzzy, loud rock songs in just under 40 minutes, Fear of the Dawn was both reinvigorating to fans and cleansed the palate from 2018's far more experimental and electronic (though nearly-equally excellent) Boarding House Reach. Every track here is strong and many flow together or segue like a classic Rick Rubin production, especially the double punch of the first two tracks, "Taking Me Back" and "Fear of the Dawn" and the mid-album stretch that includes "Into the Twilight," "Dusk," and "What's the Trick?" A pleasantly unexpected guest appearance from Q-Tip and creative samples of Cab Calloway, William S. Burroughs, and The Manhattan Transfer add great texture to the album which is already so otherwise well-written, performed, and produced, these additions get worked in as part of the mix rather than as  featured or exclusive attractions. Fans of rock history from nearly any era will find plenty to enjoy here, and no modern rock album better captured the spirit and excitement of rock and roll in 2022. (Read our full review of the album here.)

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Thursday, January 5, 2023

The Top Tours of 2022


 After the COVID concert shut-down of most of 2020 and 2021, it was a great year to finally get back on the road and reconnect with patient fans including some who had held on to tickets for up to three years in order to see their favorite acts perform. Many tours continued to deal with COVID-related issues, but in most cases, audiences were delighted to take in a show or two at their nearest club, theater, or arena in 2022.

***(TLDR? Scroll down for a short list of the top 5 tours of the year!)****

Classic rock legends, such as The Who, Roger Waters, and the surviving Beatles, Paul McCartney and Ringo Starr (touring separately), entertained audiences in the U.S. and around the world while The Rolling Stones celebrated their 60th year as a band (!!!) with a focus on touring Europe only, having wrapped a long-delayed U.S. tour in the fall of 2021. Elton John completed his final U.S. tour ever with a live-streamed finale on Disney+ but will continue his farewell tour in Europe next year. Both punk rock mainstays NOFX and the current version of Grateful Dead, Dead & Co., announced they will wrap things up after the coming year, and prog-rock innovators, Genesis, called it a day after a final tour this year.

Metallica and Megadeth both returned to the road after overcoming internal health issues, and Guns 'N Roses, still featuring Slash and Duff McKagan, were one of the year's biggest earners in ticket sales. Nu-metal rockers Slipknot, KoRn, and Deftones each successfully toured last year, keeping their styles alive and continuing to attract younger listeners after 20-30 years in the business. Aerosmith eventually launched a planned Las Vegas residency but recently pulled the plug early, rumored to be related to Steven Tyler's ongoing battles with addiction which delayed the launch of the residency earlier in the year as well. Phish and Dave Matthews Band continued their traditional summer touring pleasing their devoted fans.

Alternative rock, both classic and current, saw a number of artists reconnecting with fans across the country and around the world in 2022. Updated versions of Stone Temple Pilots, Alice in Chains, Bush, and others played to smaller crowds than their peak days in the '90s but delivered many of their classic hits along with newer material. Top shelf '90s groups like Pearl Jam and Rage Against the Machine generated lots of attention and interest for their tours, but both were besieged by ongoing health and injury issues, including both COVID and non-COVID roadblocks, which saw cancellations, postponements, and shows that were rescheduled multiple times in some cases. Pearl Jam struggled to get through a west coast leg and then ran into more problems during the summer in Europe before a few east coast and mid-west shows when they returned. (Read our review of a recent festival performance here). After sustaining a persistently painful leg injury on the second night of their long-delayed reunion tour, Rage front man Zach De La Rocha performed months of shows while seated (unheard of in the band's history of energetically engaging shows), and eventually, the tour itself was cancelled after it was clear the healing process was not going as quickly or as well as was hoped. Smashing Pumpkins and Jane's Addiction had a successful run through U.S. arenas in spite of Jane's guitarist Dave Navarro being unable to participate but ran into snags near the end following an injury that briefly sidelined font man, Perry Farrell which left the Pumpkins in a position to extend their sets on a few dates to fill the time that would have been for Jane's set. After a few weeks of festivals in South America, early in the year, Foo Fighters fans were stunned by the sudden loss of long-time drummer, Taylor Hawkins. Two, massive all-start tribute concerts were staged in his honor in the fall (Read our review of the massive London concert here), and the band only recently released a letter indicating they plan to continue in the near future, though without yet announcing Hawkins' replacement.

