Inhaler @ LA's The Belasco

By Jessica Klausing

Inhaler. Photo credit: Seatgeek

Alternative rockers Inhaler turned The Belasco theater into a massive dance party with an hour long set chalked full of rollicking guitar hooks and bold lyrical confessions. For two nights in a row, music fans of all ages crowded into the venue eager to see the Dublin quartet; Ryan McMahon (drums), Robert Keating (bass), Josh Jenkinson (guitarist), and Eli Hewson (lead vocals).

The band opened with their album title track “It Won’t Always Be Like This” to the deafening screams of mostly teenage girls. It’s very easy to see why. Eli Hewson has a strong vocal prowess and a commanding stage presence. My eyes were glued to the frontman as he sauntered from one side of the stage to the other belting out, “You’re in my head/It won’t always be like this/be like this/I’m dead, honey, I’ll be dead/It won’t always be like this.” Hewson is well known among the U2 fans for being Bono’s son. Right away you’ll notice the family resemblance as both frontmen are talented and extremely charming, but Hewson does not need to stand in his father’s shadow for attention. Inhaler proudly proves they can stand out on their own with their fresh, hip alternative energy.

The dance party continued with “We Have to Move On” and then slowing down for “Slide Out the Window.” The tempo picked right back up for the 2019 single, “Ice Cream Sundae” but it was “A Night on the Floor” that was the fan favorite of the night. Multi colored strobe lights flashed like a rave. As I looked around, I noticed every single person in the venue was jumping up and down in joy or dancing without a care in the world to this tune. The energy was so infectious that I found myself bouncing around like a jack rabbit too.

While the music is catchy, many of the songs focus on relationship issues and inner struggles. “Who’s Your Money On? (Plastic House)” mourns a failed relationship with, “This plastic house ain’t built to last/Things are just like they always are/We melt like ice in your hands.” The next song “My King Will Be Kind” was a punch to the gut with the angsty, “She says I’ve got no love/I fuckin’ hate that bitch.”

The band closed out the show with two hard hitters, “Cheer Up Baby” and “My Honest Face.” Once the show was over, we all filed out of the venue, flushed faced and exhausted from dancing. I can’t remember the last time that I danced so hard at a concert! Inhaler brings a refreshingly new sound into the indie rock genre that has been lacking for a while. They are such a fun band to see live.

SETLIST:
It Won’t Always Be Like This
We Have to Move On
Slide Out the Window
Ice Cream Sundae
When It Breaks
A Night on the Floor
Who’s Your Money On? (Plastic House)
My King Will Be Kind
Totally
In My Sleep
Cheer Up Baby
My Honest Face

CONCERT REVIEW: Static and Surrender 'Electrifies' @ Hollywood's Hotel Cafe

Written by Jessica Klausing

Static and Surrender. Photo by Jessica Klausing.

Bay area rockers Static and Surrender are on tour throughout California in honor of their debut album release. Their energetic riffs and rhythms are on par with the alternative superstar acts such as Lifehouse and Matchbox Twenty. Jeff Campbell (lead vocals, guitar) backed by John Schuman (drums), Adam Schuman (guitar, vocals), and Lauren Stockner (bass player) – all stars in their own right – delivered a passionate performance at Hollywood’s Hotel Café.

Jeff Campbell puts his heart and soul into each song and it shows. He kept the set running smoothly and without interruption for the majority of the night. Opening up with “Killing The Vibe” Campbell belts a powerful vocal delivery that commands the attention in a room while his bandmates exerted lighting-in-a-bottle energy around the small stage with ease.

Jeff Campbell. Photo by Jessica Klausing

With such a strong reaction from the crowd, the level of energy and intensity only grew with each song.  The next song, “If Only We Could Sleep” was no exception.  John Schuman pounded the drums as if his very life depended on it! His intensity was so great, that at one point, he had accidentally knocked over his microphone stand.

As the night continued, the crowd was introduced to more memorable tunes including the bluesy rollicking “Not Another Dime,” the ever so catchy “Fall On The Blade,” and the melancholic “Slow Crash.”

The brooding guitar anthem “You Won’t Remember Me” prompted a crowd sing-a-long. Despite the song being new, the crowd jumped right in with the chorus, “I got high! So high!”

“Just Because” followed with a stripped down funky rhythm courtesy of Adam Schuman and Lauren Stockner. Campbell explained that the song is about society’s expectations for us to find love, marry, and procreate.

Static and Surrender perform at Hotel Cafe. Photo by Jessica Klausing

The tempo slowed back down for “Mary Shelley,” a thoughtful and soul searching song just before revving the guitars back up for a spirited rendition of David Bowie’s “Moonage Daydream.”

Ending with “The Very Long Night,” Static and Surrender put on an electrifying performance overall.

Check out Static and Surrender’s debut album. If you get the chance to see them live, do it! Very few artists have that special knack to sound better live than in the studio. Static and Surrender is definitely one of those bands that kick it up a notch in the live shows.

