The Last Internationale In Hollywood - People Have The Power!

Whoa. I'd seen The Last Internationale play acoustic as part of showcases for Tom Morello and Ryan Harvey's record label, Firebrand Records, but I'd never seen them play their own show all plugged in electric. That all changed last night at the Viper Room in Hollywood ... Holy. Moly. 

I got there just in time to hear the intonation of a recording of Gil Scott-Heron's "The Revolution Will Not Be Televised" speech, as the lights went down and the cheers rose up. This was a room of the TLI faithful gathered to not only rock, but to get fired up with the revolutionary spirit that permeates each of their songs. It felt exciting ... because it was.

The curtain drew back and there were Delila Paz, Edgey Pires, and Fernando Sanchez - clearly ready to throw down. They opened with an a cappella version of "Berta, Berta", a haunting, spare number channeling the voices of the falsely imprisoned. Paz punched the air as she wailed "Oh, I go free!" - and with that, the night's tone was set. The Last Internationale means business, and the crowd knew it, screaming their approval, and their love.

"The Killing Fields" came next, and showcased each member of the band as a powerhouse superhero in their own right. Pires - who I've only ever heard play acoustic before - is an absolute metallic shredder when he goes electric! He wailed out a feedback heavy solo, and flipped his guitar over to reveal a "FUCK TRUMP!" sign taped to its back. This was met with roaring approval. Of course.

Paz belts out her vocals with no reservations, slaps her bass with total confidence, dancing around all the while. She is truly the rock woman the world needs right now. Super hot, super talented, but above all, super down to fight for justice and fight for the People. I was on board the first time I heard her cover Aretha in the tiny Genghis Cohen music room, but now that I've seen her front the full band show ... all I can say is LOOK. OUT. She is a badass, and you could see the audience falling in love with her instantly, if they weren't already.

Sanchez is a friend of mine, so I already knew what he was capable of, but this band really gives him a great outlet to show off his monster chops. Extra effective and emotive drumming, holding it all together, but at the same time making it something special, and giving each song its own percussive personality. This is some power drumming ... at one point I even felt the bass drum's force in my feet through the floor, like the song was being drilled into us. Which it was. Another badass.

"Life, Liberty, and the Pursuit Of Indian Blood" followed, and the room shouted along in all the appropriate parts, as Paz exhibited shades of Janis Joplin, but also something entirely her own. "Fire" is off TLI's debut album, We Will Reign, and Paz explained that it came from dreams of past people coming to talk to her. "Those who fought for us are still with us. Whether you can see or feel them, they're there." I love this song, and its decidedly Native American vibe, that Paz punctuates with a sort of deep throated war cry. All I wrote in my notes about this one was "STRENGTH". Enough said.

The title track "We Will Reign" was next, and as Paz sang, "Don't know where, but I'm going there with you!", the table of prospective managers I was sitting with gave each other the international raised eyebrows with a frown look of being impressed, and one of them said, "She can sing some shit!" to the other. That is a solid fact.

"We want to play a brand new one off of our next album," said Paz by way of introducing the extra fresh song, "Modern Man" - which is, as she said, "Pretty scary." As Pires in his military jacket and Paz in her coveralls and black arm band marched around the stage ruling it, this is the one that Sanchez blasted the drums so hard that I felt it in my bones. The climactic shouts of "Kill! Kill!" at the end were powerful, and, she was right, pretty scary. The modern man was followed by "Wanted Man", very obviously a crowd favorite. It began (and ended) with a superfast crowd clapalong that kept going throughout, and the band was dancing around enjoying themselves as much as the crowd.

Paz took the stage alone for the next one that she sat at a little keyboard machine, saying, "This is the first time we've played this, please bear with us ... It's about when you realize you have a master, and you don't want him no more." "Master" was beautiful, and all the arms were up filming as this song made its debut. When she ended with, "Go ahead and break free, even if it breaks me," the room erupted in cheers (and the managers again exchanged that look).

Pires and Sanchez returned - to SCORCH the place. They launched into "Hard Times" (about which I heard a guy say, "This is the hit." Correctly.), and not only were the times hard, so was the sheer ROCK of it. This is HEAVY stuff, and no one felt bad about not being at The Who show across town, because we had Pires throwing his best Townshend arm windmills around as he ripped through his solo, and this time revealed a "Fuck Hillary Too!" sign. Yes, TLI would have been total perfection on the playlist for the Bernie Sanders rally I attended the other day, because they too are all about the revolution that is HAPPENING. And you want music like this as the soundtrack, believe me.

