Rage Against The Machine Kicks Off The Public Service Announcement Tour at Alpine Valley!

Rage Against The Machine is BACK, People! Just as the world could not need this iconic band more, they returned Saturday night to launch their Public Service Announcement Tour at Alpine Valley in East Troy, Wisconsin in what was their first show together since 2011's LA Rising show in Los Angeles. I was at that show too, and I can tell you that they have not missed a beat since then. WOW. 

 

People were tailgating in the massive parking lot for hours before the show began, and the anticipation level was HIGH. The merch lines stretched to the horizon, as everyone wanted a piece of this moment to last - and to show that they were THERE. The majority of the crowd were wearing Rage shirts from concerts past, though I was encouraged to see several statement tees in the crowd, like "Get a Vasectomy", "Fuck the Supreme Court!", and more of that ilk. This was a crowd of like minded folks, that's for sure - at least for this show. 

Alpine Valley really is a valley, with steep grassy hills leading down to the stage. The bad news about this is that there is absolutely ZERO cell service, making meeting up with friends and colleagues impossible. That was a huge drag, especially as my brother, Paul, had just flown in to road trip to this show with me, and was going to shoot the bands, but we were never able to connect ... so you'll have to settle for the old Iphone shots, sorry. But whatever, the show more than made up for any drags we encountered (we'll get to that more later). After grabbing some overpriced, mediocre concert food, we made our way down to our seats near the stage. I saw guys stretching, warming up for what was going to be maybe the most long awaited mosh pit ever - as this show was originally scheduled for over two years ago. It was about to go OFF. 

As weed smoke swirled above the crowd, more and more alcoholic beverages were being consumed while the excitement built. You could feel that it was going to be ROWDY. Opening act, the excellent Run The Jewels had their big inflatable fists hanging above the stage, and all of a sudden we heard Lionel Richie singing the opening line of "We Are The World", as Killer Mike and El-P took the stage. Everyone sang along until Killer Mike said, "Nah, I hate that song", and they launched into their song, "Run The Jewels" from their first album. They had the crowd in their big hands the entire set, even though I lost a shred of respect for Killer Mike when he admitted to being a Packers fan while shouting out Wisconsin. Boo. 

"We're so moved to be here, our friends Rage Against The Machine believed in us to bring us out, and we're here to see them too! Like, what would happen if Zak gained a lot of weight, and smoked a lot of weed - it would be us!", said El-P, with Killer Mike adding, "We are the scrappy opener though " ... and they hit us with their great, "Ooh La La" jam. "Nobody Speak" with the Wisconsin-born DJ Trackstar filling in on the DJ Shadow track was next, and they wrapped up their high-octane set with one dedicated to "People who died at the hands of the people paid to protect them!", the powerful "Walking In The Snow". It was great, and I thought they'd close with their "Ju$t" that features Zack de la Rocha on its chorus, but nope. Maybe later on in the tour? I love Run The Jewels, Man. They are the perfect openers for this tour of top shelf rock and rap."We love you! We're Run The Jewels!" - and Killer Mike urged everyone to remember "It's ALWAYS us versus them! That's right.

That was a perfect lob pass to Rage, as their message has always been that the People have the Power. The RTJ set began to disassemble, and the spare set for RATM was put together. It was getting dark now, and the excitement built more by the second. A drunk guy behind us was yelling, "You have no clue how excited I am!" - but I'm pretty sure everyone there got it. As Rage hasn't played live since 2011, many in attendance had never had the chance to see them before, so they were losing it. And were about to be richly rewarded with a show for the ages. 

Now, there have been performances of Rage songs in the last decade, with Chuck D. and B Real filling in for Zack de la Rocha ... but there's nothing like the real thing, and when the lights went down and a P.S.A. came over the P.A. with Zack's voice repeating a phrase that was impossible to understand with the incredibly loud yelling for Rage - and then lights came on, and there was everyone's favorite band, BACK with a "BOMBTRACK"!!!  The energy in that space was off the charts, and the pit immediately erupted in a sea of bodies flying, heads banging, and fists pumping in the air. It was so exciting, I felt emotional. I got all choked up, thinking about how long it's been since I'd been at a show like this, ROCKING my face off with a huge crowd, and all that has happened since. I was also so, SO happy for my friends rocking out on stage, with their wide smiles, it was clear that they too were extra happy to be back. It was also very moving, as my friend Tom's wife and young sons were there on the side of the stage, and it was the boys' first time seeing their dad rock the fuck out with Rage! How cool is that?! Super special, and I'm just so glad I was there. Again. 