Indie rock veterans like Ween, They Might Be Giants, and The Flaming Lips rescheduled shows and rerouted entire tour legs in order to work around and accommodate COVID and other internal issues, such as being side-lined by car accidents or suddenly having a long-time member retire, to get and keep their shows on the road. Pavement enjoyed a successful run of reunion shows, mostly in theaters, and Coldplay successfully expanded their now stadium-sized shows to become one of the biggest money earners of the year, essentially attempting now to fill U2's role in their temporary absence rather than being a lesser Radiohead. Speaking of which, that band's latest side project, The Smile, surprised long time fans and newcomers alike with the songs from and tour for their debut LP. Newcomers Greta Van Fleet saw varying success and interest while they toured for their second album, now leaning more into the style of '70s Queen than early Zeppelin, which saw positive receptions at festivals while simultaneously cancelling some dates due to low sales, including a few in their home state of Michigan.

Having said all that, a select group of artists hit it especially out of the park on stage in 2022 and stand out just a bit from the rest.

5. Red Hot Chili Peppers

Headlining stadiums for the first time in their 40-year career, RHCP did a lot to build these shows up and to make them as big as they could, featuring the triumphant return of guitarist John Frusciante and a gigantic LED screen that wrapped around the stage, displaying powerfully bright, vivid, abstract and psychedelic images throughout their performance. Continuing a long tradition of sharing the bill with other big name opening acts, alt-rockers The Strokes played for about an hour prior to the Chili Peppers every night, and most dates also included a great opening set from bass-whiz jazz fusionist Thundercat as well. Promoting but not focusing too hard on their two long albums of new songs, one of which was released after the tour wrapped, these energetic summer shows improved even more on the nights with the best audiences. Read our review of the Detroit stop from this tour here.

4. Weird Al Yankovic

The all-time master of rock and roll comedy and his amazing backing band of 40 years crisscrossed the country in 2022 on The Unfortunate Return of the Ridiculously Self-Indulgent Ill-Advised Vanity Tour, a celebratory victory lap for Weird Al and the band following the filming of his hilarious parody biopic, Weird, and recent major recognitions, such as a star on the Hollywood Walk of Fame among others. Much like the similarly-named and themed tour in 2018, this was a showing of appreciation for Al's dedicated, long-time fans with a scaled down production that had limited use of video, costumes, and stage effects and set lists that concentrated on Yankovic's original songs, style parodies, and pastiches rather than his direct parodies of popular songs for which he is mainly known. (Deep cuts rather than greatest hits, to put it another way.) All non-parodies (and non-polka medleys) in his official catalog were in the running to be played on any given night of the tour, so each show featured a different set list and jumped from album to album with songs from throughout Yankovic's impressively-lengthy career. Also like the 2018 tour, each show in 2022 began with 30 minutes of stand up comedy from the great Emo Phillips, and it's hard to find a better, stronger, or more consistent tour than that! Sidelined a few times along the way due to COVID issues within the band, every stop on this tour received rave reviews from hardcore fans and newcomers alike. Read our review of a summer show in west Michigan here.

3. Jack White

Touring to promote and celebrate the release of two new solo LPs (one released the day the tour began and one released about half-way through it), Jack White and his excellent, multi-talented backing band packed the most musical variety and unexpected, unplanned moments as it trekked around the globe through most of the year. Beginning with an on-stage proposal AND wedding ceremony during the tour opener in Detroit (read our review here), and eventually hitting European festivals and even rarely-toured pacific islands, White's shows continued to feature a shuffling of solo songs (old and new), many from his days in The White Stripes, a few songs from his other bands, and occasional cover tunes as well, as usual with a different set list and overall length every night which increases the value of seeing more than one show significantly. Blistering guitar solos, mesmerizing synthesizer work, and a tremendous rhythm section allowed White to change seamlessly from one era, band, or sound to another at any given moment, keeping audiences engaged and on their toes throughout and often concluding with rollicking renditions of his most famous song of all, "Seven Nation Army," which has transcended popular culture to become a modern folk tune, sung and played in arenas and stadiums around the world (comically including the one in Columbus, Ohio where they claim to hate anything connected to Michigan).