After thanking the openers (who I missed) and the Viper Room, Paz announced the last song by saying, "If you haven't moved yet, move something!" But that had not been a problem the entire show. People were all the way into it, but no more so than for the final song, "1968".  This was, appropriately, a show stopper. Each band member gave it their complete all, pounding the message into our collective minds and faces. "The more I love, the more I feel I can make it revolution (and the vice versa)!" was so inspiring, and yeah, we all pretty much felt like doing both by this point.

Pires handed off "The Peoples' Microphone" into the crowd, saying, "Whatever you want to say, say it!" How cool. Audience members passed the mic along, saying hurried, nervous things like, "I love you so much! Thank you!" and "The revolution is happening!" and again, "Fuck Hillary!" Paz threw herself into the crowd to join them, shouting, "People have the power!" and everyone echoed it back to her. It was a powerful, communal moment ... but once again, it's not a moment - it's a movement.

As Paz returned to the stage, Pires took her place in the crowd, playing a searing solo in the middle of all the beaming fan faces being melted off as they watched. Machines filled the stage with smoke for the fire of a finale, but it might actually have been real smoke, because it was incendiary. TLI may have actually set the Viper Room aflame with spontaneous combustion, it wasn't quite clear. Paz shouted, "Si se puede!" and the curtain closed.

People were amped, and a crowd quickly formed around the band when they emerged, to offer their congratulations and adoration. TLI won't be playing here for a while, as they're off to tour all over the place. Trust me and get there when you get the chance. You too will be revolutionized, as The Last Internationale plays to remind you that WE the PEOPLE really do have the power, and when we come together like this, it's a beautiful thing.

Thank you to TLI for being a band with a sorely needed voice, singing what needs to be said. And We WILL reign.

*Photos by Paul Gronner Photography.

Firebrand Fridays - People Have The Power!

Sometimes it goes down that too many good things are happening at the same time, and in Los Angeles, sometimes that means you have to make tough choices. We were on our way downtown to the Prince Memorial at Los Angeles City Hall last Friday, when the traffic was taking so long we had to turn around and abort the mission if we wanted to be at Firebrand Fridays at Genghis Cohen - which we did. After a winter hiatus, the rousing evenings of people empowerment were just rebooted by Tom Morello and friends at the Chinese restaurant on Fairfax.

It was sad to not be downtown with my Prince people, but it also felt a little fake to me, like if it's not happening in Minneapolis, why bother? I also didn't feel like being sad, and knew being there would mean more crying, and I wanted to feel strong - which you always do after one of the Firebrand shows.

The night was a showcase of artists from Morello and Ryan Harvey's Firebrand Records, and after a brief introduction by Morello about the night all being for a good cause (all proceeds go to assist PATH in their work with the homeless), their Kareem Samara and Sun Of Nun (Kevin James) opened the show playing the oud and rapping over recorded crowd noise tracks. It was cool, and set the tone for the night. There would be gorgeous playing, whipsmart lyrics, and a crowd all the way into it for the duration. It was on.

Jill Sobule charmed everyone, as usual. She played her truthful and funny "When They Say We Want Our America Back" about the whole immigration debate, the whole room shouted back the answer, "What the fuck do they mean?!" It's pretty much a perfect song, and as Sobule always delivers the potent medicine with a spoonful of sugar, her point is most likely always heard. Smart. Sobule next covered Bowie with "All The Young Dudes", and the crowd sang noisily along from the palm of her hand.

Ryan Harvey is one of the sources I look to the most for the most honest, there on the ground perspective of protest and refugee situations all over the world. From his native Baltimore to his recent stint rescuing refugee boats in Lesvos, Greece, Harvey walks the walk that he talks. I always find his posts on social media to be the most truthful and accurate on any given situation, and they provide a deeper understanding as to what's really going on in the world. The same goes for his songs, and when he took the stage with Kareem Samara and Diego Souza, we were all transported along to the distant shores, watching for overcrowded boats in their song, "Thin Blue Border".

"See It Through" was written about the lack of response to the refugee crisis from the U.S., and its fast, frenetic tempo mimicked the urgency of the situation, imploring people to "Hold the line, even if your voice shakes!" Samara is a complete virtuoso on the oud, and a real joy to behold as he wove a spell around the important words.