 

"People Of The Sun" and "Bulls on Parade" were the one-two punch that came next, and a huge screen behind the band showed both them in close up, and real serious video content about the state of the world right now. For "Bullet In The Head", Tom Morello ripped out his famous solo, adding a riff with his teeth that had the bros in the pit losing their ever-loving shit. Every word of every song was being shouted along with the band, and there was not an ass in a seat in the whole place. You are on your feet at a Rage show the whole time - unless you're off them in the air (They say jump, you say how high?!). All of these songs were written in the 1990's, but all are even more relevant today. What an incredible feat that is for any music group, but for one that is so passionate about what they're saying (and walking the talk, by the way, with major proceeds from every show goes to charities that fight the power, they do more than any other band in that way), it really is incredible, and very moving. 

These guys are all in their 50's now, but they way they were jumping around the entire show, you'd think they were a college band getting their first big break. The energy was relentless, and they took a quick break as a video of a police van burning took over the large screen. It felt - and was - HEAVY. Tim Commerford's bass and Brad Wilk's drumming bore down like a rock freight train all night, and I found myself grateful for the ear plugs a man gave me, because I could feel the weight of it all in my heart. "Testify", "Tire Me", and "Wake Up" riled everyone up even more, if possible. "Wake Up" was SO forceful, I feared Zack might have ripped out his vocal chords, but nope. With its admonition that What you reap is what you sow! more prescient in today's world than maybe ever before. There is a global reckoning happening ... and we're here for it. 

They were right back with "Guerilla Radio" and "Without A Face" and then "Know Your Enemy", which had the audience screaming along with Zack, "All of which are American Dreams!" "Calm Like A Bomb" and "Sleep Now In The Fire" were next, and the force of it all was relentless, if maybe a little slowed down, as Zack went into his what I call Teacher Mode. He is so wise with those lyrics, and he was making points. Points that he made real sure were listened to, and as every fist in the valley went up, that was confirmed. "War Within A Breath" was sheer musical firepower, and then it was brought down just a little for the Springsteen cover of "The Ghost of Tom Joad", but bodies were still flying, even for that story song. 

"Freedom" merging into "Township Rebellion" was about to be the heaviest jam of the night, as we all know our freedoms are in true peril here in the United States. The screen behind the band lit up with various phrases and facts about forced birth, ending with a big "ABORT THE SUPREME COURT" as the crowd roared its approval, and the pit exploded at the same time as the band did, with Zack screaming, "YOUR ANGER IS A GIFT!!!" Phew. 

Then it was time for "Sleep Now In The Fire" and its chorus of "Some of those who work forces/hold office, are the same who burn crosses!" was to be the last song of the show, and zero punches were pulled. I mean, a video showed little kids swatting at a pinata of a cop - the point was well made. The music kept building, and building, and building, until the place absolutely BLEW UP with all the middle fingers in the air and every single ticket holder screaming, "FUCK YOU, I WON'T DO WHAT YOU TELL ME!" at the top of their lungs, in total solidarity with Rage, and with each other. That is POWER, People. Let's use it. For GOOD. What better place than here? What better time than NOW? Right?

The last chord rang out, and the screams for more began, but that was it. The band embraced, and it was a beautiful thing. They soaked it all in, and left the stage with fists raised, reflecting the crowd. People stayed put, screaming for more, but soon Bobby McFerrin's "Don't Worry, Be Happy" played over the P.A., and the exhausted. beat up crowd realized that was it, and began to file out, all effusive about how that was maybe the best show they'd every seen. It really was something else, and I'm so grateful I got to be there to see this band answer the call that the fans have been clamoring for for YEARS. Let's hope this tour fires us all up to band together and make some positive change here, and maybe the band will give us some new music that reflects it all. The 16 epic songs we got were all fresh as if they'd been written the day before, but also so much has happened since they last toured, that there should be ample inspiration for even more powerful music. I can't wait. 

THANK YOU, RAGE!!! WE NEED YOU! WELCOME BACK!!!  Have fun tonight, Chicago. You're in for one hell of a show. 

*A note to future show attendees: We waited for nearly THREE HOURS to get out of the parking lot after the show. Not a single car had moved two hours after the show ended. And don't forget there was no cell service, so no one could find anything out. There seemed to be no one in charge, or even working, with just a few Sheriffs to be seen as we left, and they were laughing about it. People were PISSED. They had been partying since the gates opened at 3 pm, and they were tired. But now they were drinking more in the parking lot while we waited, getting even more hammered, as they were about to drive on roads at 3 A.M. A complete shit show. The rumor began that the Sheriffs did it on purpose, closing it down to one road to get out, perhaps in retaliation for all the very well deserved Anti-Cop propaganda on screen during the show. Well, if that's true, they're not helping out their cause at all, because it only made everyone like them even less, if possible. So ... beware of Cops when you're leaving these shows. In other words, Know your enemy. And have a complete BLAST right in front of them. 

Shooter Jennings Live At The Fine Line!