2. The Mars Volta

Alternative rock's most surprising and unexpected reunion of the year came with the announcement of a new LP and tour from The Mars Volta, inactive for over a decade and without touring the U.S. for twelve years, allowing younger fans who only discovered them during that long hiatus an opportunity to experience the arty, psychedelic-fusion rockers live for the first time. Between an updated backing band and the natural effects of aging, the updated Mars Volta show presented a matured, focused version of the group known for their unhinged, nearly-anarchic performances, sometimes playing 4 to 8 songs in a span of 1 to 3 hours with lengthy, improvised jams that extended each track. The reunited group still performed many of those same songs from a decade or two ago (and hardly none at all from their recent reunion album), but most of them matched up closer to their original recorded arrangements and didn't jam so far out into space that the audience (and sometimes even the band?) forgot which song was being played. Performing the same set list every night, which leaned heavily on songs from the band's debut LP and a few favorites from most of their other albums, The Mars Volta's 2022 tour featured a simple but engaging stage set and well-timed lights that accented each song perfectly. Trading chaos for precision suited the band and this particular collection of songs very well, even if the overall vibe of the concert was also now different. Read our review of the Detroit-area concert from this tour here.

1. Tool

For the price of admission, nothing really compares to the experience of seeing Tool live, and that has been the case for decades. Their most recent tour, in support of Fear Inoculum and hitting many cities that had shows that were cancelled, rescheduled, and put on sale a second time due to COVID, was no exception. An immersive, dazzling visual display, blending projections, curtains, and various stage props and decorations perfectly complemented the band's latest iteration and songs, and the nightly performances of its virtuosic individual members makes it very hard to find flaws or to voice complaints, at least beyond the set list. Opposite to previous album eras, Tool leaned much harder into their newest songs this year compared to concerts that were performed just after the album was released, which featured a few new songs among a greatest hits-and-fan-favorites-style concert. Focusing on songs like "Pneuma," "Descending," and "Invincible" added depth and dimension to a stage show that was already great but locked in much better than the earlier concerts even though the song selection at those previous shows was certainly more crowd-pleasing. Tool live in 2022 was ideal for fans of Fear Inoculum, specifically, and was an invitation (even if barely or sarcastically) to others to take a deep dive into that album, to discover its haunting greatness, and to reconnect with a maturing version of one of the best rock bands of all time. Read our review of the Grand Rapids, Michigan stop on this tour here.


***Coming soon: The Top Albums of 2022!***

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Friday, November 4, 2022

The Mars Volta Rock Royal Oak

 


An amazing night of music graced the stage of The Royal Oak Music Theatre in early October as the triumphant return of The Mars Volta rocked the Detroit area. After 10 years of fast, focused work, both recording and touring constantly from 2002-2012, the arty, psychedelic fusion band abruptly called it quits, and primary song writers, Cedric Bixler-Zavala and Omar Rodriguez-Lopez, moved on to other projects. While the subsequent years saw them form, record, and tour with multiple new bands, the two reunited as musical partners in a few of them and eventually with the remaining members of their original project together, underground alternative rockers, At the Drive-In, for a successful album of new songs and a tour. Whether due to pandemic reflections, the desire to perform their classic songs again, the need for a money re-stock, or a combination of all three, Bixler-Zavala and Rodriguez-Lopez surprised fans earlier this year with an announcement of a new Mars Volta album, their first in 10 years, and a U.S. tour, hitting the road again after a 12-year break.


The Detroit-area edition of the tour attracted fans old and new, and before the show began, some in the crowd were heard discussing the 6 or 8 times they had seen the band previously, many years ago, while younger fans were excited to see the band live for the first time, having never had the chance since discovering their music over the past 12 years. The sold-out crowd was enthusiastic all night and nearly as supportive of the art rock opening act, Teri Gender Bender, a solo project by the vocalist from Le Butcherettes and a few of Rodriguez-Lopez’ other bands, including Bosnian Rainbows. After a short, 25-minute opening performance, during which Gender Bender and the audience exchanged dialog in Spanish, a set change began that lasted even longer than the band’s set. After more than 30 minutes of preparation, the lights went down again, this time for The Mars Volta, to the roar of the anticipatory crowd.


