Rock out with your cock out: Eminem X Rihanna descend to the Rose Bowl

By Michael Traversa

IMG_1290_mod Note:  This is a review of Night 2 from the front row.

So The Monster Tour finally opened with two sold out shows at the Rose Bowl in Pasadena. It all starts with a short film that depicts Eminem as a modern Hannibal Lecter and Rihanna as the savior coming to his rescue. When the two finally appear on stage, lifted up by two moving platforms, Eminem is still tied up to an hospital bed. Yup, you know this. When those two came together for a massive stadium tour I just knew there will be humor and irony along with the music. Eminem in particular is a master of sarcasm. Friday night he even recited a whole monologue from the movie Superbad, which was hilarious.

In the beginning they go through some of the songs that features more than one voice on the track (Numb, No Love) followed by the most obvious choice for starter aimed at inciting the crowd: (we are gonna) Run this town (tonight)! Then the show appears to be divided into two clear blocks, a full show from each, with a few forays into each others. Basically Rihanna’s show followed pretty much the setlist of her Diamonds World Tour. And unfortunately it suffers from the same problems I pointed out for the Diamonds tour back then: only snippets of many favorite hits, too much use of backing tracks for the chorus, heavy on the hip hop tracks from Unapologetic, while other songs from the same album are better. For various reasons (Pasadena’s curfew? Better show flow?) she eliminated three songs from night 1, among those Man Down which is one of my ultimate favorites. In fact I’ll go as far as saying that she should make a whole reggae record, more in synch with traditional music of the Barbados. One of those songs was replaced by Only Girl, which she did not perform on night 1. In the final count it comes down to two songs difference and one substitute.

Rihanna seemed confident, seductive and held everybody’s attention in the palm of her hand. She appeared playful and happy to sing on every song, despite some criticism. I can see how somebody from afar may think of lip synching. Both Rihanna and Eminem sang live but, especially in Rihanna’s case, there was a heavy use of backing tracks. When it’s her voice on the chorus coming out of a backing track, (something that a backup singer could do instead), it produces a strange effect. When she pulls the mike away to let the people sing, her voice can still be heard. This is something that unfortunately started with the last tour, but she is still singing all the verses live.

The highlights were obviously the joint performances and it was remarkable how Love The Way You Lie Part II and the original were blended seamlessly into one so to pass the baton from one act to the other. I suspect Eminem did his average setlist from his latest tour as well. Eminem is a riot, he is like a crazy ball, never still in one spot, he keeps jumping left and right. He too played along his image, attacking the songs aggressively, and joking in the more ironic ones, especially the early hits of the first LP. Well Mr Mathers, you are a Rap God. Funny how his hype man Mr Porter pointed out at wasted people in the front to which Mr Mathers replied, “Just because I can’t do drugs doesn’t mean you can’t“. Also in the case of Eminem I didn’t like some songs being truncated. In Stan, for example, he cut out the whole final verse (the part where Stan drives off the cliff and Shady’s response to the letter). Nevertheless it sounded even more haunting with Rihanna on the chorus. The choice of Airplanes over Lighters was odd, since neither one of them penned the song, but I guess Eminem’s verse on the second version of the tune was enough to grant a spot in the setlist.

The bottom line is whenever they shared the stage the monster came alive. In the end they alternated their most influential hits (We found love, Lose yourself) leading into the titular song, complete of fireworks and flipping the bird.

Operation Nostalgia: Roxette Live.

By Michael Traversa

For thirty something like us Roxette represent our childhood, memories from when we were growing up, songs that have become part of our DNA. Knowing that they are still alive as a band and putting out electrifying shows is somewhat comforting.

So it was with great pleasure that my buddy and I decided to descend on the Gibson Amphitheatre at Universal City to see them live for the first time.

The show was good with a lot of energy and hits aplenty, although a couple of favorites were not played, and they were missed. It started off with the classic Dressed for success followed by one of the major hits from the 90’s Sleeping in my car. The live rendition was excellent mainly thanks to great additional musicians in the band. Half of the duo Per Gessle was like a kid on stage, time seemed to not have passed for this middle aged rocker, the voice was even better than twenty years ago; he kept jumping left and right from one end of the stage to the other, practically carrying the whole show on his shoulders. Same cannot be said of the other half Marie Fredriksson. Unfortunately she was diagnosed with brain tumor in 2002 and the way to recover is a long and hard one. She appeared contrived on stage, almost robotic, she can still sing but her voice is clearly not what it was back then. At times troubles with hitting both high and low notes were evident and back up vocalist Dea Norberg along with Per masterfully tried to mask it.

