Preparations are in full swing for The Night Before, the big show in our hometown of San Francisco at AT&T Park. The concert has been sold out for months, but we don’t want anyone to be left out! If you can’t join us in person do the next best thing and catch the live webstream direct from the Bay Area on February 6, 2016.
The webcast will be a free 1080p FullHD stream live from AT&T Park, available on mobile and desktop devices at webcast.livemetallica.com. We’re set to hit the stage at approximately 8:30 PM PST, so spend Super Bowl Eve with us no matter where you are that night! And keep watching the site and our social media outlets for updates all this week as the stage and production are built at the ballpark and we rehearse at HQ.
We are beyond excited to be a part of the historic festivities in San Francisco this week and can’t wait to see you out there!
Austin City Limits Live at the Moody Theatre
Show Review by: Slim Jim Keller
I consider myself lucky to have been able to see Grace Potter before she was a theater headliner. Having watcherd her open for Gov’t Mule and in a club here and there it has been quite a journey of musicianship and stage presence.
This was the second time I’ve had the privilege of seeing her headline, and if the show Saturday night is any indication she has honed her stage show and music into a finely tuned craft that she should be performing in front of 30,000 people now, not 3,000. But such is the state of the music industry, and that is a topic for another time.
Playing music that spans her entire catalog, giving us a taste of rock, a touch of funk, a heaping helping of soul, sprinkled with more psychedelica then I’ve ever heard on her albums, her music live runs and rolls through all the above deftly and segues smoothly from genre to mashed genre with interludes that allowed her band to explore a more colorful landscape of music that one can only hope will begin to show even more in her next album.
There were times where I wondered if she were dabbling with the psychedelica personally during the show, and then the lights and music would hit, and I found myself wondering if maybe it was me that was tripping balls that night. The music acentuated by the lights were that intense.
Grace plays the stage roll of pixyish ingénue, to pop princess, to acid queen, crooner, to straight out rock and roll chick with her Flying V guitar strapped over her shoulder as each song rolls off her tongue and from her fingers. She definitely is a woman of many flavors and colors, and her stage presence and wardrobe definitely demonstrate it. From her entrance with a multi-plumed fringe top to her glitterific shorts, her skin tight dress, to her closing numbers top and skirt, her wardrobe played as much into the show with her shawls, and scarves, her boas, and capes reminds one of the great Stevie Nicks and while it may be an homage, it also just feels as if Grace is up there just having a good time and having a good time in between and from song to song.
The highlight of the night had to be Turntable. When Grace and her band blasted out a heated and erotic version of the song that puts the PG version on her album to shame. Her beguiling playful nature in the lyrics were belied by her rocking and rollicking all over the stage. At one point the band breaks down the song, going into a deep funk tempo as she writhes like a woman possessed on the stage taking her wrap and binding her wrists as she moans into the mic on the floor, ‘I will be your record, and you can be my turntable’.
The crowd was also rapturous over Low Road, a song Grace said was written about an experience she had 10 years ago here in Austin.
Her band, no longer named the Nocturnals, are a musical entity to behold. They are the main reason that she is so adept at flowing from style to style. Featuring the guitar work of who knows because I can’t find ANY information anywhere, on any site, about her live band, who I assume by those that performed on her album (which I also can’t get 100% confirmation on) are most of the Nocturnals. She introduced the band, but I didn’t realize at the time that I was going to have write it down because there is no information anywhere that I can find to flush out this review properly.
Suffice to say, they’re really good, the lead guitarist, whose birthday was Saturday night was electric and fun to watch and listen to. And the keyboardist, second guitarist tore up the keys and laid down his own thick riffs at times.
As I said at the top of the review, I sat there in the crowd and kept thinking what a shame it was that we weren’t in an arena and there weren’t 30,000 people there cheering Grace Potter and her band on and dancing in pure abandon and bliss.
Hopefully, Grace will become a household name. Hopefully you’ll get the chance to see her perform near you. Hopefully one day, we’ll all be headed to a stadium to see Grace and her band perform as headliners!
