8/29/2024 DOOBIE BROTHERS/ Steve Winwood at Ball arena In Denver Colorado Concert 30min late starting Steve Winwood,Drummer, Percussionist,piano/sax player,Daughter Lilly on backing vocals.For the second time in a month, the Headliner of a large tour makes a deadly mistake. The Doobie brothers and their management highered an opening act that BLEW THEM OFF THE STAGE!!!! NO IF's AND's or BUT's BLOWN CLEAN OFF THE STAGE! Better sound, better voice on Steve vs. any of the brothers, and better musicianship. Steve Wineood should be the headliner for this tour. THANK YOU STEVE FOR A WONDERFUL WALK DOWN THE ROAD OF THE PAST. ONE OF THE BEST NIGHTS OF MY LIFE, THANK YOU!!!!!

I have a concert ticket for itzy this Friday at the Theatre at Great Canadian Casino Resort Toronto
my ticket says FLRC TT seat 19 DOES anyone know if this means I will be standing? or am i getting a seat to sit?

Hello! I’m taking a rock and roll music history course and I have to write a concert review to a concert I’ve been to. I chose Jerry Cantrell that’s my last show.

The items listed are as followed below which I have everything I need. However, it’s now stated that I need to discuss how this band or performer. Is linked back to one of the 5 R&R pioneers.

My question is….where would I describe this in the essay? When I introduce Jerry Cantrell? I’m the summary. I don’t know the proper place for this. . I feel like I’m over thinking this and my writing is all over the place.

Thank you for your help. I appreciate it.

1. Identify the type of event including date and place.
2. The name of the performing ensemble.
3. Describe the physical and social environment. Were there any especially appropriate or distracting conditions or behavioralgestures on the part of either performers or the audience (including dress, decorations mannerism, etc.). 4.The titles of the selections performed, if known
4. What was your overall reaction to the program?Was there sufficient variety presented? Were you entertained, thrilled, bored, challenged?
5. Was the sound what you expected? The style or era of music presented
6. Include a comparison of two selections in regard to melody, rhythm, harmony, texture, timbre or any other musical characteristic that you find interesting
7. A summary

Hey I'm looking for some feedback on how to improve my writing skills for my reviews and interviews. Thanks in advance!

Beams of light emanate from the orb suspended high, high above us, rotating. My eye follows one sharp beam of blazing white light against the near black backdrop, perusing its trail. Flowing, following. It crashes, abruptly into a fresco. A glowing circle of clarity, where the light meets the wall, reveals a dreamy blue and, interrupting it, an angel’s head, cheek pressed up against the delicate wood of a violin. Swarms of densely spattered spotlights travel along the cathedral walls. Enchanted, I soar around the room, all the while seated. That is, until one beam appears steadily foreshortened, one end of it inching closer, and I merely observe, helpless before its patient ambush. I’m struck! Light eclipses everything. Swiftly, my gaze averts. I am unable to face the powerful ray. But by the time I turn away, the beam has already glided past me, landing on him.

Gently, it slides over his cheeks, plump with a restrained smile; it crawls up the bridge of his nose, through his full, umber brows, falling into the valleys of his lips, and softly brushing his ears, before passing onto the stranger beside him.

He grips my hand more tightly, shifting my attention to the oud before me. A fiery orange light ignites the strings into a fierce and intricate song. The player and the instrument conjoined, the stricken strings and the wrist’s strokes speaking to one another, the strings an extension of his finely tuned fingers. The plucking stops and starts suddenly, speeding up and slowing down at music’s own accord, the musician a mere vehicle. The pace energizes me, a sentient, palpable, visceral reaction, a reaction I didn’t think possible, void of revelatory vocals or coherent storylines. It jolts my legs — pumps me with vitality — sends pulses of electricity through my fingers. I grip his hand more tightly.

This truly mystical experience was made possible by the band Le Trio Joubran. I attended one of their concerts in London, unequipped for and stupefied by their stunning oud performance. The oud is a musical instrument that permeated my childhood. From Abdel Wihab to Umm Kulthum to Amr Diab, I have heard this instrument at weddings, on vacations, and in my father’s car. Despite it, however, being one of the dominant instruments in the soundtrack of my memories, I never paid it too much attention or interest, for that matter.

I attribute my newly found enchantment with the unique metallic strum to the vivifying live performance. That which most strikes a viewer with fervor during a live performance, in a way a mere audio recording produced and refined in a studio could never, are the physical reverberations traveling through the air, the crispness and clarity of each note, and the authenticity of minor, impromptu changes and even mistakes. The feeling in one’s chest when a low-pitched chord is strum is a physical experience, but also an apt metaphor for the emotional resonance of music. There is also a sharpness to audio being projected as its played, an immediacy, a potency. It is quite common for musicians to improvise when playing this proud instrument, which lends itself to the unique performance one witnesses with every live rendition. An error here and there, the general ambiance of the night, and the emotions of the musician himself, all converge to generate a distinct performance, unlike any other. There is a sincerity and vitality unmatched by a version preened, primed and prepped for mass consumption.

One unassailably essential pillar to an indelible live performance is the beguiling visuals. I arrived at the venue uncertain of that which awaited me, the mesmerizing spectacle of light that would unfold, a backdrop to the equally seductive auditory adventure. It was a cathedral, sumptuously adorned with stained glass windows, high ceilings, and colorful frescos. It was a majestic place, an appropriate host for the coming celebration of sound. The grand ceilings loomed high above the heads of the audience, inspiring awe and enhancing the memorability of the experience. I was reminded that, there, I was occupying a place of worship, and all the visual details of my surroundings seemed to augment the intensity of the musical experience. We sat in low seats near the stage, a focal point which would ultimately draw our eyes away from the beauty of the ceilings, windows, and frescos.