Every show on the tour has featured The Mars Volta performing the same songs in the same order without changes. This alone is not rare for them compared to their earlier incarnations, but it was clear the repetition helped establish a precise and focused execution of each song section that undoubtedly improved as the tour went on. Original bassist, Eva Gardner, rejoined the group prior to the recording of their self-titled comeback LP and performed with a groove and flow that complimented each song. Newer members including Leo Genovese on keyboards and occasional saxophone and Linda-Philomène Tsoungui on drums both added accents and flourishes to older songs and new tracks alike that filled in fluidly around and between the primary guitar/vocal focus of the show. Long-time multi-instrumentalist, Marcel Rodriguez-Lopez (brother of the co-band leader), alternated between percussion, synthesizers, and keyboards throughout the night and performed while wearing a mask for the duration.


Bixler-Zavala and Omar Rodriguez-Lopez were understandably the focal point of the concert, and both had many enthusiastic receptions for hitting and holding peak vocal notes in “L’Via L’Viaquez” and “Cygnus….Vismund Cygnus” and extended guitar leads and solos during “Cicatriz ESP” and a show-stopping performance of “Empty Vessels Make the Loudest Sound,” from their previous album, 2012’s Noctourniquet, and arguably their most emotionally engaging and moving song of all. Since the band broke up without properly touring for that album, they could have easily seized this opportunity to feature material from that record and from their latest that even long-time fans would have never had a chance to see them play, but only three of the show's 14 songs originated from either of those albums. Instead of a focus on the tone and style they intentionally used to distance the self-titled album from their previous work, it was notable that the tour for that album seemed to be focused mainly on the band’s earliest songs, featuring 7 of the 10 tracks from their debut LP and 3 of the 5 tracks from their second. On the other hand, rather than dragging out the performance of nearly every song as they have in the past, usually stretching their spacey, prog jams as long as 20-45 minutes at a time, even the longer songs among those selected were performed with arrangements usually comparable to their reigned-in studio versions. A few songs still included extended outro jams or a bit of improvised exploration in the middle, but even those instances were seemingly focused and paced out to allow all 14 songs from the set list to be performed with in a standard two-hour show. By comparison, the band’s Detroit concert from 2008 included only eight songs but lasted 45 minutes longer than October’s concert in Royal Oak. Whether these changes were made to keep the audience more engaged, because the band’s heavy drug intake has subsided, or both, it seemed clear they wanted to present a live sampling of the best of what they do and have done since forming just over 20 years ago. It was a perfect set for a newcomer or first-timer, and it went over well with long-time fans alike by including at least a bit of almost every album era. Those who purchased a ticket expecting and hoping for a bigger focus on the band’s newest songs, however, may have walked away disappointed.


Overall, quasi-hit singles like “The Widow” and “Televators” seemed to get an equal response to deep cuts and new songs alike, so the crowd was definitely there to enjoy anything the band wished to play rather than being focused on waiting for (or complaining that they didn’t hear) their particular favorite greatest-hit. A simple but complimentary light show accompanied the performance and changed with varying tones and moods throughout the evening. While they may have looked a bit older, Bixler-Zavala and Rodriguez-Lopez didn’t hold back as they presented a sampling of highlights from The Mars Vola catalog, and while some of the chaotic unpredictability of performances from a decade or two ago may not have been a big feature of the current show, moments of focused execution and delivery became part of the songs in ways that may have been impossible in the band’s early days, providing an opportunity to revisit these great songs from a different perspective and proving the songs themselves are extremely well-written and arranged underneath the random and unpredictable stage presence for which the group was previously known.