Until then, we’ve got wonderful theaters like the Moody here in Austin that we can catch her magic at.
You’d be doing yourself a grave disservice if you were to miss Grace when she comes round your part of this funky planet. Give yourself a special treat, and take yourself out and experience the mystical magical Midnight Tour.
You’ll thank me later.
You can see more Grace Potter photos from the show RIGHT HERE.
DEF LEPPARD has postponed the remaining dates on their Winter 2016 tour due to illness. All shows from Feb. 2 (San Antonio, TX) through Feb. 17 (Allentown, PA) will be rescheduled including the previously postponed dates in Greensboro, NC (Jan. 27) and Orlando, FL (Jan. 30).
Details on new dates will be announced soon. Tickets will be honored on the rescheduled dates. Please stay tuned to DefLeppard.com for the latest news on the postponed tour dates.
February 02, 2016 – San Antonio, TX (AT&T Center)
February 03, 2016 – Lafayette, LA (Lafayette Cajundome)
February 05, 2016 – Corpus Christi, TX (American Bank Center Arena)
February 06, 2016 – Hidalgo, TX (State Farm Arena)
February 09, 2016 – Little Rock, AR (Verizon Arena)
February 10, 2016 – Bossier City, LA (CenturyLink Center)
February 13, 2016 – Uncasville, CT (Mohegan Sun Arena)
February 14, 2016 – Atlantic City, NJ (Boardwalk Hall)
February 16, 2016 – Brooklyn, NY (Barclays Center)
February 17, 2016 – Allentown, PA (PPL Center)
The Smashing Pumpkins have announced the return of their "In Plainsong" tour, in which they'll perform "an evening of acoustic based music and electronic soundscapes"with Liz Phair marking her first U.S. dates in six years.
The Pumpkins lineup includes founding drummer Jimmy Chamberlin, who rejoined the group last year.
Following the tour the Smashing Pumpkins will enter the studio to record a new album.
The Smashing Pumpkins/Liz Phair dates:
03-22 Portland, OR - Schnitzer Hall
03-23 Seattle, WA - The Paramount
03-25 San Francisco, CA - The Masonic
03-26-27 Los Angeles, CA - The Theatre at Ace Hotel
03-29 Salt Lake City, UT - Kingsbury Hall
03-30 Denver, CO - Ellie Caulkins Opera House
04-01 Detroit, MI - The Fillmore
04-02 Columbus, OH - Palace Theatre
04-04 New York, NY - Beacon Theatre
04-08 Philadelphia, PA - Tower Theatre
04-09 Boston, MA - Orpheum Theatre
04-10 Washington, D. C. - Lincoln Theatre
04-12 Toronto, Ontario - Massey Hall
04-14 Chicago, IL - Civic Opera House
04-15 Louisville, KY - Palace Theatre
04-16 Nashville, TN - Ryman Auditorium
04-18 Dallas, TX - Majestic Theatre
04-19 Austin, TX - Bass Concert Hall
04-20 Houston, TX - Cullen Performance Hall
From HALETSTORM's official Facebook page:
"What's up, Freaks?!?!?! Got some news and treats for you today with the announcement of some new tour dates, including a headline run with the legendary Lita Ford and Dorothy opening, shows with Rob Zombie, and some festival appearances....and oh yeah, a video for "Mayhem"!"