In the case of the ballad Crash Boom Bang it was a wise choice to let Per sing the first verse before passing the ball to Marie (this was one of the songs sang entirely by Marie on record). If the start was a little rough it got better throughout the show. The long medley “back to basics two chordsHow do you do / Dangerous was probably the highlight of the show: it got everybody on their feet and singing and finally brought down the invisible barrier between those on the stage and the ones below.

The band introduction made space for a Beach Boys impromptu by lead guitarist Christoffer Lundquist which eventually lead into Joyride, another show stopper thanks in part to the fans’ initiative to release balloons in the air – off of a line of the lyrics – balloons that kept floating over the crowd’s heads.

The encore was made of classics, “We can’t really leave you without playing this oneListen to your heart, followed by breakthrough single The Look. Marie had problems even walking while exiting the stage and she needed to be accompanied out, on the contrary Per was the life of the party, keeping playing the guitar even after dropping the guitar pick. The finale was dedicated to an acoustic version of Church of your heart.

It was a night down memory lane; even when the show wasn’t as good as anticipated it was still a lot of fun. Loud and satisfying, despite the occasional problems.

Sunset Strip Music Festival

By Michael Traversa

We finally made it to the Sunset Strip”. Punk rock band from Orange County The Offspring came on stage and embraced the warm welcoming from the crowd of the Sunset Strip Music Festival, now in its fifth year. That one and half mile of Sunset Boulevard rose to fame in the Seventies, thanks to its soon to become world famous clubs such as the Roxy and the Whiskey a Go Go which hosted breakthrough shows of bands such as The Doors and The Police. Now that strip is once a year closed to the traffic to host a music festival that gathers the most iconic acts of hard rock.

We used to drive up here from Orange County to see the Ramones play the Palladium or to see the Clash play the Whisky and the Roxy“, said guitar player Noodles.  On Saturday night The Offspring shared the bill with Marilyn Manson (more on that later) and kicked off a powerful set with All I Want that got everybody jumping up and down from minute one. The band was always on the mark, never wasting a second and successfully mixing popular hits with new material out of the freshly released Days Go By. Mosh pit often broke lose among those closer to the stage, especially on all time favorites Bad Habit, Want You Bad and The Kids Aren’t Alright. New songs Dividing by Zero, Slim Pickens Does the Right Thing and Rides the Bomb to Hell got a very positive response as well. Lead singer Dexter Holland had everybody at his feet with sing-alongs while guitar player Noodles often claimed the spotlight.

Dexter, Noodles and co. have come a long way since their shot to success in the nineties. All their songs made of recognizable riffs, catchy choruses and ya-yas and oh-ohs definitely deserved their place in the history of music. When Dexter wasn’t joking with the crowd, “Hey that’s something everyone can enjoy” (one of the many intros off Americana), he would embrace the guitar to slow things down on the hypnotic Kristy, Are You Doing Okay? only to go back and have everybody screaming Pretty Fly (for a White Guy). The humble approach to their presence at the festival “Thanks for checking out our set“, albeit being listed as top billing, goes to show their sincerity in music and connection to their fans.
This fast and furious show (it clocked at about 70 minutes) was probably one of the best concert I ever witnessed, never a dull moment and with so many hits on a career that spans over more than twenty years it was impossible not to get carried away.

Manson drew a more hectic crowd, several people throughout the set had to be escorted out by security, sometimes kicking and refusing to leave. The reverend himself, recently back on the music scene (his latest album Born Villain was released in May after a three year hiatus), had a somewhat more sober show when compared to his tours of the past. He left the theatrics at home for most part and seemed more concentrated on giving a private show to some elected kids gathered backstage on the left end.

The show kicked off with the heavier tune on the setlist Hey, Cruel World… and soon started maneuvering between the hits Disposable Teens, The Dope Show and brand new songs No Reflection, Pistol Whipped. Manson was often chatty in between songs. Declaring his love for California, which has become his new home, and inviting his fans (only half way joking) to steal his albums instead of buying them. He made fun of the war, talked about his dad and warned the people about not doing drugs, “At least don’t do my drugs“, which served as introduction to The Dope Show. The set really started having a bigger impact on the crowd when the covers Personal Jesus and the signature rendition of Sweet Dreams were played. His frantic movements on stage and a few props (helmets and a plastic knife) reminded me of the Manson that once was. He’s now more of a rockstar than a gothic controversial figure.