Teri Gender Bender set list:

cortate el pelo

KENDALL

GET YOUR MONEY STRAIGHT WITH ME

MJ

syria ignone

ya no soy

THE GET UP

-------------------------------

 

The Mars Volta set list:

Vicarious Atonement

Roulette Dares

Eriatarka

Graveyard Love

L’Via L’Viaquez

Empty Vessels Make the Loudest Sound

Cygnus….Vismund Cygnus

Blacklight Shine

Drunkship of Lanterns

The Widow

Cicatriz ESP

Televators

Son et Lumiere

Inertiatic ESP

---------------------------------------

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Tuesday, October 18, 2022

Pearl Jam (and many more!) Rock Bourbon & Beyond (day 3)

 


Rock festivalgoers got one last taste of summer as Louisville’s Bourbon & Beyond Festival returned September 15th-18th with four big days of music on many stages in the heart of the city, just next to The Kentucky Expo Center. Originally launched in 2019, the festival was unable to go on in 2020 or 2021 due to COVID, but it not only returned this year, it also expanded from three to four days. Some areas of grass and others of gravel stones or converted concrete parking lot gave way to rows of food, drink, and craft vendors and a variety of performers playing in different areas of the grounds simultaneously. While nowhere near the size or attendance of Manchester, TN’s annual Bonnaroo festival, Bourbon & Beyond brought a bit of that festival’s flavor to a different audience. With the two mainstages positioned next to each other, allowing for minimal downtime between performances, B&B also featured a nod to the Warped Tour’s standard set-up as well as many European festivals. After the first two days of strong sets and well-reviewed headliners like Jack White, Alanis Morissette, Kings of Leon, and Brandi Carlile, the third day of the festival brought a capacity crowd that ended up being the largest single day attendance in its history of 41,000 people, primarily due to the drawing power of Pearl Jam who delivered an electrifying set after a hot, humid day of many other excellent performances.

Early sets by Robert Randolph, Drive-By Truckers, Cold War Kids, and a rebooted version of Leaders of the New School, started the day off well. A strong and mostly acoustic performance from Neil & Liam Finn on the mainstage entertained middle-aged fans but disinterested some of the younger attendees  who were mainly there to see Greta Van Fleet a few hours later. Originally billed as a set by Crowded House, the father and son duo worked up a set of songs by both Crowded House and Neil Finn’s first band, Split Enz, including “Something So Strong,” “Don’t Dream It’s Over,” and “I Got You,” which also featured surprise appearances from Pearl Jam’s Eddie Vedder and Josh Klinghoffer on the last two songs. Art rocker, St. Vincent, moved swiftly and flawlessly through songs from her recent psychedelic soul-funk detour, Daddy’s Home, and updated arrangements of previous songs, impressing with both her vocal delivery and guitar work throughout. Notable highlights included the recent singles, “Pay Your Way in Pain,” “The Melting of the Sun,” and “Down.”

Taking the stage second-to-last were the much-hyped, homage-paying Michigan rockers, Greta Van Fleet, whose reactions to being too often compared to Led Zeppelin saw them leaning much harder in the direction of Queen with sprinkles of Bowie here and there in both sound and performance. Opening with their most-recent single, “Built by Nations,” and closing with their first and most famous, “Highway Tune,” Greta put on an engaging, throwback rock show that even featured costumes, styling, and lighting with a distinctly ‘70s style, especially notable following St. Vincent’s set which had many comparable elements. While doing so worked well for both acts, it is notably interesting to see Gen-X and Millennial artists expressing themselves with references to Boomer music and culture.