I went to my first live indoor show since the Covid pandemic began last night, and it was only because it was to see my good friend, Shooter Jennings play - at The Fine Line in Minneapolis, which is a proof of vaccination venue, so I took the risk. And it was well worth it (so far!).

Shooter and I have been friends since the days of his first band, Stargunn - and what days those were! I've rooted for him ever since, and am so happy to see him enjoying so much success of late. Grammys for producing Brandi Carlile and Tanya Tucker's albums have made Jennings a hot commodity in the studio, and he's been so busy producing for others that he's not had as much time for his own music, so last night was even more special to get to hear him strut his own - and awesome - stuff. 

The night opened with a set from Lillie Mae, a talented singer/songwriter who came up as Jack White's fiddle player. I was in the dressing room catching up with Shooter for much of her set, but did get to see her perform the title track for her most recent album, Other Girls - and it made me want to hear and know more. Dave Cobb had his mitts on her album, so that's the Jennings connection for this show. Excellent.

The crowd was packed in, and though they were presumably vaccinated, they were definitely not masked. I chose to head up top to the side stage balcony to try to keep away from the aspiration of others - in both senses of the word. Shooter and his longtime band took to the stage to huge cheers from fans that had been pressed up against the stage waiting in anticipation. Clad in a Brandi Carlile shirt and Jordans, Jennings yelled, "How you doin', Minneapolis?" - and it sounded like they were doing very well. Jennings sat down at the keys, and the band kicked of the show with "Bound Ta Git Down" from his Shooter album. The honkeytonk autobiographical banger got things off to a great start, and had me reminiscing about "Moving to California where the sun shines all day long"! Sigh ...

"Denim & Diamonds" showed off the great lyrical storytelling talent that Jennings has in abundance, and it had the crowd banging their heads in time and in appreciation for the outlaw stylings that they also loved from his legendary dad, Waylon. I has asked Shooter pre-show if he was going to play any from his outstanding concept album, Black Ribbons - in particular my very favorite song of his, "All Of This Could Have Been Yours", and that's the one that he played next - and said, 'This is for Carol." That was so special, because I love it, but also because it felt so absolutely great to be listening to a song I adore played live right in front of me by a friend that I deeply revere. Thank you, Amigo! 

Switching to guitar for the rocker "Steady At The Wheel" from his awesomely titled album Put The O Back In Country, Jennings first introduced his great and super-tight band. John Sheffler on lead guitar. Ted Russell Kamp on bass. Jamie Douglass on drums. Aubrey Richmond on fiddle and background vocals. Each of them are so good individually, but together they are something else, as the showed on "The Outsider" that featured just enough twang to keep the o in the country sound. Jennings again thanked the crowd, and said that Minneapolis has been good to him since Day One, playing places like The Turf Club and The Cabooze (Thank you, Mpls!). 

"Rhinestone Eyes" was a beautiful ballad written for Jennings' wife, Misty, from the Shooter album. She wasn't there, but it was very sweet because you could feel the love he has for her, even when she's not around. I love that. "Living In A Minor Key" was intended for a George Jones tribute album that never happened, but Jennings had taken it very seriously and still wanted to record it. It also found a home on the Shooter album, and when he introduced it by saying, "Just imagine a way better singer singing it, and it's like a George Jones song." Well, HE sang it perfectly, and it WAS like a Shooter Jennings song - as I believe he belongs in that same pantheon. And deserves to be playing way bigger venues like Target Center up the street. My two cents.

Everyone loves the 4th of July and everyone loved Jennings song of the same name. He threw out a "Those good old boys in Minneapolis", always a crowd pleaser, but he didn't need to do anything more to please this crowd. They were true fans, wearing the t-shirts, and knowing the words to sing along with. That made me so happy for him, because he's had a long career, been through a lot, and it's a joy to see him getting the reverence he should. "Loving County" was a Charlie Robison cover that Jennings has been playing for years, "Since my first band, Stargunn - Carol knows about that, she was there." I do, and I was. Very happily. Sheffler ripped off a guitar solo on that one that might have left blisters on faces. Wow.

"Don't Feed The Animals" (also from Black Ribbons) was a heavy rocker that showed shades of the Shooter that almost replaced Axl Rose in Guns N' Roses - and produced Marilyn Manson's most recent album. The crowd was loving it, as I think his fans are finally ready to let Shooter be Shooter, and play whatever the hell kind of music he feels like playing. Like "I'm Left You're Right She's Gone" from his Giorgio Moroder tribute album, Countach (For Giorgio). A kid growing up in the 80's has a TON of musical influences, and Jennings is open to it all. There aren't many people that can talk music like Shooter Jennings. For real. 

"Shades and Hues" was Jennings' personal tribute to Hank Williams Jr. and it had Jennings back on the keys playing this song that sounds as timeless as all the best country ones do. Aubrey Richmond really shone on this one, harmonizing with Jennings and completely wailing on her fiddle. "Leave Those Memories Alone" was dedicated to his late, great friend, Colonel Jon Hensley, who he wrote it for and with. A bluesy number ... you could tangibly feel Jennings missing his friend. 