Harvey explained that Egypt, Greece, Palestine, Turkey, Ferguson, MO, etc ... all have something in common, which is that the same tear gas substance (made by the Combined Systems company out of Pennsylvania) has been used on people fighting for freedom in all of those places, and more. "Smell It In The Air" calls them out, saying, "There's something that connects us, you can smell it in the air!" It's pretty sinister stuff, and something no one should put up with. It was powerful, and as often happens after these guys play, you felt smarter.

Harvey introduced his co-conspirator in Firebrand Records, and Morello took the stage to huge applause. "One Man Revolution" kicked off his set, and he blew on his harmonica and stomped his feet so ferociously that there was no way it was only a one man thing anymore. Everyone was on board, and it's something to behold every time. Mary Morello was in her usual spot right down front, and her son next played her favorite, "The Garden Of Gethsemane". The acoustic playing on this one is so lush and beautiful, it seems to put people in a trance. It silences the people so effectively that Morello is able to deliver the last verse entirely away from the mic. He says the song is about moments of doubt, but we were all very sure it was awesome.

Morello then launched into "Flesh Shapes The Day" but forgot the words, and the crowd knew them for him. He explained that he's coaching his son's baseball team, so he didn't have enough time to practice for the show, but his son did go 3 for 3 with two home runs! Worth it. He asked for requests, and as several deep catalog Nightwatchman tracks were shouted out, he did not hear my desire to hear "Purple Rain" yet again. Bummer.

"Maximum Firepower" ended Morello's set, with the sad truth sung that "The skin you're in makes choices for you." Every Morello song is timely and truthful, but this one felt very of the moment. And excellent. His conviction is tangible, from the hoarsely shouted lyrics to the fierce strumming, there really aren't a whole lot more people you'd rather follow into battle. Because he MEANS it. Clearly.

"Holy shit, I have to follow that?!" exclaimed Son Of Nun upon taking the stage, but he needn't have worried, because the crowd was along for the night's whole ride. We all joined in the rapper's call and response, yelling, "Word is bond - That's my song! Make that jam rock - All night long!" Son Of Nun is also from Baltimore, but gave it up for Los Angeles crowds after that one, 'cause we gave it some gusto. "You're gonna leave with your shirt wet," promised Son Of Nun, and he was not wrong. It was STEAMY in there, as the tiny, windowless room could not have been more packed.

Like Harvey and Samara's songs, every Son Of Nun lyric has bite and intelligence. Plus they're fun to yell along with as we joined in on the raps for rebels. "It's Like That" has us all chanting the names of Freddy Gray, Oscar Grant, Maya Hall, Tyrone West, Sandra Bland ... and the sad list goes on. This song is saying ENOUGH, and throwing down a gauntlet ... "If we don't get it, SHUT IT DOWN!" Yes. We need more and more songs and artists out there, saying exactly this. It's crucial.

Morello introduced The Last Internationale by saying, "Next is Firebrand's most exotically beautiful couple ... you'll see!" Sure enough, the gorgeous Delilah Paz and Edgey took the stage, but their great looks were almost immediately forgotten with the strength and beauty of their powerful playing and singing. I mean, they opened with Aretha Franklin's "Freedom"! Powerhouse. TLI has me forever now after their next one, which was an original melody put to the lyrics of Kris Kristofferson's "Don't Let The Bastards Get You Down." What?! Favorites playing a favorite, and making it their own. Those are the great musical moments you often get at shows like these. LOVED it.

"Hard Times" was a bluesy number that you'll hear on the next TLI record, and "1968" was their "Revolutionary anthem" that really showcased Paz's voice - and hotness - when she sang about how making revolution makes you feel like making love, which of course it does. We joined in on this one, chanting "People, People have the power!" under her lyrics, and in that moment, it absolutely felt like we did. Because we DO. The Last Internationale have a solo show at the Viper Room on May 25, and you really don't want to miss that gig.

Rhiannon McGavin is a local teenage poet, and she next got up there and delivered a poem about sexual assault and "Denim Day", which draws attention to that particular nightmare. It packed a punch, and as Morello correctly assessed, "I think we're in good hands with the Millenials." At least this one.

The All Star Jam is always my favorite at these shows, and everyone crammed back up on stage to belt out Leadbelly's "Bourgeois Blues", which was great, and then we convinced their asses that we'd enjoy hearing some more. We got more, as Samara took over singing lead in his British accent for The Clash's "Should I Stay Or Should I Go?" This one got pretty rowdy, and shirts were indeed wet.

