Show Review: Blacktop Mojo With Oddfellas and Hellfire Mafia

Photography & Show Review: Derek Jones

It was a cold Thursday night in Austin Texas, but things were heating up inside Come Take it Live; a venue dedicated to bringing us the best and brightest in rock and metal talent. This particular evening was host to Blacktop Mojo as they finished the last dates of their It Won’t Last Tour. Rounding out the lineup would be Mugdog, Oddfellas and Hellfire Mafia.

Oddfellas


The night of music kicked off with Mugdog and unfortunately, I got through the doors just as they were finishing their last song. They were brutal (in the best way) and from the short amount of music I heard, they are definitely a band to check out. Next up were Oddfellas from Pampa TX and these dudes absolutely rocked! A friend of mine and I remarked during their set how each member of the band looked so different from each other, yet their sound blended together in perfect harmony. I suppose you could compare it to choosing 4 ingredients at random, and coming up with a delicious cake: Oddfellas are a delicious Heavy Metal Cake!

Hellfire Mafia

Following them was Hellfire Mafia, who certainly played up the mafia image. Lead singer Reverendo commanded the stage with his old-school dynamic microphone, complete with black suit and hat. The rest of the band seemed to do his musical bidding, just happy to be part of the organization before them. A healthy blend of Blues and Metal, this band from San Antonio performs to the crowd and simply kicks ass in the process.

Blacktop Mojo


Blacktop Mojo, admittedly, was a band I knew very little about before taking on the task of covering their show. I had listened to a couple songs on Spotify and seen their name on a scattering of tour posters, but had never had the chance to check out a live show. To say they ‘stormed’ the stage would be a gross understatement. Sometimes bands give the crowd a moment to ease into the show; but not these guys. They came out swinging… hard! Without knowing one single lyric or song as frame of reference, I found myself pumping my fists in the air to the sounds emanating from the speakers. My neck still aches 2 days later, as I find myself adding all of their albums to my Spotify playlists. I can say with absolute certainty that not a single person left the show unsatisfied. They have that rare musical ability to instantly convert new fans, and in my estimation, an extremely bright future. They plan to hit the road with Hinder from April 24th through May 7th, and I highly suggest attending one of their shows.

Show Review: Black Sunday Blowout with Maryann Cotton, Black Smoke Sinners and Black Heart Saints

Review & Photography: Kail Rose

Motorcycles and their admirers line up outside under the sodium vapor street lights, glittering in a dizzying assemblage of chrome, cigarette smoke and black leather. I can hear fading remnants of the last riff of soundcheck as security hands back my ID, swipes a black cat stamp over my hand and ushers me through the ominous dark-paneled gates off seventh street. I grab a Lonestar and survey the scene at Empire Control Room & Garage – this evening it’s bustling. It’s not one for the faint of heart. Beer and cigarettes, leather and silver, low-cut, hi-crop and tight everything; big hair, loud makeup and heavy Doc Martens. There’s a little old-school glam rock here mixed with grunge and biker culture, collecting to celebrate rock music of a classic era on Black Sunday. Tomorrow is a holiday, so there are no holds barred tonight.

I love the rock crowd – their big energy, and their raucously over-enthusiastic passion for the music and the community they’ve built around it. I greet friends and acquaintances; most offer a warm hug and witty, excited banter. We’re all here to celebrate what’s become an underground Austin movement – led largely by the very man who invited me here, Robert Wagner. Texan rock legend and son of Dick Wagner (who needs no introduction), Robert is doing big things to reinvigorate this cult classic rock community, right here in our own town.

As I ready my camera gear and chat with fans in the front row, we’re hit with the fuzzy opening riff of a sound that’s not entirely foreign. It’s so familiar, I’m halted mid-conversation. Maryann Cotton slides on stage with the self-assured swagger of a man opening on a much larger stage. Immediately, the presence and prowess of a rock artist who is destined for very big places becomes overwhelmingly obvious. Clad in skintight patent leather, buckles, chains, black eyeliner, fantastically big hair and a snarl that’s as gritty as it is sexy, he launches into his set. It’s dramatic, glamorous and oh-so-delicious to watch. I hear some Alice Cooper, a young KISS maybe, a little Motley Crue in there. Reminiscent of so many favorites, the crowd rocks as hard as the band. This is a production of truly excellent caliber. I catch myself thinking once again: we needed someone like this on the scene, and these guys are destined for big places. Maryann Cotton has ties to the Wagner family as well as a nod from Alice Cooper himself. With a varied discography released to date, their sound is a brilliant homage to the glam rock of the late 70s and 80s. The set is high-energy: it’s dirty, sexy, gritty and sweaty and leaves me wishing I could transport myself back forty years to see glam rock in its heyday. But who needs that when we’ve got Maryann Cotton?

