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. 

Lockdown With The Weight Of Everyting

Here you go ... the theme song for the "Lockdown" that the entire world has been living under while the global Covid-19 pandemic rages on. My brother, Paul Gronner, has a band called The Weight of Everything (Heavy!), and he recorded an entire album Dealing With The Unknown in three weeks while under quarantine in Los Angeles.

He then came to Minneapolis, where I have been helping out my Mom (lost her leg almost a year ago) and my brother, Rich (had a mild stroke a month and a half ago). We worked hard fixing up things at my Mom's house - and then we worked on his music video for his new single, "Lockdown". Here it is:

We shot this all over Minnesota, mainly in Minneapolis, and there are about a zillion landmarks included in the story of the video. It was the anniversary of Prince's death while Paul was here, so we had to do the pilgrimage to Paisley Park again, and it was just as emotional as when we lost him. Most of the landmarks were pretty well deserted, so that added the weird quality of isolation that the song conjures up. My favorite part is the rock-out at the end, with Paul using the little guitar he taught himself to play on in his childhood room (also featured - the room with The Bad Brains poster!).

Nature has been our savior throughout all of this, and that majesty features heavily in the video as well. From eagles soaring to ducks gliding, from flowers blooming to the sun setting and the moon rising ... we share with you some of the beauty that has gotten us through.

Seasons changed during the filming, and you will be taken from the icy isolation of winter into the hope being exhaled by Spring. My favorite part is the rock-out at the end, which is as fun to watch as it was to film. Release! Paul is back in L.A. now, so I'm super wistful as I watch this video ... wishing he was still here, and also wistful for the way the world used to be. I am super proud of my brother, I love this video, and I hope you will too.

*(I also hope you will support him by buying his album at Apple or Spotify, as while he was here helping, his work van got stolen from in front of his house, and he could now really use the support! THANK YOU!)

LOCKDOWN By The Weight of Everything is available everywhere now! 

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!

Jail Guitar Doors - Rock Out 5!

My welcome back to L.A. was extra great after having been gone since last May, as I got to go racing from LAX straight across town just in time to make it for the 5th annual Jail Guitar Doors ("The loudest charity on Planet Earth!") fundraiser show starring Moby and Wayne Kramer at the Ford Amphitheater!

My friends Brother Wayne and Margaret Kramer have been putting on this event every year to raise money for Jail Guitar Doors, and their exceptional programs that bring music to inmates in prison. After checking out the merch (there's even JGD coffee now!), and greeting several other annual JGD show fans, my brother Paul and I took our seats in the front row, ready to take in another great night of music put on by great people for an absolutely great cause.

A recording played to announce that we were sitting on what was once Tongva native lands, and then Brother Wayne came bounding down the steps to the stage, punching the air and riling up the crowd right off the bat. I was SO happy to see him looking so healthy and hale after he endured cancer treatment this last year, like he was way more energetic than just about everyone else the whole night. Phew. Kramer  thanked Dr. Bronner's (the soap people) for underwriting Jail Guitar Doors being able to provide programs for young people to get them into activities that will PREVENT them from ever entering the criminal justice system ... because once in, it's pretty damn hard to get out and resume a regular life. And then the world is better for everyone.

The evening was hosted by the Poet Laureate of Los Angeles, Luis Rodriguez, who sits on the board of Jail Guitar Doors. Rodriguez has done time, as did his father and son, and he wants that cycle ended. "I'm an O.G. when it comes to this work," he said, before sharing a beautiful poem that had the excellent line, "Use your given gifts. They are not stone." YES.

Rodriguez introduced the Soledad Jazz Workshop, a jazzy quintet founded at the Soledad State Prison in California. Mr. Jack Bowers was their teacher, and everyone playing so beautifully had also done time. Ron Melvin (alto sax) spoke after their first number, saying that, "Jail Guitar Doors believed in me until I could believe in myself." He added the important truth that, "Beauty can come from anywhere."

Trombone legend, Phil Ranelin, was featured on the song "All The Things We Are", and said it was written the same year he was born, 1939. He can still blow with the best of them, and we also got  the Miles Davis classic "All Blues". It was all really, really good, and the only reason I can think of that some people don't like jazz is that the songs are so long, and you start to feel left out of the jam conversation that the musicians have going together. So, you just close your eyes, listen, and it's all good. Real good.