Another one that sounds like you've always known it as a real classic was "Fast Horses and Good Hideouts". Extra gorgeous, with really pretty fiddle playing, if they didn't have the room in the palm of their hands before - they did now. "White Trash" got Jennings back on guitar, and got the people dancing! Here came the "I love you, Shooters!" and "Shooter, You're the shit!s" - and they were right. 

"I wrote this one about Nashville a long time ago," said Jennings by way of introducing "Outlaw You" - a perfect kiss-off to the baseball hat wearing wannabe country douchebags littering Nashville these days. They lyrics tell the story about how Waylon came to Nashville as an outlaw, changed everything, and now the suits are trying to package that kind of Outlaw - which, of course, you can't. So they should OUTLAW YOU! Yeah. There was a blistering jam between Russell Kamp on bass and Richmond on fiddle that foreshadowed the all-out band jam that came next, "Gunslinger". Big, epic, passionate ... clearly establishing the entire band as "motherfucking Gunslingers!" SO good. 

"Silver Springs" was the gorgeous ballad that would have people slow dancing in a different setting. I love watching Jennings on the keys, because he just BEATS on them and makes the most beautiful music. I feel like I'm kind of gushing about it all, but it just felt SO good to be listening to really great music LIVE again, that I can't say enough good about it ... especially as it's a friend who I think is vastly underrated for his own music, and I want to help blow it up even bigger for him. Because he truly deserves it. So there. 

That loveliness was the last tune of the regular set, and the band left the stage to chants of "Shooter! Shooter!" They didn't make the people wait like some lame bands, and came right back out to play "The Door', a George Jones cover that most likely never rocked as hard as it did last night with this band. It was awesome, and it was very clear that the whole venue agreed with me. We might all have been just happy to see live music again, but I think it was more just that good. "Thank you, Minneapolis!"

The band was sweaty, tired, and happy afterwards, all the hallmarks of a job well done. Shooter is off to Iowa to play tonight, and then off to Seattle to finish the next Brandi Carlile album. Lives are busy and scattered and very uncertain these days, but I think the power of friendship and music just might be enough to carry us all a little bit easier through these crazy times. At least it gives me hope. 

Thank you for that, Shooter. YOU are a class act. 

 

Tom Morello Kicks Off Atlas Underground Tour At The Varsity Theater!

This year has been heavy metal for everyone, and sometimes you need a night of some good, hard heavy metal ... and EDM, and folk, and classic rock, and ... and ... everything else that you will get out of Tom Morello's Atlas Underground show. WOW. I was so happy to have my CA friends here in MN that they could have played the ABC's (and they would have made that sound cool too!), but the show is really something else ... and I'll say it again ... WOW. The Varsity Theater has some stories to tell after Morello kicked off the first date of his new tour there last night in support of the groundbreaking Atlas Underground, the first solo album released under his own name.

I'm pretty sure the last time Morello and I were both in Minneapolis at the same time was when Rage Against The Machine played here in opposition of the 2008 RNC Convention that was happening in St. Paul. That one was nuts, with police in riot gear at one show, and the electricity getting pulled at another, forcing the band to take to the crowd with bullhorns. Last night also ended up in the best kind of bedlam ... but I'm getting ahead of myself. The evening opened with a set by Bones UK, an all female hard rock band from Camden Town, London ("It's naughty. It's where vampires go to drink whiskey!" - lead vocalist Rosie Bones). I didn't get to make their whole set, because parking in Dinkytown is a joke, but was impressed with what I did catch.

The ladies lit into a Bowie cover, "I'm Afraid Of Americans" as I arrived, and Bones added when introducing the tune, "Well, I'm afraid of ONE American in particular" ... and no one had to guess who. That's when I got why Morello chose this band to open his tour. She told a story about playing a great gig in London, when a guy came up and told them they were great, but they'd never be as good as a dude band, because "Girls can't play guitar". Guitarist Carmen Vandenberg proceeded to directly dispel that ridiculous myth, blazing through their single, "Pretty Waste" for an already packed to the rafters crowd. Drummer Heavy kept it heavy, and the Bones Uk won some new fans (mostly male) in Minneapolis last night. Including me (one of maybe 10 females).

The crew came out to set up for Morello's set, and you could feel the anticipation building in the room. I've seen Morello play countless times - and it's still exciting every time - but for the mostly dudes gathered there at The Varsity, they were getting ready to go OFF for their guitar hero, that in my eavesdropping I learned was the first time for many. That might be because Atlas Underground features collaborations with a super-diverse line-up of artists, with everyone from Bassnectar to Gary Clark, Jr. ... Steve Aoki to Marcus Mumford ... Knife Party to GZA, RZA, and Big Boi! I mean ... !