He often expressed his privilege to play the historical Sunset Strip, all that love translated in an impromptu mini set with the remaining members of The Doors Ray Manzarek and Robby Krieger who came on stage to perform not one but three songs off their catalog. Manson in particular looked happy of being able to play with his idols, “I don’t know if you guys invented the Sunset Strip, but you pretty much paved it“, he said. In fact when he asked the crowd if they wanted one more Doors song, he declared, “This is the first song I learned to play” (Five to One).

The encore brought back on stage the choreographic part of a Marilyn Manson show. From a pulpit Manson tore pages off the Bible only to chew on them and spit them out towards the crowd while performing Antichrist Superstar and later top it off with super smash hit The Beautiful People (“This song was written for you“) which closed the set among an explosion of white confetti and an invite on shouting as loud as possible.

Mylo Xyloto

By Michael Traversa

Coldplay have done it again. After the massive success achieved with Viva La Vida or Death and All His Friends, the album that catapulted them into the greatest bands realm it wasn’t easy to keep the momentum. Mission accomplished thanks to the band’s credo of always setting new goals, believing in a full concept record instead of scattered singles (which seems to be the way of choice in the iTunes era) and testing the new material in a neverending tour, an extension of the latest one.

Our review comes after the album has been in rotation for a few months as we believe in giving the music several listening before forming an opinion. Call it slow music (a la slow food) if you wish. We like Coldplay also because they firmly believe the order of the tracklist matters. The position of a song within the album can completely change what you’re trying to say and the way you want to say it. It changes the mood, the flow and ultimately can differentiate a good work from a great work.

Starting with the short intro of Mylo Xyloto, which gives the title to the record, the boys get right into it with the energetic Hurts like heaven. The choice of constantly switching the beat from mid tempo to ballads and fast ones turns the experience into a flawless listening. The current single, the dreamy Paradise is already a staple in Coldplay’s body of work and on the album is followed by the ready for arena anthem Charlie Brown.
By the time the thumping beat of Every teardrop is a waterfall, courtesy of unsung hero Will Champion, hits the ears we are captivated.
The work reaches its peak in the collaboration with Rihanna (everything she touches these days is gold) which could have easily missed the mark. Instead Princess of China perfectly marries the voice of Chris Martin and one of the barbadian artist for what could be interpreted as a follow up to monster hit Viva la Vida (“I could have been a princess, you’d be a king. Could have had a castle and worn a ring”) while being an exotic metaphor of a relationship gone wrong. Cue the delicate Up in flames and you got a perfect bridge between past and future of the band.

Coldplay matured a great ability to tell stories (here the concept tale of two rebellious kids in a futuristic environment), ability to give characters life and to permeate the lyrics with instant quotes, “I struggle with the feeling that my life isn’t mine”, “Life goes on, it gets so heavy”, “I’d rather be a comma than a full stop”, and with words that chase each other into the songs. The presence of genial producer Brian Eno behind the scenes can only enhance the band’s sound and bring them to their full potential.
Grade: A

January Indie Jukebox Rotation

By Marco Portiglia

“Hearts On Fire” – Scars On 45:  Out of their second EP the British quintet from  Bradford delivers, as lead singer Danny Bemrose would put it, “a gentle melodic intensity”. Their 70ies friendly folk-pop sound is a nice mix of fresh songwriting and nice melodies. The song features female singer Aimee Drive who, at times, reminds us of a certain Stevie Nicks…


“Heaven” – O.A.R. : First single off their new album “King”, the tune finds the Rockville natives on a new creative and musical direction, not concerned about living up to anybody (fans? critics??)’s expectations. Frontman Marc Roberge lyrics are brilliant: we don’t need a judgmental mystical far away Heaven when we can celebrate who we are and how we want to live here, on this earth….

“Lonely Boy” – The Black Keys: Vocalist/guitarist Dan Auerbach and drummer/producer Patrick Carney can make no wrong. On “Lonely Boy” the Ohio blues-rock duo push their all-American rock cool sound to an even faster speed. The song is a tough/tender deal: rousing-bluesy guitars, a certain southern feeling, a poppy beat and a reminder that even a badass rocker can be sensitive “I got a love that keeps me waiting”.

“Junk Of The Heart (Happy)” – The Kooks: Brighton Indie rockers The Kooks return after an (almost) four years absence with this sunny and Beatlesque melodic little song. Their style hasn’t changed much: Jangle-pop guitars, sparkly synths, a touch of Brit-Pop  and post-punk influences. Their songs aren’t here to change the music forever but to make us feel like there can be light even in the darkest nights.