Sir Robert Wagner is next on the evening’s lineup; his new band Black Smoke Sinners launches into a setlist heavy on covers. This is a band with a unique take on both their music and a lifestyle, priding themselves on being “lifetime riders but also lifetime musicians.” Forged from lifelong friendships, this crew wants to “bring the true ‘Rock Show’ Experience back to the National rally scene.” The roster includes Robert Wagner on vocals, Austin favorite Jake Sherard on guitar/vocals, Dave Beeson on guitar/vocals, biker and builder Chris Callen on bass, and builder and acclaimed drummer of Buckcherry fame, Xavier Muriel. As he always does, Wagner grooves, moves and schmoozes his brilliant self into our hearts and it’s an hour that passes in a second. Backed by musicians of such magnitude and passion, this little quintet has big plans and an even bigger future as they bring rock back to the rally world. 

Questioning whether we could top the energy and spectacle of our first two bands, we’re treated to a third set that blows us out of the water. Revving up for their first official SXSW showcase, Austin favorites Black Heart Saints hit the stage as our headliner. It’s immediately clear that their momentum is on an upswing. It’s an explosive set, beginning with a handful of cherished favorites from existing discography. They follow with some newer tunes, no less than flawless, before dropping into a couple of cover songs. When the opening grooves of Zeppelin’s Immigrant Song bombard my eardrums, these Saints hit a whole new level: this ain’t just another mediocre cover of a cult classic. Frontman Josh Ross hits those high notes just right; he’s a triple threat with powerful vocals, an inimitable stage presence and enough strut and substance to make Sir Robert Plant himself proud. Once again, Black Heart Saints harness a certain something about their music that’s rarely imitated. When we interviewed them almost exactly a year ago, we predicted a meteoric rise as one of the nation’s top emerging rock acts. Now on the precipice of a major SX set, we’ll be sitting smugly in the sidelines watching them take over the rock world.

What an evening. As always, the Austin rock scene brings us an evening of ineffable energy. From the sexy, gritty Maryann Cotton to the unbridled revelry of rock/rally heavyweights Black Smoke Sinners – or the dangerous, dirty and delicious Black Heart Saints – what a way to wrap a Sunday. 2020’s take on Black Sunday, that is. 

Interview + Show review: Varya

Photography, interview & review by Jonathan Orenstein.

Set up in a small corner of a south Austin popular Greek hangout, Opa!, VARYA adjusts her mic stand, amplifier, and tunes her lyric-adorned acoustic guitar. Her husband and a complete stranger fuss with a string of fairy lights at her feet in an attempt to bring some light to her face. The photographer suggested that more light will enhance the photos and eliminate the dark shadows under her brow. “I can’t deal with this right now, I’m really nervous,” VARYA cries to her uninvited stage crew as she waves them off. I walk back to the bar with her husband discussing lighting issues that these small venues create but I would capture her with my camera none-the-less. The house is full this night, a table of Russian-speaking men clap vigorously as she thanks the crowd for coming out. A table with a dozen or so couples sits nearby, her invited posse, and they erupt into applause.

VARYA steels herself, organizing her thoughts, going over her play her set silently. She’s been performing for over a decade in small venues like this, each show gives her butterflies. VARYA describes herself as strong, sensitive, and loud – these traits give her the strength to perform. Her husband and sister modify her self-identifying personality with outgoing, impulsive, and stubborn. Regardless of which are the correct modifiers, there is something about VARYA with which everyone in her presence can connect.