SETLIST:
Killing The Vibe
If Only We Could Sleep
Not Another Dime
Fall On The Blade
Slow Crash
You Won’t Remember Me
Just Because
Mary Shelley
Moonage Daydream (David Bowie cover)
The Very Long Night
 

CONCERT REVIEW: Long Live 'Monks Of Doom' @ LA's Cafe NELA

Written by Jessica Klausing

Victor Krummenacher and David Immerglück of Monks Of Doom. Photo by Jessica Klausing.

Monks Of Doom are back on tour. Yes, you read this correctly. The surrealist progressive rockers are back in support of their newest album, The Bronte Pin. This album is the first of new material released in 25 years. The long wait, though highly frustrating, was indeed worth it. Victor Krummenacher (vocals, bass, and guitar), David Immerglück (vocals, guitar, bass, and mandolin), Greg Lisher (guitar), and Chris Pederson (drums, percussion) pulled listeners into a post-rock world of cryptic hysteria and psychedelic instrumentals at LA’s Café NELA.

From the psychedelia opening chimes of “Cherry Blossom Baptism,” off the 1991 album, Meridian, this was a strong performance with Lisher as the driving force, well supported in rhythm by Pederson on the back beat. Krummenacher and Immerglück kept the crowd totally encapsulated and mesmerized with their intricate guitar magic.

If there was ever any doubt, this powerful opener just proved that the Monks are still in fine eccentric musical form. The backdrop acted as a screen for colorful patterns that worked with the simple yet effective lighting to immerse the audience. The sound was good despite a few minor issues with the mic levels in the beginning. Overall the setup made for quite an exhilarating experience.

Victor Krummenacher gets ready to open with "Cherry Blossom Baptism." Photo by Jessica Klausing.

The set followed with the spacey rock instrumental “In Anticipation Of the Pope,” off the first album, Soundtrack To The Film: “Breakfast On The Beach Of Deception,” the essence of the distinct MOD sound that brought the band to the forefront in 1987.

Next up “Hieroglyphic” ventures into the realms of Ancient Egyptian psychedelia storytelling with  Immerglück overzealously proclaiming, “the sky is pregnant!”

The band seemed in great spirits with Krummenacher and Immerglück bouncing back and forth between playful stage banter introducing the newer tracks. They displayed their esteemed sense of dark humor by casually warning us that things were about to take an ominous turn.

“The Bastards Never Show Themselves” is an eerie moody piece and the way it is delivered exalts the gloom, the doom, and the angst. It’s a heavy bass thump that takes refuge in your mind and refuses to leave. “Up From the Cane,” another new dark one, delves into more heavy driving riffs. The emotion and aggressive energy of the music create a wave of unsettling tension.

David Immergluck shreds. Photo by Jessica Klausing.

As the night progressed on the Monks went back in time to revisit old favorites in their catalog, including “Going South,” “Oh Well,” and “Ukranian Technological Faith Dance.”

The biggest crowd reaction came from the powerhouse instrumental “Vaporize Your Crystals.” This song has a fantastic melodic dual between Lisher and Immerglück. The two attack it with spirited intensity and exuberance. The music ascends, never ceasing, never relenting, and communicating a driving and creative vitality in everything they do.

The set also included the riveting rendition of Syd Barrett’s “Let’s Split,” off the EP, The Insect God, before returning to The Bronte Pin for the ultimate guitar anthem “Osiris Rising,” which features a feverishly stellar guitar solo by Lisher.

Monks Of Doom perform at LA's Cafe NELA. Photo by Jessica Klausing.

Of course, no one was leaving without an encore and the band returned to close out the show with “Voodoo Vengeance,” from The Cosmodemonic Telegraph Company.

The Monks Of Doom tour runs until May 24 in Kingston ,NY. Prog rock fans are highly encouraged to attend but be warned: It’s bizarre, dark, euphoric, but mostly importantly – It’s alive!

SETLIST:
Cherry Blossom Baptism
In Anticipation Of The Pope
Hieroglyphic
The Bastards Never Show Themselves
Going South
Calvary
Up From The Cane
Oh Well
Vaporize Your Crystals
Riverbed
The Better Angels Of Our Nature
The Sinking Of The Essex
Tanguedia
Let's Split
Ukranian Technological Faith Dance
Osiris Rising

ENCORE:
Voodoo Vengeance
 

CONCERT REVIEW: Snow Patrol Take Back the City @ LA's Fonda Theatre

Written by Courtney Lavender

Gary Lightbody of Snow Patrol photo by @U2Soul/Flickr.

"Thanks for coming back," my friend Amy said to singer Gary Lightbody outside Los Angeles' Fonda Theatre last week. "We never weren't coming back," he assured us. It needed to be said anyhow. Gary has been open about the reasons the new Snow Patrol album, Wildness (due May 25th), has taken five years. As an artist with a wide-reaching platform, his frankness regarding his experience with depression will hopefully aid in its destigmatization, and further the discussion around mental health and addiction issues.

During the first song of the April 25th show (the third on their short promo tour), Lightbody kneeled and reached out to a photographer, providing the perfect shot, and received no reaction. "Smile, man!" he prompted good-naturedly between lyrics. "You're really close to me – smile!" Within 60 seconds of taking the stage, he'd both managed to command everyone's attention, and dish out a reminder to be present within the celebratory energy of the room.