After quite a while of setting up, the lights went out and heavy videos began playing on the screen in front. Black and white images of immigrants in lines and cages, prisoners in jails, and homeless Army vets combined to let you know exactly where we're at as a country. Then a voiceover with the deep distortion of a kidnapper and a hooded silhouette appeared on the screen, saying, "This is a communiqué from the Atlas Underground ..." that went on to say that on New Year's Eve, we're taking it ALL (I asked Morello about this after and he said that "rebellion is a way of re-setting the clock to 0:00 and starting over ... Let fire be your deliverance!") and then suddenly a hoopla began in the crowd. I was in the photo pit, so the ruckus was behind me, and when I turned around, there was Morello smack dab in the middle of the crowd, breaking into his surprisingly EDM Gary Clark, Jr. collab, "Where It's At Ain't What It Is"! The happy and surprised faces said it all ... this night was going to be something special.

Videos played while Morello made his way back to the real stage, dressed in red bandana, shades, Madiba hat, and an Abraham Lincoln T-shirt. The video concluded with Morello's inspiration of a mother, Mary Morello, saying to camera, "Freedom means fighting for your rights ... And it also means rock and roll!" I love her ... and she's right. A graphic reading "Nazi Lives Don't Matter" was met with shouts of solidarity, and Morello blazed through "Battle Sirens" (the Knife Party collab). Musical chameleon, Carl Restivo, and awesome drummer, Eric Gardner, joined Morello for the visual and musical barrage that never let up the whole night. Laptops took the place of the collaborators (who weren't present), with their recorded vocals and presence in the excellent videos bringing them there into the room with us. All of the videos were designed by Sean Evans, and served to complete the show that Morello himself describes as "One part Marshall stack guitar madness, and one part bassdrop meltdown", with all of the trappings you would expect from a Rock/EDM show (though the videos made it hard to shoot photos, the experience is meant to be immersive and in the moment, not seen through your phone).

"Rabbit's Revenge"was a ROCKER - with a point. This collaboration with Killer Mike, Bassnectar, and Big Boi hits all the way home - such as our home is these days - with kids being murdered by cops and all the other myriad problems we're all dealing with. Messages on the screen said things like "Don't Mourn, Organize!" and "Take one step towards freedom, and it will take two steps towards you!" Up close in the photo pit, you can really see Morello bending his notes, and it's something to behold. The entire place was loving it, and vocally letting the band know it. A pick up in the palm solo led to a little Rage riff that led to the Audioslave tune, "Like A Stone" with recorded Chris Cornell vocals. The crowd sang along to every note, and it had more meaning than other times I've heard it sung along to - because now we all know we don't have Cornell anymore. It's become a much more wistful song to me ... and I think to everyone.

Another Gary Clark, Jr. collaboration was next, and "Can't Stop The Bleeding"  had everyone clapping along in double time, and featured yet another show-stopping guitar solo from Morello - which is really what everyone is there for. Morello then took it acoustic with a Nightwatchman song, "Flesh Shapes The Day" on his "Whatever It Takes" guitar. "Clap your hands, Minneapolis!", shouted Morello - and we did. "Alright, stop clapping!", commanded Morello - and we did. "Fuck, yeah!", exulted Morello at the end, and everyone in there said that too.

"Save The Hammer For The Man" found Carl Restivo filling in on the Ben Harper part, and it was gorgeous with the harmonies, and also with the flamenco-style guitar solo Morello threw in there. Morello here took a moment to greet the room, saying, "Thank you all for coming, I'm happy to be back in the city I've played so many great shows in, then went into deeper Minnesota tracks for his shout-outs than the usual Prince, Dylan, and First Avenue. Instead, Morello tipped his Madiba hat to the Walker Art Center, Kirby Puckett (!), and Babes In Toyland (who Morello's high school friend Maureen Herman played bass for). Awesome.

There was 45 seconds of tuning, which for a Morello show means that time has to be filled with the "loudest 45 seconds in the history of this club!" - and I think it was probably the loudest, because my ears are still ringing a little bit. The next song was dedicated to Chris Cornell and our "Moments of doubt", and Morello asked for absolute silence for "The Garden Of Gethsemane" - and he got it. I didn't even hear anyone breathing. The reverence for Cornell - and for the beauty of the song - kept the previously rowdy crowd perfectly rapt, so much so that Morello didn't even use the mic. Sublime.

He had promised to reward the silence with "Heavy metal bangers the rest of the way", and that's exactly what he gave us next. "How Long" featuring Tim McIlrath from Rise Against and Steve Aoki got people hyped out of their faces, and the video played after featured Morello's sons and their friends asking questions, and making statements, ending with "I wish he'd just shut up and play guitar!" Morello gets that all the time (and I've had several online fights defending him from that garbage), and if people don't get by now that this man has some real real things to say - AND walks that talk every day - then we really can't help them. He is always going to speak truth to power, so you'd better get used to it.