She tunes her dark-wood guitar and the overhead lights shimmer across poetic phrases scrawled around the guitar’s face. Her soft melodic voice turns heads as an almost Gaelic sound echoes throughout the space. The songs are dark, emotional, and raw, but her emotive expressions draw you in, connecting with her as if she was a longtime friend. Over the next hour, VARYA connects with the audience much like a storyteller engrosses a crowd during a book reading. Page after page of lyrics share thoughts about struggle of love, fear, and togetherness. The small table of men sing along with her to sad tunes of loves lost, like close-knit friends (Russian: drougs) in a local pub.

VARYA focuses her music on telling stories rather than appease to a pop listening crowd. Growing up in Moldova, a small Balkan region country nestled between Romania and Ukraine, VARYA was immersed in local storytelling and music. Her mother and she sang children’s songs together, and her father, known for his poetic verse, wrote her a song that they performed together during some of his concerts. Her native country has a very long and beautiful musical history, where most of the population speaks the Romanian romance language. Moldova existed long before the U.S.S.R. and has very much reclaimed its culture since the breakup of the Soviet republic. There is a deep tradition of Bard music in her country, considered much less of a music genre but rather a lifestyle. VARYA calls it “poetry delivered through the medium of music.”

Poet-songwriters known as romance bards, mostly students of the physical sciences and history, brought this far reaching global musical attitude to the Soviet bloc countries in the early 1950s. The bard style was common in the Baltic region long before it grew in popularity under Soviet rule. The common man and woman would compose romantic lyrics that enshrined the beauty of life, gathering like souls together in harmony and joy. At first this was an underground movement that helped Soviet citizens cope with governmental oppression under Stalin and following the easing of controls under Khrushchev and Brezhnev, Bard music became the naturalists’ music. Bards performed their own songs, and as they were not classically trained musicians, linguists, or lyricists, their poetry was played to simple chord progressions. These songs were sung for pleasure and not for monetary gain. This brought bard music to the young people who enjoyed camping, kayaking, and outdoor adventures. Songs may be political in nature at times, but mainly romantic and family-based themes were the norm. Russian bard music is akin to American folk music, although not commercialized.

VARYA’s family and neighbors wrote original songs, played instruments and performed at small concerts and festivals. “Nobody was particularly good, at least not in a commercial way, but it’s incredibly intimate and honest and raw.”

READ MORE…

Published by Jonathan Orenstein

My focus is on highlighting the great programs that support the community, local musicians, and those in need. I am an Austin-based photographer with experience shooting at the Long Center, various music venues, as well as high school theater performances. My clients include the Health Alliance for Austin Musicians, Greater Austin High School Musical Theater Awards, and Rock to Recovery. I welcome the opportunity to work for you. View more posts

G(irl)photographer: 5 Shoots / 5 days

I open my inbox to an intriguing message. 

And that’s how it started. Well twist my arm, then… I thought. My team has a special way of being a little ridiculous on the story pitches, but I was sold. What I didn’t realize? It would also entail an intricate schedule of work, travel, shooting, editing, maybe a little sleep (and I mean little, less than little) and getting up and doing it all over again, day after day. I was exhausted just thinking about it.

👆 actually me after the week…

So it was an ambitious five-day quest to shoot five different concerts, test out some video and photo gear, and write a story about it. Cool. What I wanted to cover was almost entirely up to me. First up, Monday evening would be a local Austin band at a favorite local venue (Come And Take It Live), no less. Following that, my friend Danny (also known as New York rocker Des Rocs) just so happened to be touring through Texas for three consecutive days with The Glorious Sons. A quick text, fingers crossed, and he graciously agreed to let me follow him around with a camera. Four out of my five nights booked, I had just Friday to fill. I looked around and realized I’d been sent a media invite for an intriguing up-and-coming indie band called Brother Moses. Email sent, invite accepted, interview, shoot and review arranged; the week was booked. Mission Accomplished.

Days running up to my 5S/5D (that’s “5 Shoots / 5 Days”), I packed, planned, wrote and reviewed shot lists, met with my assistant photog, scheduled interviews, social and BTS content and tried to rest and prepare myself. One of the biggest challenges of shooting concerts is the extreme physicality of it all. You don’t realize how taxing it is to lug around all that gear for hours on end, and then contort and ‘gimbal’ yourself to manage the perfect shot. Over and over. Five days of that without a break would be interesting. I doubled down on my Pilates the week prior.