The ironic champagne bucket was passed around the room for the grateful audience to kick in more for PATH, and as that was happening, Morello told about how it had been his turn to speak to to the little kids at his son's school for May Day. He shared his "revolutionary rhetoric for toddlers" to the kids, telling them how the miners in Marseilles, Illinois formed a Union and fought for the eight hour work day, because they never saw their children and they just wanted to PLAY! This was the real story of May Day, and this IS the real story of "This Land Is Your Land", which was, as ever, the night's finale.

As Morello explained how the song would go down (I'm anarchist, but I'm rule based, like Darth Vader" ... I leave 'motherfucker' out when I talk to the five year olds, but I think it in my head."), and how we were all in it together, it really felt true. You felt that everyone in there had been revolutionized, and that they really would take it out into the world with them, and STAND UP against any social injustice that rears its ugly heads before them. This alternative National Anthem is the real deal, and really the main thing to remember going forward. This land is OUR land. It was made for you AND me. Everyone jumped together in agreement and solidarity, and were reminded once again by Morello that we must "Take it easy, but take it!" Yeah.

The crowed exploded out into the night, gasping for cool air and a breeze to dry the shirts. I headed for home, feeling inspired, and totally sure that I'd made the right choice in the night's entertainment. Because everyone was happy, everyone was ALIVE, and everyone could feel the promise of better days ahead, because we're in it together. And People have the power. Never forget that.

See you next time!

A Joyously Militant Celebration Of Joe Hill with Tom Morello And Friends

Today is the 100th anniversary of the execution of Joe Hill, labor radical and forefather of all American protest music. Hill was honored and celebrated on Tuesday night with a truly incredible, beyond sold out show put on by Tom Morello and his friends to carry on the rabble rousing started by Hill long ago.

The Troubadour stage held a large tapestry of Joe Hill, where he watched over the proceedings and reminded everyone why they were there. Morello introduced the night by reading the foreword he'd written for the centenary edition of The Letters Of Joe Hill (a copy of which each audience member receieved after the show). You should just get the book, but the point is that Hill was killed because the powers that be were afraid of him ("and they should be") and his songs that demanded the working class to organize for social justice. A quick paraphrase ...

Joe Hill is my favorite musician, though there are no known recordings of him ... but Joe didn't just sing songs confronting injustice. He was on the front lines risking life and limb to try to create a better, more just world ... That's why they killed him ... But as the song says, Joe Hill ain't dead. Wherever, whenever you raise your fist, your voice, or your guitar in the name of justice and freedom, Joe Hill is right there by your side. Solid. - Tom Morello

So that's exactly what we did all night (three plus hours), raised our voices and our fists in the name of freedom and justice ... like this:

Morello opened the evening solo, shouting, "This is a freedom song! This is a fighting song! This is a UNION song!" and launched into his "Union Song" to the delight of the many members of the Nurses Union in the house in their red shirts, who LOVE Tom, and the feeling is mutual. Joe Hill is name dropped in the song that celebrates Union members standing UP and standing STRONG, and when it ended, Morello said that Joe Hill always liked to stir up a heap of trouble, and that's what else we were going to do on this night. Solid.

Tom introduced "the first living legend of the night", Van Dyke Parks, who played Joe Hill's song "The Preacher and the Slave" that coined the term, "pie in the sky" back in the day. Parks played piano beautifully and sang, accompanied by a friend on an accordion, and shared that he'd last played The Troubadour 52 years ago! He also played a song by Blind Alfred Reed, of whom Parks said, "He couldn't see, but he could." Van Dykes Park is great, and that's just that.

From the most senior performer of the evening to the most junior with The Poet Puff Girls (Zariya Allen, Belissa Escobedo, and Rhiannon McGavin), a trio of slam poets who delivered a heavy, pointed spoken word poem about the state of schools today, ending it with, "The greatest lessons are the ones you don't remember learning." Our future is safe with these girls. Wow.

They were followed by another extra powerful female (in fact, this was by far the most women I've ever had the pleasure of being entertained by at one of Morello's Justice shows - the ladies are fierce!), with Delila Paz from The Last Internationale absolutely killing it with their "I'm Gonna Live The Life I Sing About In My Song." Paz is one of my very favorite female voices of our day, and you simply must first, check them out, and second, strongly consider living the life she sings about in her song. It's a good one.