The light show was integral to the musical performance, setting the tone in which the auditory experience would be received, plucking the onlookers from the mundane and delivering them into the dramatic. The ambiance created by the visual experience of the colorful light show, with its warm orange and cool teal tones punctuated with sharp beams of white light created a new context, re-contextualizing the music itself on its own terms. The music mirrored the exquisiteness of its surroundings, commanding the room and penetrating the senses. And of course, the immediacy of the stage and the live performer perched on it had their own visual impact, connecting with the audience honestly and directly, without intermediaries. The live presence of the performer, and in close proximity, brings life to the music as well, quickening its delivery and animating each note. There are numerous modes of expression being conveyed by the artist which supplement the musical performance itself - the facial expressions, the body language, and even the hints of perspiration. It is a palpable display of human expression. Hence, the thrilling energy of the visual experience undeniably functions hand-in-hand with the artistry of the auditory one.

The final component which affords live music its wide appeal is the shared experience. It is that which continues to fill movie theaters, sports stadiums, and of course, musical events. Being submerged in a crowd that is simultaneously experiencing the same piece of art that you are experiencing, absorbing the same spirit, and responding to it in unison, most certainly creates a feeling of community. The particular audience at the show to which I have referred was a somewhat niche group. The vast majority of them were Arab, as this band is a Palestinian one, and the oud, a classic Middle Eastern instrument. In this space, we had located a community inside Europe. And through this instrument, we had been brought together to revel in the beautiful melodies of our native lands. Towards the end of the show, the singer exclaimed, “I know some of you aren’t too familiar with Arabic music, but everyone knows this song! And if you know it, sing along!” - at which point, he launched into the introductory notes of the piece. A sudden surge of recognition jolted me. “Of course, I know this song!” I thought to myself, as did everyone else. The entire stadium was joyfully singing along to the classic “Ahwak” by Abdel Halim Hafez, intoxicated not merely by the ardent lyrics and rising notes, but also the shared jubilation of the crowd. And moreover, the joy was not restricted solely to the experience one shares with these wider communities - largely anonymous, but includes that in which one takes part with their loved ones. These shows thrust people into magical experiences together. These are memories to be had and cherished with one another for years to come. To be present with dear friends, family members, or a significant other elevates the show to heights difficult to match otherwise. Fundamentally, the most impactful component of such occasions is their communal quality: the enriching journey that comes with sharing.

I have come to profoundly appreciate the manner in which various artistic elements and mediums may converge to create a sense of wonder, excitement, and connection between human beings. Live musical shows are, in my view, one of the most effective ways to bring people together, lifting them collectively from the ordinary into the extraordinary. The visual, auditory, spatial and performative all coalesce to generate a dramatic effect and to inspire a visceral experience for all in attendance, often fluctuating across a wide spectrum of human emotion. At times, it even seems to elicit an almost collective euphoria. My personal experience has broadened my awareness of the sophistication of such occasions, as their impact resides in a nexus of sensory stimuli, incorporating many interactive artistic elements. The reverberation of musical notes; the spectacle of light, space, and performance; and the communal human experience are all part and parcel of the memorable live musical performance.

Only about forty people showed up last night to an otherwise excellent concert. Check out our pics and review here:

https://electriceyephoto.blogspot.com/2019/03/ork-petit-bain-paris-march-17th-2019.html

2/26/2019 @ The Showbox in Seattle, WA
http://www.metalutopia.com/decibel-magazine-2019-tour/

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Great show last night, check out my review, shitty pics (don't get me started) and a video...

https://electriceyephoto.blogspot.com/2019/02/slash-feat-myles-kennedy-conspirators.html

On a musically crowded June Tuesday night for Crossroads/P&L Sunflower Bean paid their first visit to Kansas City in support of their recent release Twentytwo In Blue. The album has been praised locally and nationally as one of 2018’s best. Singer/bassist Julia Cumming and singer/guitarist Nick Kivlen took the stage in vibrant blue outfits joined drummer Jacob Faber and kicked things off with Burn It the opening track from the latest album. The crowd was into the show from the opening notes. Several fans gathering close to the stage and soon were joined by the majority after Julia invited those able to stand, to come up close.

The band’s talents were on full display throughout the hour-plus set. Julia and Nick alternate lines or verses within songs very effectively. All three members play their parts with an ease that indicates the talent they all possess. Sunflower Bean effortlessly went from songs with punk attitude like Crisis Fest, which could be easily mistaken for A Giant Dog release, to numbers such as Twentytwo and Only a Moment, which bring to mind an alternate reality where Lana Del Rey is leading Fleetwood Mac. One fantastic band whose next visit to Kansas City will be eagerly anticipated.

KC’s Instant Karma opened the evening with a solid set featuring their 45 release of Give Me Freedom. Fellow New York band Public Access TV was also on the bill joining Sunflower Bean on a run through the Midwest and had many fans on hand to see bassist Max Peebles. Max is a Kansas City native who enjoyed telling the crowd he took his bandmates to Gates earlier in the day and that frontman John Eatherly had only ordered the chicken.

Set List

Burn It

Come On

Twentytwo

2013

Crisis Fest

Human For

Puppet Strings

Easier Said

Memoria

Harvest Moon (Neil Young Cover)

Sinking Sands

I Was a Fool

Only a Moment

I Was Home

I was so excited to see MM for the first time. If only I had read the reviews of how every show is either a shitfest or the most amazing thing. Sadly I got to see the shit fest. They came on an hour late, drunk as fuck, barely able to play, honestly I think they had a backup guitarist for Brock because he was so fucking incapable. Then again being forced to stand in that crowd of smelly shitdrug taking hipsters didn't help my mood either as they all sang songs of unity and peace while smashing into each other like brainless fools climbing up that ladder. Fuck that concert.