Early in the week I headed up to Precision Camera to pick up my gear from the rentals department: a gorgeous new Sony Alpha a9 camera body, an extra-beautiful G-Series f2.8 28-70mm lens (can you tell I have a thing for Sony gear?), a DJI Ronin-S gimbal and all the fixin’s. Because Precision never leaves you high and dry, they literally handed me everything plus the kitchen sink, a UV filter, camera bags, straps, clips, cords and an extra battery grip.

Now I have quite a storied past with camera rentals and I’m known to grab a few extra items when the shoot merits. I’ve had some downright terrible experience with rental gear that is shipped, or ordered online and picked up, only to discover that it’s not what you were hoping for (won’t name names). What I really love about Precision rentals is that they’re A) reliable, super reasonable, and they literally make sure you’ve got more than you need, but also; B) it’s really easy to just cruise up to Anderson Lane and grab what you need, rather than dealing with shipping costs, delivery times and all that junk. Plus they greet you with a smile and a hug. Or maybe it’s secretly an; “Oh, HER again? What crazy sh*t is she asking for this time??”

Read: Why would you rent online when all of this is available right in your very own city?? Also, they’re really very nice and just laugh when I propose the crazy sh*t. Anyways, I grabbed my gear early in the week, thanked my lucky stars that PCV had my back, and headed to Monday’s shoot, bright-eyed and bushy-tailed.  I was totally ‘ballin with all that gear. I won’t bore you with the play-by-play on every single shoot, so here’s a highlight reel.

Monday: Gimble video fun at my local Austin haunt, Come And Take It Live. My priority act had to cancel due to the Death Flu going around (OK with me, keep your germs away!), so I had to make do with shooting less familiar bands. You win some, you lose some. 

Tuesday: Already sore and tired. Met up with Des Rocs and team, Warehouse Live Houston. Great crowd, lovely venue, high-energy set and a nice crew. Started getting creative with the gimbal, proceeded to wow, awe and inspire said crew with my gimbaling prowess (is that even a word?). I don’t know. It was fun. My arms were toast after two days of gimbaling. And yes, it’s now a word. 

Wednesday: Could barely lift my arms. Bruises appearing in weird places from unknown sources. Another favorite venue: Mohawk Austin, where I learned the true value of this a9 facial recognition technology in a packed crowd with no photo pit during both Des Rocs and The Glorious Sons’ sets. I nailed some crazy shots in ridiculously low light while getting jostled around, elbowed in the head and my toes stomped on somewhere in the rowdy crowd. Thanks to that a9 and my hefty f2.8 70-200mm telephoto lens, which a crew member later dubbed “The Bazooka,” I got some amazing content. Also, Bazooka? That’s gonna stick.

Thursday: Overslept my alarm. More bruises, but at least I know where they came from. Canton Hall Dallas with the Des Rocs crew once again. A new venue for me, but surprisingly nice and with excellent lighting. Due to the (larger) size of the venue, I managed some pretty awesome shots while hopping between a tightly-packed backstage area, the far-off upper back balcony, and a spacious, sizeable photo pit. It’s times like this that I am grateful for two different camera bodies set up and ready to go – allowing me to alternate seamlessly between my Sony a7iii with the 28-70mm lens and the a9 with aforementioned Bazooka, taking my photographic flexibility to new heights. If you’ve never tried shooting with two camera bodies, I highly recommend it (go visit Precision Camera rentals and they’ll help you with that). Bonus? Only once did I *almost* faceplant on stage. Unfortunately, Precision Camera cannot help me on the klutz factor. 

(Not pictured: Bazooka.) And yes, I found a ‘rat’ in the green room.

Friday: My fifth and final evening, spent at Stubbs Austin with indie rock band Brother Moses. Somehow I catch a second wind, super stoked to meet this last band. We started our evening with a video interview backstage, and followed with a classic show shoot-and-review setup. This time, I was thankful for my wide angle (f2.8 16-35mm G-series) lens, helping me to grab a few close-to-the-stage shots in low light. Anyone who’s ever shot at Stubbs indoors knows just how challenging it is. Only great gear, too-high ISO and creativity can get you through it.