I first saw Snow Patrol open for U2 in Ireland in 2005. I was an instant convert; I'd never seen so much joy bursting from one human, such a glowing smile, such a connection to the earth, the sky, the people. Despite the singer's ongoing struggles, and some vocal issues and technical false starts on the night, he is, with remarkable resilience, still smiling. “It’s one of the most incredible feelings, and I forgot," he said of being on stage. "Now I fucking remember.”

The same energy sparked from every corner of the stage – guitarist Nathan Connolly dancing up a storm, bassist Paul "Pablo" Wilson singing every word, keyboardist Johnny McDaid’s eyes twinkling.

Gary Lightbody and Minnie Driver perform photo by @U2Soul/Flickr.

Hearing the old songs live again was a blast. In the context of the evening, "Take Back the City" became a love song to LA, Lightbody's second home, with the honourary Angeleno opening his arms as if to embrace us. "Crack the Shutters" was joyful and reverent as ever; "Make This Go On Forever" a captivating, desperate plea. Minnie Driver even showed up to duet on "Set Fire to the Third Bar."

The group, supported by the force that is Jonny Quinn on drums, is adept at mixing straight-forward rock with more intimate moments, sometimes within the space of seconds. Halting the steady thump of "Shut Your Eyes" to silence, Gary turned the chorus over to the crowd, conducting us to build from a “sexy” whisper to a bellow.  

Outshining the hits, the new tunes were the real stars of the night. They are solid and catchy as ever, but lyrically cut deeper, wider. Fallen Empires, the previous Snow Patrol album, explored themes beyond typical relationship fodder, such as home, family, and childhood, and the Wildness songs previewed at the Fonda reveal an even broader scope of universality. I can’t help but think of the poem “The Summer Day” by Mary Oliver: Tell me, what is it you plan to do with your one wild and precious life?

The first single, "Don't Give In," with its Don't you dare quit so easy chorus, acts as a buoy in a bleak world. Don't say you want it forever*, Gary sings of the darkness. Anyone who's been in the abyss knows its appeal. Connolly adds a particularly blistering riff that alone might convince anyone in doubt that life is worth living.

[*When the album was released, I realised this lyric was actually Don’t say you won’t live forever, which is equally devastating.]

Snow Patrol photo by Courtney Lavender.

"Empress," inspired by producer Jacknife Lee’s kids, seemed in part a tribute to the communal nature of live music, and also contained the singular, glorious truth that We’re all just human in the end. For an additional shot of pure perspective, you get the clincher, This is so damn simple, a reminder to reevaluate any useless preoccupation.

The mark of a great singer is measured less by vocal quality, and more by believability. Do you believe what you are singing? Do others believe you when you sing it? Though he may have tripped up technically at points, I never once doubted what Gary was communicating, nor did anyone in the rapt audience. "Heal Me" was dedicated to someone who saved his life. I've been standing in the fire for way too long, he sang, and I could feel the flames.

"Life on Earth" might be one of the best tunes the band has written. Murky, moody verses are countered with a simplistic, shouty chorus that cuts to the bone – It doesn’t need to be so fucking hard / It doesn't need to be the end of you or me / This is life on earth / It’s just life on earth. BE HERE NOW, the song insists, before three layers of harmony shoot you soaring into space.

Gary Lightbody photo by Courtney Lavender.

Of course, in true Snow Patrol fashion, the vibe wasn't a heavy one, and the band/audience rapport elicited some hilarious banter. Gary spied a sign declaring I LOVE YOU with his name literally in lights. “Now I feel shy.” Another: Popping my Snow Patrol cherry tonight. “I’m not reading any more signs.” Later he admitted that the encore break was long because he had to have a pee and the bathroom was far away.

Perhaps one of the best things about this band is that their casual stage presence eliminates the barrier between performer and crowd, making you forget they’ve had a mega hit. It’s just you and them sharing a theatre with a few strangers, singing together, and laughing about being alive.

After the "long" break, Lightbody and McDaid returned alone for an absolute show-stopper called "What if This is All the Love You Ever Get." Bathed in magenta, motionless but for his hands, Gary delivered the most seemingly hopeless statement with delicately defiant hope. What if it hurts like hell? Then it’ll hurt like hell. It was a flawless performance –  passionate and plaintive, full of empathy, acceptance and gratitude. Why do we search unsatisfied, when what we need is all around us? I’m in the ruins too / I know the wreckage so well / Come on over, come on over here / What if this is all the love you'll ever get?

Their usual set-closer, "Just Say Yes," ended the night on a jubilant note. We could dance. Thanks for coming back.

SETLIST:
Open Your Eyes
Chocolate
Take Back the City
Called Out in the Dark
Don't Give In
Crack the Shutters
Empress
Run
Heal Me
Set the Fire to the Third Bar
Life on Earth
Make This Go on Forever
Shut Your Eyes
Chasing Cars
You're All I Have

ENCORE:
What if This is All the Love You Ever Get
Just Say Yes