Rodriguez came back out to recite a poem called "The Calling". He told of how he had turned his life around through poetry in jail, and said that, "You can't throw people away ... everyone is worth helping." That's really the point of the whole JGD organization. The poem gave me chills, and also the gratitude and relief that there really still are really good people out there. Thank God.

Rodriguez introduced Wayne Kramer and Friends, and Kramer ran back on stage, this time with his legendary Star Spangled guitar, yelling, "Alright, now we're gonna rock!" and he and his band went on to do just exactly that. "Shining Mr. Lincoln's Shoes" had Kramer running around extra-animated while Carl Restivo held things down on bass, Brock Avery kept the drum beat, and Benmont Tench (yes, from Tom Petty & The Heartbreakers Benmont Tench!) on the keys.

"Back When Dogs Could Talk" featured Kramer doing the funky chicken and also shouting out to all the workers of the world ... "My steel workers, my food service workers, my auto workers, my teachers ... you have earned the right to be known as the salt of the Earth! You are somebody!" It was awesome, and a fine example of why Kramer rules as a human being AND as a rock star both.

Kramer brought out my friend Jason Heath (lead JGD teacher and leader of The Greedy Souls) as well as the rapper Matre to join he and the band for a fired up version of "Jail Guitar Doors", the namesake song by The Clash. Everyone was feeling it, and frankly, their set was over way too soon, but it sure got the party going!

Mr. Rodriguez came back and we did a call and response poem together, saying "Make this poem cry!" It did its job, because I definitely got choked up. No time for tears, however, as Rodriguez said, "And now, Moby!" and Moby came out with his band and back-up singers, who launched right into his great song, "Extreme Ways". Dressed casually in jeans and a hoodie, Moby rather resembled a much smaller Billy Corgan with a "Vegan For Life" neck tattoo.

The crowd loved the song, and let the band know. Moby said that he'd driven by the Ford Theater a thousand times, but had never been and didn't know it was so beautiful. "This is the most beautiful outdoor theater in Los Angeles, and that's saying something." We were all already feeling lucky for being there, but that jacked that sentiment up even more. A truly stunningly gorgeous evening, as the stage looked like an enchanted forest and beautiful letters from prisoners and photos were projected on the interior walls.

Moby said that the only thing he had in common with Jimi Hendrix was that they had both only had one #1 song in the U.S. ... then proceeded to play his. "South Side" sounded as good and as fresh as it ever did, and I have to admit, I didn't ever really know how good a guitar player Moby is. I always associate him with synthy sounding orchestral super produced tunes, and it was cool to see him pretty stripped down and really going for it live on guitar. He said he was a punk rock kid, "So I fetishize cover songs," and they did mostly covers from thereon out. Mindy James took lead vocals for a re-working of The Rolling Stones' "Gimme Shelter" that she absolutely belted out, and Moby shredded out the guitar solo.

Moby loves John Lee Hooker, so next we got "A Dark Cloud Is Coming" which was inspired by Hooker, and was very dark, bluesy, ominous, and pretty heavy. It felt right for a night about prison ... but then the next one was "20th Century Boy" from T. Rex ... and the whole band was smiling and clearly enjoying themselves while they played, so it felt like hope again. Benmont Tench was back to be Moby's keys player too, and you could tell he was having fun. There was a dude/douche next to me who kept making lame GIFs during the show, then nudging me to look at them. Don't do that. Thanks.

Neil Young's "Helpless" was dedicated to Moby's Mom, who he lost 15 years ago after a life of food stamps and welfare as a single mother. Laura Dawn took lead vocals, and I got choked up again thinking about my own Mom back home.  Moby's "L.A. song about astrophysics and weird celebrities" was next up, and "We Are All Made Of Stars" happened. I love that dang song, and his great "Natural Blues" was next, again featuring Mindy Jones in rad voice. A cover of Zeppelin's "Whole Lotta Love" found us witnessing a "primal, libidinous battle" between Jones and guitarist/backup singer, Daron Murphy on harmonica. Jones and Murphy traded licks, while Moby laid down on the stage to enjoy it, and an older woman danced like no one was watching in the aisle next to me. Good for her.