What a beautiful week. While I did sacrifice sleep for adventure, it was worth it. I’d trade a week of no sleep, constant shooting, way too many bruises/sore feet/pulled muscles, and never having a second to catch up on much of anything for this thing called ‘real life’ in a heartbeat. So much fun. From testing out my abilities with new/novel camera gear, to having an opportunity to get to know the crew of one of my favorite touring bands. It was a nonstop, jam-packed week of incredible photo opportunities, a lot of travel, crazy crowds and insanely good music. I walked out of there more appreciative of these artists – and what goes into making a tour happen – than when I’d started. 

A special thank you to the Des Rocs crew – you are all incredible, kind, talented and passionate professionals. I appreciate you generously welcoming me into your space. You kept it fun, but you also taught me a lot about what it means to be a hard-working travelling professional. I’ve never met a more dedicated and talented crew. And if you are reading this and have never listened to Des Rocs before, stop immediately and GO LISTEN.  I mean it. If we cross paths in the future and you haven’t listened to his music yet, I will hereby wrestle you to the floor, throw a pair of headphones on you and press play. It’s your choice.

A final thank you must go to Precision Camera for the gear. I do hope you stop over there when you next need some extra items. And do try out running with a second camera body – it will save you a lot of time and lens changes. Tell ‘em Kail sent you… because that’ll make for an interesting conversation.

Now if you’ll excuse me, I need to go catch up on some sleep. Stay tuned next week for my second blog and feature on the video/photo content I captured during my 5S/5D.

Brother Moses in Austin: Show Review + interview

Story: Kail Rose, Photography: Christopher De La Rosa & K Rose

On Friday we had the privilege of catching NYC indie rock band Brother Moses live at Stubbs Austin, the first stop on their headlining tour for the month of February. 

We show up early in the evening, cruising through the still-empty Stubbs downstairs venue. Out back, there’s a crew playing football in the vast expanse of the Stubbs amphitheater yard, which I’m used to seeing jam-packed full of people. I quickly realize it’s the band themselves and their opener Feeves. They see us and head straight over to introduce themselves; James, John-Lewis, Moses and Corey, who comes with his own tagline: “the Best Drummer in the World.” 

We take over the spacious back garden’s notorious Airstream trailer for a quick informal video interview. We chat about humble beginnings, dance-fueled performances and how they are addressing real-world experiences with music that is fun and lighthearted. I later realize it’s the type of music that brings us together in a celebration of being humble, human, flawed and flawless. 

We skip upstairs to grab a quick bite of legendary Stubbs Barbecue before Feeves warms up the crowd with a fresh indie set. The evening crowd fills in quickly. It’s a predominantly younger group; college kids and those in their later 20s. A few hip couples in denim, slouchy beanies and vintage boots, sipping a craft beer. We spot many a girl gang, locked elbows, giggling and ready to dance. 

As Brother Moses takes the stage, the hype is very real. The venue and the crowd are literally buzzing. These people are here to boogie. As they kick off the set, it’s apparent that there will be no rockstar power poses, no slamming back a beer with a side of ego; no, none of that. Their humble and relatable demeanor makes this an inclusive performance. We’re not just here to see this band, but to become a part of their performance. With palpable energy, we unwittingly find ourselves committed – committed to celebrating our quirks and crazies, and to dance like nobody’s watching. 

After more than one occasion of a show-stopping technical issue, frontman James exclaims; “this is just like that time you have that nightmare where you go on stage and you’re in your underwear and all your stuff starts breaking… except this is real life.” Turning misfortune into humor, it’s an opportunity to connect with the audience, make them part of the show. I almost wonder if this was rehearsed. But the audience is game; hooting & hollering when finally Feeves brings us a backup guitar and saves the show. 

They progress through old hits and new material, somehow amplifying the energy as they go. Two blonde college girls slam back their White Claws, sling their tiny purses over their shoulder and barrel through the crowd in an impressively dainty fashion for What Does It Take. Blonde locks are flying as they dance and spin each other. The crowd parts to circle around this informal dance-off. Guitarists John-Lewis and Moses jump down into the crowd, in between twirling girls, for the song finale. Carefree is the word of the night.

