Karl Denson's Tiny Universe

For the first time I have seen, tonight The House of Blues hosted a late night, 2am show featuring Karl Denson's Tiny Universe. The reason for this unusually late booking was Karl Denson played as guest at the Widespread Panic and Govt Mule show earlier Saturday evening, at The Joint. Even though I had never heard of Karl Denson, I appreciate live well composed jazz and it has been a while since I have seen a great jazz performance.

Due to the late start time, I did not expect a large audience turnout, but was even more surprised to find only thirty people inside when we arrived. After nearly and hour had passed, with no sign from the band or a crowd, I was just waiting for the word that the show had been cancelled. At about 3 am, people began arriving at a steady pace, and within fifteen minutes the band hit the stage.
With no formal announcement, the curtains were pulled back and Karl Denson's Tiny Universe began to play. The band was composed of himself on vocals/flute/sax/percussion, a guitar, a bassist, horns/harmonica, piano, and a drummer. They jammed out several lengthy songs back to back, with seemingly little effort. Their style was on the funky side, music was well layered and transitioned, highlighted by lyrics here and there. I loved the diversity in every song, each followed his trademarked groove, yet was completely different from the one before. It was amazing to see Karl’s true artistry while playing the flute or saxophone, and his ability to jump right in to soulful vocals following a winded solo.
As each song passed, more people filled the venue, the dancefloor became more crowded and the dancing was more intense. Karl Denson was still going strong, fueled by an audience that continued to grow. By 4am they had already completed nearly a full set, including: Everything, How Fine Is That, Bag of Funk, Groove On, Shake it Out, and Mighty Rebel. By now the early morning hours were staring to wear me thin. After leaving the venue, I was once again surprised to find there was a line outside the box office waiting for tickets.

For this concert, unfortunately I felt completely out of the loop. Many people wore feathered hats and at least 80% of his audience did not arrive until 4 am or later. If I had known, and arrived later, I am sure I would have stuck around to see his complete, two-set performance. In the days following the show, I explored his website and listened to his music, and was quite impressed with what I heard. Karl Denson’s Tiny Universe is highly talented and well composed. If you like jazz, classic funk, or even reggae, his music is right up your alley. Hopefully he will come back to Las Vegas, as I would like to give him another chance.

For a sample of his live performance, check out my video:

Suicidal Tendencies with (həd)p.e.

Once again I was fortunate enough to see a band that I never thought I would have the chance to see live. During their twenty year career, Suicidal Tendencies has defined west coast music with their raw thrash punk metal. At the age of ten, I fell in love with their “Still Cyco After All These Years” album, and remember my mom questioning my father over how I got this CD. Thankfully my love for punk/metal was not stifled, I continued to headbang in the kitchen after school, and expand my love of music. There is a special place in my heart for Suicidal Tendencies and I was ecstatic to see them live.

As a perfect compliment to Suicidal’s style, (həd)p.e. was the opening band. Each time I has seen them over the years, I was always impressed with their sound and heaviness. Not only were they more solid musically, but their sound had expanded further into reggae and hardcore. Tonight's performance was top notch for the band, full of energy with an equally responsive audience and mosh pit.
The only downside was Jared (vocals) halted their momentum with lengthy political opinions and theories, which grew weary on both the band and crowd. After wrapping it up, they were quick to regain the energy back and were supported by an impressive fan base, that knew all their lyrics. Hed PE would heavily tear it up with double bass, fast solos, and screaming vocals, then transition into a cover of Bob Marley’s One Love. They welcomed a guest vocalist, Las Vegas’ Big B and even spent time representing the posse by chanting “family.” Hed PE wasn’t quite what I remembered or expected, but they were heavy and overall I enjoyed their concert.