So, he DID come back out and play guitar, for a shredding, ridiculous version of Springsteen's "The Ghost Of Tom Joad" that Morello has now very much made his own. It's always a true highlight, and always gives me the chills. The teeth solo gets 'em every time, and last night was no different. The fans were SO into it ... but then it got REALLY nuts. "Are we in this together, People?!", asked Morello and the People shouted in the affirmative. "Well, then why am I up on the stage without you? Please join me on the stage!" OK. This was about as close as I've ever come to being trampled (aside from one very heavy Primus set at Lollapalooza), as the super-fans all pressed toward the stage, jumping barriers, pushing over people, doing whatever they could to get up there. Morello kept asking for more people, and the security dudes were stressing. While they were scrambling up there, Morello issued the warning that people not mess with his stuff or put a phone in his face, as he's been known to throw them. And it's been deserved. There were finally enough people up there for Morello's liking for him to say, "OK, let's finish the night with an old gospel song!" - which was Rage's "Killing In The Name"! It was solid pandemonium in there, as everyone shouted in unison "Fuck you, I won't do what you tell me!" with middle fingers all the way raised. It was chaos. It was cathartic. It was necessary. It was these times, defined in a song.

"Minneapolis, put the house lights up!" They did, and the room was illuminated with the happy faces of the people recognizing that they have the power - so we sang one more. John Lennon's "Power to the People" had everyone jumping up and down together, in raucous solidarity.

The ad for the show calls The Atlas Underground Live Experience "The last big event before we all go to jail." I asked Morello what he meant by this, and he explained that the impending police state, with facial recognition and all that, and the looming situation of Trump refusing to leave office should lead to "Hong Kong style riots in Times Square" ... where we would all go to jail. Because we're standing up for what's right, and up TO what's wrong. If you can be made to feel that way from attending a rock show, I'm sure glad that Morello refuses to ever just shut up and play guitar. We need him now, more than ever. And we need each other ... because we truly really absolutely do have the power - and it's time to use it.

Please do not miss your shot to experience The Atlas Underground Live show, because I want you to feel this way too. We need you. Thanks to Tom Morello, for always asking us to think, and for giving us the inspiration to do something with those thoughts. Like fighting the powers that be.

Fists raised!

The Atlas Underground Live Experience is on tour across America now. GO!

*I miss Paul Gronner Photography!

The Holiday Kick-Off In Venice - In The Spirit!

What a fun weekend in Venice! The annual Venice sign lighting happened on Saturday night, and it seemed like the whole community came out to celebrate with each other. Everyone was in high spirits, and there were more than a few Santa hats being worn, so people were ready to bring in the Christmas season for sure.

Live music was playing and you could hear it in the wind as we strolled over to Windward for the festivities. I stopped off for a quick cup of glögg (inspiring!) at my friends' Russ and Harry's pad on the way, and it gave you that happy, warm feeling inside to take with you. This year there was the new addition of a big Ferris wheel there to greet the people, and it was cool to see everyone loving it.

We were also there shooting the happy times for our documentary 90291: VENICE UNZIPPED, as with all of the problems and actual crises happening in our community, there is also always a lot of fun to be had. That's a big reason why so many of us wanted to live here to begin with, and this kind of absolute blast also needs to be captured to tell the complete story. People were in great moods, feeling in love with Venice all over again, and thus, they were excellent interviewees. Thank you!

Windward was lined with booths handing out everything from chili (Surfside friends!) to sticky rice, ice cream to hot chocolate, and all if it was complimentary as a gift to everyone. It was great.

The streets were packed with holiday revelers, and you couldn't walk two feet without running into someone you knew and loved. The Venice Chamber of Commerce put on a good party, and pretty much the whole town contributed to the fun. Venice Paparazzi was there with an adorable Venice holiday photo booth that had long lines waiting for their turn all night.

The walls around the still uninhabited old post office (Ridiculous. Turn it into a community center!) were decked out with posters from the contest for local kids to partake in, and I particularly liked this little Venice Santa.

The "real" Venice Santa was cruising around getting hot chocolate and getting everyone to come and sit on his lap. It's probably pretty fun to be Santa.

Bands played (though I didn't know any of them - who books this thing?) and people danced in the streets. Partiers would wait for the lights to change in the Pacific/Windward crosswalk in front of the Venice sign, and as soon as it would change, everyone would run out into the middle and dance or rollerskate or convulse (one person's iffy dance moves) real hard until the light changed and then run back behind the barricades. THAT is the Venice spirit I love so much.