And somehow Brother Moses manages a very full sound – a set of surprisingly intricate, groovy, quirky songs. John-Lewis and James trade off on the keyboard and guitar. With signature floppy hair and wireframe glasses doing nothing to conceal a cheeky sparkle of confidence (likely from his most excellent dance moves, if I must be honest…), James leads the vocals with quirk, kitsch and utter coolness. I see why this crowd had arrived with soaring expectations and impressive energy. And despite all expectations, this is a band that sounds even better live than recorded. 

I highly recommend you catch their live show, and grab their music here. Check out their remaining February tour stops and keep an eye out on March 6 to catch the release of Desperation Pop.

News: Beale Street Music Festival Announces Phenomenal 2020 Lineup

If Beale Street Music Festival in downtown Memphis wasn’t already on your list, today’s announcement of a stacked lineup might just get you there.

Held May 1-3 in Tom Lee Park during Memphis in May International Festival, it’s an impressively jam-packed lineup. Appealing to a wide demographic with a little of everything, it also boasts a surprisingly large list of music heavyweights. The Lumineers? Smashing Pumpkins? Weezer? 1975? Lil Wayne? Seriously impressive. If that’s not enough, it’s also followed by the 2020 World Champion Barbecue cooking contest, and if that isn’t worth sticking around for, I don’t know what is. BSMF has put themselves on the map this year. We can’t wait.

Must-see or Meh? Vote below!!

Rating: 4.5 out of 5.

Meh (1) – – – – > Must-See (5)

Our pick for most-underrated artist on the lineup?

We’re tempted to list Dirty Honey or The Glorious Sons, but everyone already knows how great they are. So we’ll pick Rival Sons and AJR, both of whom are one hell of a party. Oh and Nelly, because BSMF just got a lil’ hot in herrrre…

Let us know your thoughts – is this a must-see or a meh? Vote above!

News: The Struts Add Additional “MAKE IT BIG” Tour Dates to 2020 Tour Schedule

The Struts have formally announced the addition of quite a few more 2020 tour dates on what is now dubbed the “Make It BIG Tour 2020” …which we suppose is all too appropriate. The four British rockers already have an ambitious 2020 tour schedule with dates all over the world, including Innings Festival, Sandjam, Boston Calling , Bonnaroo, Bunbury, Firefly and Mad Cool in Spain. With the Make It BIG tour date additions, they’re adding in shows in Dallas, Chicago, Florida and Richmond VA (and more), see the full schedule below. They’ll be touring with The Glorious Sons, The Blue Stones, The Regrettes and JJ Wild supporting.

Photo credit: Kail Rose. Shot in Dallas, TX at House of Blues May 8, 2019.

Must-see or Meh? Vote below!!

Rating: 5 out of 5.

Meh (1) – – – – > Must-See (5)


Tickets go on sale Friday 2/14 at 10am local time.

All 2020 Tour Dates:

Fri, FEB 28 – SOMA (Tour de California Presented by Harley-Davidson), San Diego, CA

Sat, FEB 29 – House of Blues (Tour de California Presented by Harley-Davidson), Anaheim, CA

Sun, MAR 1- Innings Festival, Tempe, AZ

Tue, MAR 3 – The Warfield (Tour de California Presented by Harley-Davidson), San Francisco, CA

Wed, MAR 4 – Catalyst (Tour de California Presented by Harley-Davidson), Santa Cruz, CA