Finally, grunge rock legends, Pearl Jam, the evening’s headliners, took the stage to a packed-in and very enthusiastic crowd and delivered a set that included some of their biggest hits, deep cuts, and a few songs from Gigaton, their latest LP from 2020. With all five primary band members present (following much-publicized bouts of COVID for drummer, Matt Cameron, and bassist, Jeff Ament, as well as recent vocal issues for singer/guitarist, Eddie Vedder), the band kept the mood light and friendly and kept breaks between songs to a minimum in order to squeeze in as many as they could in their allotted time. For most of this century, the average Pearl Jam concert runs for at two and a half to three hours, so cutting it down to two hours flat can be a bit of a challenge. Opening with a short collection of acoustic-based songs, such as “Daughter” and “Elderly Woman Behind the Counter in a Small Town,” the band switched over to loud, electric songs for the rest of the night. The main set included fan favorites like “Do the Evolution,” “Corduroy,” and “Given to Fly” along with other song from their enduringly popular debut LP, Ten, such as “Why Go,” “Even Flow,” “Garden,” and “Porch.” In spite of having to delay the Gigaton tour for two full years because of COVID, it was surprising the band only included three songs from that newer record, only one of which, “Quick Escape,” was an official single, though all sounded great and fit in well between the older songs. Amazing guitar work from Mike McCready, Stone Gossard, Vedder, and recently added, former Red Hot Chili Pepper, Josh Klinghoffer, carried the sounds and vibes of each song out across the audience and up into the night sky. The show was briefly stopped on two separate occasions so onsite medical crews could attend to audience members who were seemingly dehydrated, but otherwise, Pearl Jam’s tight sent went off without incident. Concluding with a strong, three-song encore of “Jeremy” and “Alive,” also from their 1991 debut, the band followed those with a spirited cover of Prince’s “Purple Rain,” featuring prominent guitar and vocals from Klinghoffer. While a few long-time fans groaned that they would have preferred traditional closers like “Yellow Ledbetter” or Neil Young’s “Rockin’ in the Free World,” the recent addition of Klinghoffer on guitar and of the Prince song at or near the end of the show makes the 2022 Pearl Jam concerts unique compared to those from previous decades, and it was very well performed in addition.

While dehydration, sunburns, and long drives awaited those who stepped away after Pearl Jam’s final notes or those who headed home after the fourth and final day of the festival on Sunday, it was clear Bourbon and Beyond not only had a successful return but ended up having the most successful single day in the fest’s history thanks to bringing in such an elusive band to catch on tour, drawing scores of their fans from many states and time zones away, and providing the band with a boost of support to help see them through their final few following shows that concluded the tour. For first timers and veteran fans alike, Pearl Jam thoroughly rocked every member of the audience in Louisville.

*Select set lists from Bourbon & Beyond 2022 (Day 3):

Neil & Liam Finn (and friends)
Distant Sun (Crowded House)
It’s Only Natural (Crowded House)
Fall at Your Feet (Crowded House)
Better to Be (Liam Finn)
Something So Strong (Crowded House)
To the Island (Crowded House)
Message to My Girl (Split Enz)
Second Chance (Liam Finn)
Don’t Dream It’s Over (Crowded House)
Weather with You (Crowded House)
World Where You Live (Crowded House) (w/Eddie Vedder & Josh Klinghoffer)
I Got You (Split Enz) (w/Eddie Vedder & Josh Klinghoffer)
-------------------------------------------------------------------- 

St. Vincent
Digital Witness
Down
Birth in Reverse
The Laughing Man
New York
…At the Holiday Party
Los Angeles
Fast Slow Disco
Pay Your Way in Pain
Cheerleader
Year of the Tiger
Fear the Future
Your Lips Are Red
The Melting of the Sun
-------------------------------------------- 

Greta Van Fleet
Built by Nations
Safari Song
(drum solo) (jam)
Black Smoke Rising
Caravel
Lover, Leaver
Heat Above
Light My Love
The Weight of Dreams
Highway Tune
--------------------------------- 

Pearl Jam
Daughter/Chaise Lounge (Wet Leg) (tag)
Low Light
Off He Goes
Elderly Woman Behind the Counter in a Small Town
----------------
Why Go
Do the Evolution
Quick Escape
In Hiding
Lukin
Corduroy
Seven O’Clock
Even Flow
Who Ever Said/Satisfaction (The Rolling Stones) (tag)
Garden
Not for You/Modern Girl (Sleater-Kinney) (tag)
Given to Fly
Porch
---------------------------------
Jeremy
Alive
Purple Rain (Prince)
-----------------------------------------------------


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Wednesday, October 5, 2022

The Mars Volta’s Shockingly Straightforward Return

 