Andy Summers of The Police lives in Venice, I guess, so he was chosen for the sign lighting duties. As usual, the various speeches went on way too long, and the sign that was supposed to be lit at 8:00 p.m. was still dark at 8:30. Local politicians and people on boards - no one cares to listen to you hearing yourself talk. It was to the point that a chant started up ... "LIGHT THE SIGN! LIGHT THE SIGN!" because frankly, no one was listening to the speeches anyway. Dancing and greeting friends continued until finally you could hear the 10-9-8-7-6-5-4-3-2-1!!! - and the sign lit up in its holiday outfit of red and green! It's funny that light bulbs can bring such a thrill, but there we all were, loving it.

Everyone raced to  the intersection to take photos under the newly lit sign, and we were no different. Old friends and new took photos together, and it was the perfect way to kick off the holiday season with good Christmas cheer and good Venice vibes.

The party moved on to various watering holes around the area, and Surfside was serving up a special holiday bourbon punch that was our main draw. I took off in my new Venice sign red stocking hat to meet up with friends at Cinema Bar to see Matt Ellis play, and people wanted one (Get yours through the Venice Chamber!). It was a truly joyous time in Venice, and all seemed to be in the mood to celebrate, and take our minds off of all of the heavy things happening in the world. Thank goodness - we needed it.

I hope you were there, I hope you also had a blast, and I hope this will be everyone's best holiday season yet ... and that we'll all do our best to make it so. For everyone.

Fa la la la la, la la la la!

A Beautiful Night For A Benefit In Topanga - Starring Butch Walker And Friends

We eased into Daylight Savings Time in the gentlest, most lovely way possible, with an evening at the Will Geer Theatricum Botanicum for a benefit for pancreatic cancer put on by beloved troubadour, Butch Walker and his awesome friends. The TALPanga (The Autumn Leaves Project) concerts took place on both Saturday and Sunday evenings, to honor Walker's father, "Big Butch", who passed away from the awful disease, and also to raise funds to help those currently suffering from it.

Walker has a lot of cool friends, and they all joined together to bring these magical nights to life in a beautiful and memorable experience for all. The beach was socked in with fog, but by the time we drove the windy road up Topanga Canyon, the sun was out and dappling through the trees that surround the Theatricum, making for an even more gorgeous setting. Tacos Hell Yeah were there serving up delicious Mexican fare, and we enjoyed some of that, along with some cocktails for the cause. An event organizer announced that the first act, Jaime Wyatt, was about to begin, and we all took seats in the wonderful amphitheater to enjoy a night of first class entertainment.

After a few solo numbers, Wyatt was joined by Walker for a lively tune called "Ain't Enough Whiskey", which was then followed by "a song for our Dads", as they both lost theirs - and I bet they would have both loved "By Your Side" with its excellent harmonies, both vocally and on guitar. Wyatt wrapped up her set with a cover of my main man Kris Kristofferson's "Sunday Morning Coming Down" ... and all seemed right in the world just then.

Walker addressed the crowd next, talking about the Autumn Leaves Project organization he founded after losing his Dad. "We raised so much fucking money last night! I had so much love in my heart I thought I was gonna explode!" His gratitude was genuine, and obvious ... and he was ready to get down all over again. As were we.

Grace Potter took the stage, explaining that she was a new mom "So everything is a rhyme". She opened with the Jackie DeShannon classic, "Put A Little Love In Your Heart", which is a perfectly timed request for these times, for sure. The crickets in the woods surrounding us provided great background vocals, making it all the more enchanting. I'd never seen Potter live before, and she is something else. Fantastic. She cracked that she had borrowed everything from Walker to perform - guitars, picks, "This outfit". Her husband brought her another guitar, and after she thanked him, she asked, "Where's the baby?" She seems like someone you'd want to hang with.

Potter has a new album coming out soon, and played a track from it next, a gorgeous one called "Release". The mic stands were all wrapped in twinkle lights as the stars twinkled above, and you could smell the chaparral in the air ... ahhh. The crowd joined the crickets in singing along for a cover of Neil Young's "Helpless", and then Potter played her beautiful song, "I Can't Look At The Stars" (they make me wonder where you are) for all the people we have lost. I believe those people are among the stars, and it made me want to look at them more. It was like living within a shared prayer at that moment, and one couldn't help but be moved. Grace Potter is a treasure.

A man who is currently suffering from pancreatic cancer spoke to how much The Autumn Leaves Project has helped him, and told how he has now lived well beyond the predictions of his doctors. His speech put a real face on this dreadful disease, and really connected us to why were were all there. He told Walker that he knew his father was looking down, "So proud of you", and they shared a meaningful hug that brought another lump to my throat. What a blessing to know that there are people who will help you get through these obstacles that life can throw at you ... and no one is alone.