"A modern day Joe Hill ... always on the front lines, if there's tear gas, he smells of it," was how Morello introduced the great David Rovics, who amused everyone by saying he'd been planning for this occasion for a year. "It's not every day a leftie activist gets these kind of events." He played Joe Hill's "Where The Fraser River Flows", and then sang his own song "Joe Hill" about the Wobblies, and "the Bard with the Union Card" who had to be killed "Lest he organize the working class in song." Rovics is the real deal.

"A lot of who plays these shows is who says yes, and our next performer always says yes," said Morello to introduce the wonderful Jill Sobule (another fierce woman!). She said, "This is a song about the history of immigration in America," and played her hilarious and spot on "When They Say They Want Our America Back" ("Well, what the fuck do they mean?"). The crowd loved it, singing along with gusto (though she reports it doesn't go over as well in the South. Go figure.)

To remind everyone of what we were up to, Morello read the preamble to the IWW (Industrial Workers of the World) Constitution (aka what Joe Hill was about) and its call to do away with capitalism. "So enjoy the nice singalong songs, but this is the real shit that's going down tonight." We were all down.

Morello's co-founder of Firebrand Records, Ryan Harvey and his musical partner, Kareem Samara (on the beautiful oud), played one of their new songs about the Kurdish people, and we all sang the chorus, "I will stand with the People of Rojava". Harvey is one of the most erudite and truth-seeking sharers of wisdom about social injustice struggles that I know. When I don't understand an ISIS thing, for example, I look to Harvey for help. He's another artist like Rovics who is out there on the front lines at any and all protests, and was particularly helpful in understanding all the trouble in Baltimore (where he's frorm) for Freddie Gray earlier this year. When you listen to Harvey's songs, really LISTEN, because you will really learn.

Rich Robinson of The Black Crowes came out next and gave us his acoustic version of Dylan's "The Lonesome Death Of Hattie Carroll" and I think I got a new crush. I wasn't alone either, as a girl passed out in the audience right then off to the side. It was handled very subtly, and I hope she's ok today. Robinson making the ladies swoon!

"Please welcome my longtime comrade in arms, Boots Riley!"said Morello, to shouts of "BOOOTS" (not boos), and my complete surprise and happiness. Riley (of the supercool The Coup) is one of my very favorites, and like Harvey, very well versed in all that is going on in the world, and how we got there. Though his lyrics are always witty and cool, they contain a biting truth that never leaves you. He threw down his spoken word, "Underdogs", which is real hard to follow.

But not if you're Tim Armstrong. The Rancid frontman came out in his big bushy beard and shades, and blasted out Joe Hill's classic, "There's A Power In The Union", which I think Hill would have dug. We sure did.

Next up was a teaming of guys from Mumford and Sons, Dawes, and Alaina Moore from Tennis, who played Hill's "Rebel Girl", saying, "It's not the original, but I think Joe Hill would be cool with that." They also gave us a cover of New Order's "Love Vigilantes", which I think Hill would have been cool with too.

{Just then as I was scribbling notes down in my book, Van Dyke Parks walked by and squeezed my arm. I looked up, and he smiled and gave me a thumbs up. Magic! I think he liked seeing a pen put to paper in this techno world, but he might have just been flirting too, which I'm fine with.}

Another Firebrand Records artist was next, with Lia Rose from Built For The Sea coming out next to lead everyone in singing the old Union song, "Which Side Are You On?" joined by Morello and his Freedom Fighter Ochestra (the always awesome David Gibbs, Carl Restivo, and Eric Gardner) to belt it out. It was awesome, and when Jill Sobule read one of Joe Hill's letters about how important women were to organizing, that was an exclamation point to the song. Fierce.

THEN .... JOAN BAEZ! This was a really big deal to me as I've loved her voice and her politics ever since I was little, and now here she was singing - in her sublime as ever voice - the Phil Ochs song, "There But For Fortune", accompanying herself on her acoustic guitar, also beautifully. I had chills. We marched along as the percussion to her song about the Carnation Revolution in Portugal, and then crushed us even more with her song for Chile, "Gracias A La Vida". The place was silent (except for the tools hoping for Springsteen standing next to me), and I felt thoroughly transported. LOVE Joan Baez.

"That concludes the acoustic part of the night!" shouted Tom before bringing up the fantastic Ziggy Marley! "This is a cry for justice!" shouted Marley before launching into his song, "Justice". The night's women were his backup singers, and it was so good, with about a dozen people playing on stage. They followed it with Ziggy's Dad's "Get Up, Stand Up", which everyone did, and absolutely vowed to not give up the fight. Ziggy Marley, People!