Tue, APR 14 – Umeda CLub Quattro, Osaka, Japan

Wed, APR 15 – Ebisu Liquidroom, Tokyo, Japan

Thu, APR 16 – Ebisu Liquidroom, Tokyo, Japan

Fri, APR 24 – SandJam Fest, Panama City Beach, FL

Fri, MAY 22 – Boston Calling, Boston, MA

Sun, MAY 24 – Hi Fi, Dallas, TX

Fri, MAY 29 – Riviera Theatre, Chicago, IL

Sun, MAY 31 – Harrah’s Council Bluffs – Stir Concert Cove, Council Bluffs, IA

Tue, JUN 2 – The District, Sioux Falls, SD

Fri, JUN 5 – Saint Louis Music Park, Maryland Heights, MO

Sat, JUN 6 – Bunbury Music Festival, Cincinnati, OH

Tue, JUN 9 – Revolution Live, Fort Lauderdale, FL

Wed, JUN 10 – The Beacham Theatre, Orlando, FL

Fri, JUN 12 – Jannus Live, St. Petersburg, FL

Sat, JUN 13 – The Masquerade – Heaven, Atlanta, GA

Sun, JUN 14 – Bonnaroo, Manchester, TN

Tue, JUN 16 – The National, Richmond, VA

Thu, JUN 18 – The Capitol Theatre, Port Chester, NY

Fri, JUN 19 – The Stone Pony Summer Stage, Asbury Park, NJ

Sat, JUN 20 – Firefly Music Festival (June 18-21), Dover, DE

Mon, JUN 22 – Bronson Centre Theatre, Ottawa, Canada

Tue, JUN 23 – London Music Hall, London, Canada

Thu, JUN 25 – 2020 Party in the Park Rochester, Rochester, NY

Sat, JUN 27 – The Clyde Theatre, Fort Wayne, IN

Sat, JUL 11 – Mad Cool Festival, Madrid, Spain

Sun, JUL 12 – Rock In Roma, Rome, Italy

Tue, JUL 14 – Geox Live Arena, Padova, Italy

Wed, JUL 15 – Arena Campo Marte, Brescia, Italy

Sat, JUL 18 – Lollapalooza Paris, Paris, France

Fri, JUL 31 – Osheaga, Montréal, Canada

News: DEFTONES Announce Summer Tour with Gojira and Poppy

DEFTONES have just announced their first summer tour in three years… having performed largely at select music festivals or their own festival “Dia De Los DEFTONES” in recent years. But this summer they’ll hit the road with Gojira and Poppy for a 30-city tour kicking off July 27th.

“We’re super excited to have Gojira spending the summer with us, and Poppy will be a really fun addition as well,” frontman Chino Moreno said in a statement. “We’re looking forward to seeing everyone this summer. It’s been a minute.”

Deftones perform at Exit 111 music festival in Manchester, TN on October 13, 2019. Photo credit: Kail Rose / dRiFFt.

Must-see or Meh? Vote below!!

Rating: 5 out of 5.

Meh (1) – – – – > Must-See (5)

Tickets go on sale Friday 2/14.

Deftones Tour Dates

July 27 – Portland, OR @ Theatre of the Clouds at Moda Center
July 28 – Seattle, WA @ WaMu Theater
July 30 – San Francisco, CA @ Bill Graham Civic Auditorium
August 1 – Las Vegas, NV @ The Pearl Concert Theater at Palms Casino Resort
August 2 – Los Angeles, CA @ The Greek Theatre
August 4 – Phoenix, AZ @ Arizona Federal Theatre
August 5 – Albuquerque, NM @ Isleta Amphitheater
August 7 – Bonner Springs, KS @ Providence Medical Center Amphitheater
August 8 – Milwaukee, WI @ The Eagles Ballroom
August 9 – Minneapolis, MN @ The Armory
August 11 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island
August 12 – Sterling Heights, MI @ Michigan Lottery Amphitheater at Freedom Hill
August 14 – Boston, MA @ Agganis Arena
August 15 – Laval, QC @ Place Bell
August 17 – Toronto, ON @ RBC Echo Beach
August 19 – New York NY @ The Rooftop at Pier 17
August 20 – Asbury Park, NJ @ Stone Pony Summer Stage
August 22 – Philadelphia, PA @ The Met Philadelphia
August 23 – Washington, DC @ The Anthem
August 24 – Bridgeport, CT @ Harbor Yard Amphitheater
August 26 – Pittsburgh, PA @ Petersen Events Center
August 27 – Indianapolis, IN @ The Amphitheater at White River State Park
August 29 – Nashville, TN @ Nashville Municipal Auditorium
August 30 – Atlanta, GA @ Cadence Bank Amphitheater at Chastain Park
September 1 – San Antonio, TX @ AT&T Center
September 2 – Houston, TX @ White Oak Music Hall
September 3 – Irving, TX @ The Pavilion at Toyoto Music Factory
September 5 – Denver CO @ Pepsi Center

News: Rage Against the Machine Announce Worldwide 2020 Tour

Must-see or Meh? Vote below!!