HALESTORM ON TOUR 2016
All Dates w/Special Guests Lita Ford and Dorothy except
* Festival Appearance
** w/Rob Zombie
1 Reading, PA Reading Eagle Theatre in the Santander Arena & Performing Arts Center
2 Hampton Beach, NH Hampton Beach Casino Ballroom
5 Huntington, WV Big Sandy Superstore Arena
6 Lexington, KY Singletary Center for the Arts
7 Raleigh, NC Ritz Raleigh
9 Biloxi, MS Hard Rock Hotel & Casino Biloxi
11 Springfield, MO Gillioz Theatre
12 Tulsa, OK Brady Theater
13 Wichita, KS The Cotillion
15 Fargo, ND Fargo Civic Center
16 Sioux City, IA Hard Rock Hotel & Casino Sioux City
19 Huntsville, AL Mark C. Smith Concert Hall
20 Spartanburg, SC Memorial Auditorium
21 Johnson City, TN Freedom Hall Civic Center
23 Orlando, FL WJRR Earthday Birthday 22 *
24 Charleston, SC WYBB Rock Fest *
18 Bloomington, IL US Cellular Coliseum **
19 Saginaw, MI FirstMerit Bank Event Park **
21 Schaghticoke, NY ROCK'N DERBY *
5 West Allis, WI Wisconsin State Fair *
ADDITIONAL DATES TO BE ANNOUNCED
Halestorm also released their new video today for Mahyem:
Austin City Limits Live at the Moody Theatre
Photos by: Slim Jim Keller
2016-01-31 Sunday - Story Updated:
Phil Anselmo has issued an apology for what happened on stage, but doesn't address Robb Flynn's account of using 'nigger era' to reference a musical period of Machine Head.
But, this doesn't take into account what Robb Flynn said Anselmo said back stage. It also doesn't take into account the many times Phil has been seen on stage sieg hailing, or various 'white power' rants.
This really, should change nothing. And Anselmo should still be held accountable.
So during the recent Dimebash, at the end of Pantera's Walk, Phil Anselmo (Pantera, Superjoint Ritual, Down) yelled 'White Power' from the stage, and sieg hailed a couple of times.
Here is the video.
Phil Anselmo responded to the video on Twitter by saying that it was a joke, an 'inside joke' because they were drinking white wine backstage.
Was he laughing on stage after yelling, 'White Power' and sieg hailing? Tittering to himself or waving a bottle of wine? No.
So why does he think we're just going to laugh it off that he was 'joking' about drinking white wine backstage? When the video obviously shows him post gig and mildly belligerent? Notice that someone was attempting to talk to him on stage and he wasn't having any of it. If he was throwing out a joke, wouldn't he, shouldn't he be slapping the dude's back and laughing about how hilarious he is?
The metal media then asked why Phil has always been given a 'pass' on his history or racial epithets or 'white power' rants on stage. There isn't a good answer for that. Why has Anselmo never been challenged publicly by the fans or media for his racist diatribes over and over again?
Today, Robb Flynn (Machine Head) posted a video in his General Journals about being a part of Dimebash, touring with Pantera back in the day, and talking to Phil backstage before the show and Phil telling him that he hated Machine Head's 'Nigger Era' and
how he (Robb) did not see any white wine backstage.
Later this afternoon a picture surfaced of Phil holding a bottle of white wine talking with Dimebag's widow, Rita Haney. Does the fact that there was white wine excuse Anselmo of racist hate mongering? No.
Why does the fact that Phil used to sing in Pantera excuse his 'white power' rants and lyrics?
Why do the fans allow him to continue to bully his way around and attempt to incite racial strife?
Why has the media not taken him to task for his ignorant speech and caustic actions?
As Robb Flynn said, there is no room for racism in metal.
Just like there is no room for racism in music. There is no room for racism in our country. There is no room for racism in the world. And therefore.... there is no room for Phil Anselmo anymore.
If I am going to condemn Dave Mustaine and Ted Nugent for being wack jobs and not giving over another hard earned penny of mine to them, then I must do the same, WE must do the same to Phil Anselmo. His hatred and bigotry has stood long enough.
Pantera will never get back together, tragically they can't. Down and Superjoint Ritual are just mediocre at best. So why do we continue to exalt and indeminfy Anselmo?
In 2016, Anthrax will celebrate its 35th anniversary as a band, and will release its much-anticipated new album, the aggressive and super-thrashy For All Kings, on February 26 (Megaforce). But just before that, the band is currently on the road with Lamb of God for a four-week U.S. trek that wraps up at the Hollywood Palladium in Los Angeles on February 12. Tour dates are below.