:Rebel music comes in a lot of flavors, and one of those is punk rock. This one is from the greatest punk band of all time, The Clash!" before leading the dudes in an incendiary cover of "Career Opportunities". It was so punk rock, you guys.

Well, now it was time to "Kick Out The Jams"! The MC5's Wayne Kramer led all the guitar players in the world (it seemed) in kicking out his trademark song. This one featured the old Morello guitar solo with his teeth that always slays the crowd, and added Edgey Pires from The Last Internationale to the mix. Those jams were done kicked OUT, let me tell you.

The teeth solo was really no match for what followed, when Morello blew the roof off with his now-classic take on Springsteen's "The Ghost Of Tom Joad". It's a real show stopper with a solo for the ages that still gives me chills, but my favorite part is when he sings, "Look in their eyes, Ma, you'll see me!" and you see Mary Morello looking down at her son singing that. No one could be more proud, and she taught him everything he knows - except maybe that guitar solo.

After people completely lost their shit, Morello and Company helped them find it with the Street Sweeper Social Club slammer, "Ghetto Blaster". It ruled, as one would expect, and it was so extra fantastic to see Riley perform again in L.A. When he tells you to fight the power, you listen.

"The next two songs are candidates for the Revolutionary National Anthem!", shouted Morello, and then turned his mic stand to the crowd, saying, "Kids, I'll let you sing this one." We heard the opening chords of Rage Against The Machine's "Killing In The Name" and the entire crowd took over Zack de la Rocha's vocals - and it should be noted that they knew every word. "Some of those who work forces, are the same that burn crosses!" It was super cool, and super heavy, and super evident that we all need that Rage now more than ever. Really quite a moment in a night of huge moments.

"Thanks Joe, for the inspiration for all these songs, and thank you all for coming! Is it possible you'd like one more song?" (It was) "Convince my ass!" (We did). After Morello thanked all the sponsors and the Nurses Union, he shouted, "I'd like to welcome to the stage, Everybody! All the rebel rockers!" Every single one of the night's performers then crammed up on the stage to belt out "This Land Is Your Land", the one that really should be our National Anthem.

Verses (ALL of them) were traded off between performers (many now wearing paper targets pinned over their hearts in the same manner as Joe Hill was executed by firing squad), as the audience followed Morello's instructions to listen, sing, and JUMP for joy. "If you can stand, do stand. You don't want to be seen shirking in Mary Morello's presence! We're all going to do this joyously, and yet militantly at the same time!"

With verses taken by the likes of Kramer, Parks, Riley (in a cool rap style), the one that soared and blew us all away was taken by the E Street Band's Cindy Mizelle. There are almost no words for this woman's voice straight from Heaven. It was simply stunning, as was the visual of every body in The Troubadour jumping and singing their hearts out in the name of freedom and justice.  When Morello yelled "Take it easy, but take it!" at song's end, it was with a hoarse and cracking voice, evidence of all that had already gone down.

But we weren't done quite yet. We all joined in a hearty, rousing singalong of "Solidarity Forever", the Union anthem sung to the tune of "The Battle Hymn Of The Republic", and you absolutely felt the power in unity that so frightened the authorities back in Joe Hill's day, and still does today. When the People unite, anything is possible.

My favorite moment among many favorites was then, when Joan Baez took to the front of the stage with her acoustic guitar and began singing "I Dreamed I Saw Joe Hill Last Night", the very song that she mesmerized the entire Woodstock with. All the other performers surrounded Baez with their fists raised, and the audience all followed suit. Without even noticing it, I had tears running down my cheeks. The beauty and power of the moment was so touching and inspiring, but more than anything, it filled me with hope.

These are real crazy, scary, violent, unjust times in many ways, but when you get people to stand together in a show of unity and support for freedom and justice in such a pure and unafraid collective rebel yell, it's clear that goodness always prevails. As Baez sang "'I never died,' says he" ... you could feel Joe Hill's presence in the room, confirming exactly that.

"See you in 100 years!" shouted Morello to conclude the epic three hour+ show, again showing the optimism and promise that was the vibe of the entire evening.

Joe Hill would be - no, IS - proud.

*Most photos courtesy of Chuck Walker
** Morello teeth solo and Baez/Paz/Morello photo by Randall Wallace