After the previous night's event, there were no more things to auction off for the benefit - other than Walker's well-traveled jacket with its "Butch" patch. As the entire event was streaming live on Facebook, Walker looked into the camera and said, "I hope your name is Butch - or that you swing that way!" Not only is Walker multi-talented and extra versatile musically, he's also hilarious. Another one you just want to hang with. He launched right into his own solo acoustic set, kicking it off with "21+" to the delight of the place that was packed with Walker superfans - of which I am now one too.

The great "Chrissie Hynde" was next, followed by "some more sad bastard shit" that was "Wilder In The Heart" and "Don't Move" with its line about staring at the stars being super fitting. No one wanted to move - and didn't. Here someone yelled, "I love you, Butch!" to which he made everyone laugh by saying, "I like you a lot". Walker is one of the rare ones - a rock star that is actually a super nice and genuine person. There for his friends. Caring. Considerate. Funny. A truly good guy. My friend KC told me that when her dad was ill, Walker called her every day to check on her. Things like that. REAL goodness, not just for show.  Another true treasure of a human being.

A new one was up next, and painted a whole story with its poignant lyrics about a mean kid calling him names when he was young, ended up being saved by him. "I was born into what I became" is so true for so many ... and this one really spotlighted the deep lyrics and truths that Walker should be far better known for. I feel like Walker should be HUGE ... and he certainly is to his many fans singing along happily in their Butch Walker shirts. The next one was "Pretty Melody" (which it was) and maybe my favorite moment of the night. As Walker sang, the doors of the balcony of the wooden barn on the stage opened up, and Walker's band came out to sing harmonies from above. In a night of magical moments, this one was all the way up there. I loved it.

The band came down from above to join Walker on "Spark Lost" and "East Coast Girl" which I loved with its references to Venice and Abbot Kinney. "It's Gotta Get Easier" was yet another standout, with Walker singing in otherwise absolute silence, save for the crickets chirping along. By now my friend who had never seen or heard of Walker before was also a superfan. You really can't not be.

Walker moved to the piano for "Joan" and "Passed Your Place, Saw Your Car, Thought Of You" in a song that everyone can relate to. Its line, "You can't trust a man. It's a species that captures things just to let them go", resonated with me a lot. Walker is a wise cat. "Sorry for the bummer songs, Jakob Dylan is about to change that." With that, Walker was joined in a group bromance of a set from Dylan and the band that was nothing short of wonderful - especially in this setting. They opened it up with "Nothing But The Whole Wide World" which was my friend's favorite Jakob Dylan song - AND his first time seeing him live. Again, in THIS setting. Magic.

"6th Avenue Heartache" and "God Don't Make Lonely Girls" were both made greater by the fact that it was again two great friends supporting each others' causes (Walker played at Dylan's fundraiser for Crohn's and Colitis earlier this year). Walker had now gone electric, and backed Dylan up on a fiery awesome "One Headlight". They brought Potter and Wyatt back up to join them for a cover of The Band's "The Night They Drove Old Dixie Down", but not before Dylan commented, "How fun and special is this night?!" just as I was thinking exactly that. Because it sure was. So much so that after that one, Walker said, "Don't ever let anyone tell you being in a band sucks, 'cause it's awesome!" Right on.

The rest of the show was Walker on his own with his band, playing the fan favorites. He invited them all down front, and they all happily squeezed in down there to sing and clap along for every tune. "Ludlow Expectations" was great, but that's just redundant, because his songs are truly all great. Like "Closest Thing To You I'm Going To Find", featuring a rare accordion/guitar off. Like "The Weight Of Her". Like the covers of "Teenage Wasteland (Baba O'Reilly)" and "Summer Of '69" that prompted one guy down front to shout, "I'm peaking!" Haaaa. At this point we pretty much all were, some more naturally than others, apparently.

The surprise of the night was that Walker was next joined by his old band, The Marvelous Three that disbanded in the early 90's. "Let's play a few for the ladies," said Walker by way of an intro for "Cigarette Lighter Love Song" that was a beautiful ballad dedicated to his mom and sisters, who were all present on this special night for their family. "Mrs. Jackson" and "Over Your Head" were obviously beloved by the fans, as they knew every clap and raising of the bird the song contained. Impressive - and touching. "I'm having a fucking ball!" yelled Walker, and that was clear - and infectious.

"Every Monday" and "Freak Of The Week" were the evening's closers, and there were so many happy faces singing along that you couldn't help smiling yourself. That it was all for a serious cause that helps so many people made it all the better. The ovation at the end of the show was deafening, and I think people left that enchanted forest feeling a little better about the world and these times. If people and events like this are still happening, it can't be all bad, right? Right. I'd go so far as to say it was life affirming. Good people doing good things is what will save this place - and each other.

Thank you to one and all involved ... and especially to Butch Walker, for being one of the GREAT ones, doing GREAT things. Thank you.

*All photos by Jeff Forney