Next up was "The Mount Olympus of cover songs, the mother of all cover songs, we need you to come to Valhalla with us on this one" ... and it was "Stairway To Heaven". Murphy took lead vocals while the band whipped the audience into a frenzy - and an older man had now joined the dancing woman, and they were both going off, spins and all, until "We drank vegan grogg from the skulls of our enemies!" proclaimed Moby. And you better believe we DID.

The All Star finale brought everyone back out together, and we all sang "The Perfect Life" together - and loudly. It was super celebratory, meaningful, and again, hopeful. At one point in the song, they brought it all down to a whisper with every single performer flat on their backs on the stage, which brought the whole house rushing down to the front to try to see them.

Then they brought it all back up to a joyous conclusion, and the hope that a more perfect life might be within the grasp of both everyone there, and everyone that they were helping by being there. There was no Kicking Out The Jams this year, which I missed, but this finale was so good that you could let it slide. Another fantastic night of music for Jail Guitar Doors was complete ... but the work continues all year.

Please get involved however and whenever you can ... donate, volunteer, teach, spread the word! Jail Guitar Doors is changing lives for the much better, and we're all better for it. Thanks and LOVE to all involved with this exceptional organization!

All photos by Paul Gronner Photography

Failure Close Tour WIth Hometown Show At The Fonda!

The seminal 90's band, Failure, is back and closed out their tour in support of their most recent album (really 4 ep's), In The Future Your Body Will Be The Furthest Thing From Your Mind, with a fantastic hometown show April 24th at the Fonda Theater in Hollywood. They were joined by another 90's band, Swervedriver, but this night was all about Failure for us.

Failure is my brother Paul's favorite, and he was down front to capture the show photographically, as well as lose his mind, being extra elated to be listening to his favorite music in person and so close, as we were covering the show for our friends at Juice Magazine. Neither band was ever really my own thing, but Failure showed why they are both so underrated, so fondly remembered, and still so celebrated - at least by this heavily Generation X audience that was positively thrilled.

Swervedriver didn't even break a sweat (unless it was due to the heavily lit stage), and their shoes were definitely being gazed at when we arrived near the end of their set. Someone on the floor yelled out, "Welcome back!" to the Oxford, England based band, and though almost exactly zero lyrics were decipherable through their super distorted guitar pedal fuzz, people other than me seemed to know what songs they were. A guy in a Jane's Addiction shirt was next to me, and that's who I was listening to instead of these guys. I found it to be a bit of a snooze, but the majorly stoned crowd (everyone seemed to have at least a vape pen, if not a real jay) nodded along happily, so good for them! The highlight for everyone (judging from the shrieks and the extendo jam nobody seemed to mind) was "Last Train To Satansville" from their Mezcal Head album, aptly titled, as I felt like I had mezcal head listening to it. Maybe that's when you listen to Swervedriver to really get them ... will give it a shot.

In between the sets, I sat up in the balcony waiting for Failure and observing the floor like Bran from Game Of Thrones this season. I wasn't really in the mood for mingling or partying, or even a rock show, really, but I knew how much this show meant to my brother, so I was there for it all. Old Failure heads from back in the day greeted each other by yelling across the floor with their rolled up collector posters as megaphones, and it was constant hugs and high fives down there. People were stoked. Then the house suddenly went dark, and there was Failure! Many in the house hadn't seen this band live in like 17 years, so to say they went wild when the haunting feedback intro led into "Solar Eyes" off the latest album was a major understatement. Thrilled!

The bass was so heavy I felt it in my throat all the way up in the balcony, and I could see my brother down front shooting, and knew how stoked he was. Ken Andrews was in fine voice ... he reminds me a bit of Beck - singing, not looks.

Andrews traded off guitar and bass duties with Greg Edwards, and Kellii Scott held it all down on the drums. "Distorted Fields" and "Heavy and Blind" (also off the new album, which was nice to see so many people loving and not yelling for oldies) were aptly titled, as there was hella distortion going down, the jams were heavy, and we were all nearly blind from the constant use of colored Klieg-type lights that almost never let you see the band fully (Kudos to the photographers that somehow found them in the chaos!).