Rating: 5 out of 5.

Meh (1) – – – – > Must-See (5)

Just minutes ago, Rage Against The Machine formally announced their 2020 world tour – One we’d been hoping for since word got out that they’d be reuniting to play Coachella and a few select cities. But now it’s official. Touring with Run The Jewels, they’ll hit 33 US cities (including both weekends of Coachella and Boston Calling in May) and then hit an additional eight cities in Europe. Proceeds from the first three shows (El Paso, TX, Las Cruces, NM and Glendale, AZ) will go directly to immigrant rights organizations.

Tickets go on sale Thursday 2/13 at 11am local time.

Rage Against the Machine Tour Dates

March 26 — El Paso, TX @ Don Haskins Center
March 28 — Las Cruces, NM @ Pan American Center
March 30 — Glendale, AZ @ Gila River Arena
April 10 — Indio, CA @ Coachella
April 17 — Indio, CA @ Coachella
April 21 — Oakland, CA @ Oakland Arena
April 25 — Portland, OR @ Moda Center
April 28 — Tacoma, WA @ Tacoma Dome
May 1 — Vancouver, BC @ Pacific Coliseum at the PNE
May 3 — Edmonton, AB @ Rogers Place
May 5 — Calgary, AB @ Scotiabank Saddledome
May 7 — Winnipeg, MB @ Bell MTS Place
May 9 — Sioux Falls, SD @ Denny Sanford Premier Center
May 11 — Minneapolis, MN @ Target Center
May 14 — Kansas City, MO @ Sprint Center
May 16 — St. Louis, MO @ Enterprise Center
May 19 — Chicago, IL @ United Center
May 23 — Boston, MA @ Boston Calling
June 19 — Dover, DE @ Firefly
July 10 — East Troy, WI @ Alpine Valley Music Theatre
July 13 — Detroit, MI @ Little Caesars Arena
July 17 — Ottawa, ON @ Ottawa Bluesfest
July 18 — Festival d’Été de Québec @ Festival d’Été de Québec
July 21 — Hamilton, ON @ FirstOntario Centre
July 23 — Toronto, ON @ Scotiabank Arena
July 27 — Buffalo, NY @ KeyBank Center
July 29 — Cleveland, OH @ Rocket Mortgage FieldHouse
July 31 — Pittsburgh, PA @ PPG Paints Arena
August 2 — Raleigh, NC @ PNC Arena
August 4 — Washington DC @ Capital One Arena
August 7 — Camden, NJ @ BB&T Pavilion
August 10 — New York, NY @ Madison Square Garden
August 11 — New York, NY @ Madison Square Garden
August 28 — Leeds, UK @ Leeds Festival
August 30 — Reading, UK @ Reading Festival
September 1 — Paris, France @ Rock En Seine Festival
September 4 — Stradbally Laois, Ireland @ Electric Picnic Festival
September 6 — Berlin, Germany @ Lollapalooza Berlin Festival
September 8 — Prague, Czech Republic @ O2 Arena
September 10 — Krakow, Poland @ Tauron Arena

News: Camp Nowhere TX Returns for 2020

Must-see or Meh? Vote below!!

Rating: 2.5 out of 5.

Meh (1) – – – – > Must-See (5)

Featuring Bassnectar, Rezz, Jai Wolf and more, Camp Nowhere returns to Texas for a two-city run in 2020. The young festival makes its’ first summer stop in Dallas on June 20th, and follows with an Austin date on June 21.

Happening during the summer solstice, Camp Nowhere claims to be “a microcosm of self-expression and love imagined just for Texas. We encourage everyone to attend with an open mind and a willingness to explore. Come fitted for a cosmic trek and remember that all are welcome…”

Our pick for most-underrated artist on the lineup?

Jai Wolf – his thoughtful, edgy, indie anthems are catchy and guaranteed to get you into the “dance your night away” groove.

Let us know your thoughts – is this a must-see or a meh? Vote above!