Anthrax recently released "Evil Twin," the first new track from For All Kings. The song's lyrics were inspired by the terrorist attacks that took place at the Charlie Hebdo magazine offices in Paris in January, 2015, and the song is a full-on thrash-metal tune that blasts off with a raging guitar riff, accelerates expeditiously and is completely uncontrollable. The track's accompanying video is a compelling barrage of places, victims, actions and some of the infamous zealots and others who have perpetrated violent extremism on innocents around the world, aptly exemplifying the song's powerful message.
For the new release, Anthrax went into the studio with more songs than they ever had in their career and ended up recording 20. This wealth of material was largely due to drummer Charlie Benante's surgeries for carpal tunnel syndrome that caused him to miss quite a number of the band's 2011-2014 Worship Music tour dates. Benante put the down-time to good use and came up with a slew of foundation riffs and ideas for new songs that he took into writing sessions with fellow main songwriters Frank Bello and Scott Ian.
Anthrax's tour dates with Lamb of God are as follows:
28 Royal Oak Music Theatre, Royal Oak, MI
29 Egyptian Room at Old National Center, Indianapolis, IN
30 Aragon Ballroom, Chicago, IL
31 Orbit Room, Grand Rapids, MI
2 Arvest Bank Theatre at The Midland, Kansas City, MO
3 George's Majestic Lounge, Fayetteville, AR (HEADLINE DATE)
4 Revention Music Center, Houston, TX
5 Bomb Factory, Dallas, TX
6 Concrete Street Pavilion, Corpus Christi, TX
8 ACL Live at the Moody Theatre, Austin, TX
9 Diamond Ballroom, Oklahoma City, OK
10 Sunshine Theatre, Albuquerque, NM (HEADLINE DATE)
11 Brooklyn Bowl, Las Vegas, NV
12 Hollywood Palladium, Los Angeles, CA
From DON HENLEY on today's passing of his partner in the Eagles Glenn Frey.
"He was like a brother to me; we were family, and like most families, there was some dysfunction. But, the bond we forged 45 years ago was never broken, even during the 14 years that the Eagles were dissolved. We were two young men who made the pilgrimage to Los Angeles with the same dream: to make our mark in the music industry -- and with perseverance, a deep love of music, our alliance with other great musicians and our manager, Irving Azoff, we built something that has lasted longer than anyone could have dreamed. But, Glenn was the one who started it all. He was the spark plug, the man with the plan. He had an encyclopedic knowledge of popular music and a work ethic that wouldn't quit. He was funny, bullheaded, mercurial, generous, deeply talented and driven. He loved is wife and kids more than anything. We are all in a state of shock, disbelief and profound sorrow. We brought our two-year 'History of the Eagles Tour' to a triumphant close at the end of July and now he is gone. I'm not sure I believe in fate, but I know that crossing paths with Glenn Lewis Frey in 1970 changed my life forever, and it eventually had an impact on the lives of millions of other people all over the planet. It will be very strange going forward in a world without him in it. But, I will be grateful, every day, that he was in my life. Rest in peace, my brother. You did what you set out to do, and then some."
It was my aunt.
It’s her fault I fell in love with the Eagles and Little River Band.
Back in the prehistoric days there was vinyl and only vinyl. My aunt, you know, the cool one, had albums by bands I had never heard of. So the one time a year during summer when we’d go to the bay area to see her for a week or so, I’d go through her albums and play records from bands I’d never heard of, and I can remember the summer I found Hotel California. The huge gatefold of the beautiful if not fictional hotel. The smell of ‘grass’ imbedded in the cardboard (the cool aunt obviously smoked pot but I was too young to know what the smell was). And the music, the songs, jesus titties, the songs.
There’s something to be said for the ‘California Sound’ of the Eagles and Fleetwood Mac, and so many others. There’s such a cool, laid back, story teller kind of vibe to most of it. And the Eagles had that story teller patter down in spades. Not to mention the music was top notch. The Eagles can be called many things, but lazy and musical slouches aren’t two of them. They didn’t play a note or record a riff until it was perfection personified.