Reuniting for new music for the first time in 10 years, the progressive-psych-alternative band, The Mars Volta, surprised fans and critics alike with a focused collection of 14 new tracks that play through in just under 45 minutes. Devotees of the band and frequent rock concertgoers of the ‘00s will remember The Mars Volta as an experimental, unpredictable group that often presented their dense songs of mammoth length in arrangements that made them even longer and denser on stage. The volatility within the group led to heavy turnover among supporting musicians and eventually a rift between the primary duo at the center of the project: vocalist, Cedric Bixler-Zavala, and guitarist, Omar Rodriguez-Lopez, 30-year veterans of the American punk and underground rock scenes as members of several other bands, most notably, At the Drive-In. While the pair continued to collaborate on other recordings and tours for other projects over the last decade, only now have they decided to resurrect what may be their most beloved and infamous group. However, rather than the spacey, sometimes almost aimless or chaotically unfocused psychedelic fusion jams featured on their 6 previous, excellent albums, The Mars Volta presents a completely different approach, both matured and intentionally reigned in, distancing itself from the band’s back catalog while exploring ways to work their signature styles into shorter songs with more traditional structures and arrangements.

 

While not quite a pop album, as Bixler-Zavala has described the new material, these songs make their points in digestible segments that play well as a full piece or as individual tracks. They lock into one another well in sequence, but none overlap or connect to each other across a track break, and none are longer than 4:13, previously unheard of for a Mars Volta LP. The band’s trademark inclusion of Latin, Mexican, and salsa instruments and arrangements continue to weave in and out of the new songs but now in ways that are more complimentary to the overall tone of the song rather than contrasting with a distorted guitar freak-out or electronic wall of noise and affected vocals. “Blacklight Shine,” the album’s opening track and first single, marries Cuban rhythms and percussion to a prominent bass, an airy electric guitar, and a mix of Spanish and English lyrics where “Cerulea” and other songs mostly abandon the surreal, abstract lyrics of the band’s previous material in place of personal, relatable lyrics more traditionally found in standard rock songs in most respects. Tracks like “Shore Story,” “Vigil,” “Collapsible Shoulders,” and “Palm Full of Crux” find the band dipping a toe into trip hop, working in electronic beats and loops in place of traditional acoustic drums but, again, in a way the complements the tones of the songs, unlike some of the more experimental, electronic sections of tracks from the band’s previous album, 2012’s Noctourniquet, making The Mars Volta probably most closely-related to that LP over any of the band’s others, but only in that regard. Gone (for now?) it seems are the days of extended saxophone and trumpet solos as horns haven’t factored into the band’s material for several album eras now.

 


While parts of The Mars Volta recall meeting up with an old hard-partying friend after a decade to find them (as are we all), older, more mature, and more experienced, there are still tastes and allusions to their signature moments from earlier songs. “Que Dios Te Maldiga Mi Corazon” flies by in just over 100 seconds but has a free-form style that contains its own haunted vibe, partly because it never really establishes itself as a proper song before it ends and moves on to a completely different tone at the top of the next track. “No Case Gain” features hip hop rhythms and verses that are nearly rapped, mixed with a standard rock progression that slips into fuzzy psychedelia but only for a few measures. A few lyric segments change briefly from concrete to abstract during a song’s bridge but change back at the top of the next verse or chorus. The Mars Volta have always featured emotional moments and songs throughout their albums, but doing so with more focused intention allows the band to paint different musical pictures than those they have presented in the past.

 

The supporting musicians behind Bixler-Zavala and Rodriguez-Lopez continue to rotate, and this updated version of the band features new drummer, Willy Rodriguez Quinones, and the return of original bassist, Eva Gardner, who had not performed with The Mars Volta since 2002. Marcel Rodriguez-Lopez, the bandleader/guitarist’s brother, reprises his role on keyboards and synthesizers, and has played with the group since 2003. Quizzically, after building up the release of the new album with comments about how it was meant to be the “opposite” of those records, the earliest concert performances in support of The Mars Volta featured only a few of its songs and instead focused on selections from the band’s first two albums and a sprinkling of tracks from the others. Perhaps the focused execution of the new tracks will lead to live renditions of older songs that are more faithful to the length and arrangements of their original recorded versions rather than stretching many of them well past 10 minutes, sometimes in the 20–50-minute range, leading to a very different live experience and the ability for the band to play several more songs than usual within the same amount of time. While some old school fans might balk at such an idea, all artists deserve the opportunity to evolve, to experiment, and to take their projects in any direction they may wish. It may turn out to be that The Mars Volta era was a creative rebirth that led to more great music from a great band who most assumed was done and gone forever, and that, in itself, makes it exciting and engaging.

 ****************************************

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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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