"Fine citizens of Los Angeles, will you jump in a rocket ship with us for a trip to Fantastic Land?!" said Andrews, and the crowd answered in the affirmative, gaining them a bunch of songs from Fantastic Planet - their best loved and most well-known album. "Another Space Song" and "Smoking Umbrellas" were also titled pretty on the nose for these space rockers, and the smokers in the house that loved them. Andrews addressed the crowd here, saying, "What's happening, Los Angeles?! It's so good to be home!", with his arms up in victory formation.  He went on to say that it was great to be playing at home for family and friends, and that his two kids were here to see them play - and they were right in front of me in the balcony, head banging along and going crazy for their Dad. It was awesome. "Pillowhead" got the whole place going crazy, and featured a whole lot of air-drumming from the crowd trying to keep time with Scott.

The highlight from this segment was probably their biggest hit ever, "Stuck On You", and not just because a dude stage dove off of the stage at its start. It's a melodic anthem with great lyrics (I thought I'd drop you easily/but that was not to be/You burrowed like a summer tick/so you invade my sleep/and confuse my dreams/Turn my nights to sleepless itch) that also appeared to be every couple in the room's "song", as there was much swaying and kissing down there during this one. Fantastic Land is cool.

The Magnified album was featured next, and we got "Undone" and "Frogs". These were straight up ROCK, and reminded me a bit of Queens Of The Stone Age and maybe Tool, which is no surprise, considering these fellows opened for them on many a show. The Heart Is A Monster was the source material for the next jams: "A.M. Amnesia" and "Counterfeit Sky" which caused one guy (and there's always that guy) to yell out, "Fuck yeah, Failure!" - which is kind of funny to hear. Like "Hooray for failure!" would only come up if it was for this band.

 "Thanks for recognizing our new album. We love playing it on tour, thank you for supporting it!", said Andrews by way of introducing three more from ITFYBWBTFFYM, and next came "Dark Speed", "No One Left" and the magnum opus that is "The Pineal Electorate" (my brother's favorite of the night - among many). Those last two were switcheroos, as Andrews and Edwards traded vocals and instruments, and it was pretty metal. It ended with a cacophony of sound and feedback that showcased how good Failure's sound was in comparison to Swervedriver. Like, whoa. Failure is known for their sonic excellence, and they don't use any amps on the stage. They travel with their own sound guy, and play through the sound system - super technical and hard to pull off, but these guys do it with aplomb.

We went back to the Fantastic Planet for the last song of the main set, and Failure ripped through "Heliotropic" and its heavy rock punctuated by effective lighting cues. It was a jammer, and the guys in the crowd loved it, especially when Andrews was tossing out picks at its end, before leaving the stage for the obligatory encore pause. After a bunch of yelling and cheers, the band came back out for a bit of audience participation on "The Nurse Who Loved Me" - a much loved and covered tune also from Fantastic Planet (the one I'd get as a primer to Failure along with the latest). They took us back to their first album for the final two numbers, and we learned that Comfort was recorded in 1991 in Minnesota (our home state!) with producer, Steve Albini. Paul's favorite band was recording right in town and he didn't even know it! Now he likes them even more. "Macaque" and "Screen Man" made the entire room - including Andrews' kids - head bang even harder than before, both because they fully rocked, but also because it was the last show of this tour - and the way things go, you never know if there will be another live moment with your favorite band.

And if you've never seen an older band live before (like me with these guys), you gotta go see them when you can, because they might turn into your favorite band - even if you're late to the party. I'd like to thank Failure for greatly improving my mood, and reminding of the power of music to heal, uplift, and to unite. The crowd didn't want to let the band go (because they wanted more, but also because they kept throwing their stuff into the crowd!), and the lines for merch were long - again probably because you never know. But in this case, yes, it was a bit of time travel back to the 90's ... but it's most likely also a glimpse into the future, as these guys are at the very top of their game - and should now maybe consider a name change to Success.

*All photos by Paul Gronner Photography