Much has been said about Don Henley and Glenn Frey and their ‘methods’ for running a band, recording music, touring, and well, 1,000,000 other little items that they probably didn’t have to obsess over and run band mate after band mate out of the band with, but then, we wouldn’t have these epic albums like Hotel California, The Long Run, and Desperado.
The polished music, the polished show, not a note out of place, were part and parcel for the Eagles. They may not have been the shiniest, liveliest band on stage, but damn if they didn’t sound good.
Sure there were a few other albums, and the Eagles most definitely didn’t keep to most band schedules on record, release, tour, record, release, tour. And in their 44 years of being a band they’ve only released a paltry seven studio albums, but it is what is held in those 7 albums that is the key to all of this.
Simple perfection. A certain sound, that California sandy beach, wind blown hair, laid back, everything’s alright, everything’s cool man pass the joint, boat drinks after sunset, Quaaludes and cocaine nights that make up everything that embodied the California experience of the 70s.
The band took their sweet time and the results, if not anemic, were amazing.
That magical summer I found out about the Hotel California, I wandered through Life in the Fast Lane (too young to get the cocaine references but loving the beat and vocals all the same), wondering if I’d ever be the young boy that so much Wasted Time was spent just trying to connect with the sad woman in the song, never wanting to be a Victim of Love even if I didn’t quite glean the cheating running through the lyrics, feeling the loss of Pretty Maids all in a Row, and ending up in the Last Resort which I got full force and understood the religious implications of it all.
Hotel California was more of a church for me than a ‘hotel’. It wasn’t just an album, it was a moment in time, captured and released on this slab of vinyl that I played over, and over and over again. I’d alternate between Hotel California and Little River Band’s Lonesome Loser that summer, but I always returned to Hotel California.
40 years later and I still return frequently to Hotel California. It may be a little tarnished, the colors faded, the magic a little soft around the edges, but the songs, the beautiful songs are still there. They haven’t aged a bit, or maybe it’s that they’ve grown with age and experience. The songs a little more full, with nostalgia, longing for the California scene again.
‘And all you wishing well fools with your fortunes’
The rooms are still there, waiting, patiently, to take me back to a place, a time, a feeling or emotion. As I grew so did the album. There are so many key points in my life that reside and resonate inside Hotel California. I’ve been that Victim of Love, The New Kid in Town, I’ve told the woman,
‘You didn't love the boy too much, no, no
You just loved the boy to well, farewell’
I’ve spent many a year to Try and Love Again. I’ve spent much of my Life in the Fast Lane and lived to tell about it. I’ve searched for my own Hotel California on the horizon, and always worship (or is it anti-worship) at The Last Resort.
We lost Glenn Frey today.
We’ve officially lost the Eagles today.
I have his solo albums. I love his solo albums. ‘You Belong to the City’ is a dark and seductive song that I’ve spent many a night with in my Walkman (cassette) roaming the streets of San Francisco in the late 80s. Smuggler’s Blues and his stint on Miami Vice made Glenn the ‘cool one’ from the Eagles.
The Long Run was a hit and run album for me. It still holds up today, but it feels… short, curt, and cynical where Hotel California was a more ‘fresh’ experience, The Long Run was more wisdom and surliness. The Disco Strangler, Those Shoes, Sad Café, I Can’t Tell You Why, King of Hollywood, Heartache Tonight, In The City, Teenage Jail, all tell stories of the decay of the California dream that just three years earlier seemed so promising.
‘Oh, no, you can't do that,
Once you started wearin' those shoes’
Or maybe my rose colored glasses of the hotel that never was (or was California itself the hotel on the horizon? The promise of pretty little fantasies that were nothing but ugly truths on the harsh reality of daylight?) was obstructing the true message of Hotel California and The Long Run was jus the night cap, one last toast the the death of the California dream?
But for me, it will always come back to Hotel California.
‘You can check-out any time you like,
But you can never leave!’
Thank you Glenn, for your legacy, your music, your magic, and your talent.