After a trip to get some merch, we talked several fans that were just as stoked to see Suicidal after all these years. There was a sense of camaraderie among the fans, especially since many hailed straight from the LBC (Long Beach-Compton). When Suicidal hit the stage, they wasted no time taking us back, opening with an extended version of You Can’t Bring Me Down. Instantly fans were shouting, throwing fists, and the big boys had started an intimidating mosh pit. Mike (vocals) ran up and down the stage, headbanging on either side then running back again, his energy and enthusiasm only fueled the crowd below.
Suicidal Tendencies never let up once, there was always a wicked solo going down on bass or lead guitar, all while pounding drums and rhythm guitar lead them along. This show was a real treat to many die-hard fans, as Mike mentioned "Alot of these songs we haven't played in 20 years." Tracks included: Institutionalized, Join The Army, Prisoner, War Inside My Head, Subliminal, Suicidal Maniac, (badass drum solo), Come Alive, Go Skate (Possessed to Skate), Widespread Bloodshed, I Saw Your Mommy, Waking The Dead, Cyco Vision, Pledge Alligence, and I Shot Reagan.
"There was punk rock there was metal and there was suicidal in the middle," another great quote from Mike. ST’s music was a pioneer in the 80s and even 90s, bringing home heavy punk rocked laced with anger that lit up the hearts of many fans. The band and each member showed no sign of wear for the years gone by, if nothing else they were amped to be playing again, and the audience was equally as grateful. I am still beaming from this show and it is not one I am soon to forget. If you love punk and metal, but you have not seen Suicidal Tendencies or even (həd)p.e., you don’t know what you’re missing!

You can watch Suicidal Tendencies' promotional video here

TECH N9NE and E-40

Making his second stop this year at The House of Blues Las Vegas, Tech N9ne thrilled his fans by returning just four months later. Tech N9ne even offered super-fans the chance to purchase VIP Packages that came with merch and allowed you to hang with The Strange Family for three hours before showtime. (Totally worth it, as I am told) As he continues celebrating a decade as an independent rapper, now on his Independent Grind Tour, Tech N9ne is joined by his usual crew (Krizz Kaliko, Kutt Calhoun, Big Scoob) and the o.g. E-40. Las Vegas returned our love by selling out the venue. As I was already expecting a high energy performance, after looking upon the sea of fans and our drinks in hand, I knew this was going to get wild.

E-40 opened to an already packed venue, wasting no time getting fans hands up in the air. After only one song, the audience was already shaking and grooving up and down. Completing nearly an hour performance, E-40 sampled from several other rappers and performed many club favorites: U And That, Too Short, Snap Your Fingers, White Gurl, Two Step, and Tell Me When To Go. E-40 didn’t let up for a minute, keeping the floor a non-stop party while he was on stage. He certainly lived up to his long time rep.
As soon as the lights dropped, Tech N9ne stepped out front and center under one spotlight and proved to anyone that didn’t know, how he got his name. Unaccompanied he spit one of the longest, hard, fast, and sharp rhymes I had ever heard, perhaps quicker than a TEC-9 gun, throwing the crowd into a roaring applause. Similar to his June performance, Tech was often joined by his rap family, passing the flow from one to another with seamless accuracy. The momentum didn’t stop for a second as The Strange Family blasted through another two hour performance. Tracks included: Let’s Get Fucked Up, Come Gangsta, Bout Ta’ Bubble, Einetien, Sorry n Shit, O.G., Industry is Punks, Leave me Alone, Casribou Lou, KC Tea, Salue, and I’m a Playa. Once again, Tech N9ne, E-40, and their crew did not disappoint. 2,000 fans got loose to their unique brand of hip-hop, grinding, bouncing, and cheering from wall to wall. Las Vegas clearly loves Tech N9ne and always comes out to show their support. For those of you that don’t know, you need to get out there and “drop down, cuz here comes Tecca Nina!”

Check out my review of his June 1, 2010 performance here.

Atmosphere: To All My Friends

A Las Vegas local favorite, Atmosphere returns to The House of Blues with Blueprint, Grieves & Budo and DJ Rare Groove on the To All My Friends Tour. Atmosphere stops in Vegas at least once a year, for more years than I can count, and often takes time to stop at Zia Records beforehand for a meet and greet. I was fortunate enough to meet him in 2008 while promoting When Life Gives You Lemons, however I may be the last fan I know that has not seen one of his shows.

Perhaps the gods have it out for me, as once again I was held up from getting to Atmosphere because my car was still in the shop. After a mad rush to get down there, I was disappointed I had missed all the opening artists, but relieved I arrived just as Slug took the stage. The venue was muggy and packed with a sold out crowd. Slug’s setup included a pianist, bass player, and DJ Ant, providing the crisp blend of natural and electronic beats he is known for. I was quite impressed with his clean live flow and sound, some songs were arguably better live then their recorded versions.
Slug paused between every few songs to recite some positive attitudes and often stopping “to thank all my friends, I love you.” There is a humbling and real attitude that is not only present in his lyrics, but also in his what he projects, taking listeners to another level. The sold out room sang along with every song, waving their hands in unison. Atmosphere was so impressed with the love from his fans, despite the rooms sweltering conditions, he blasted through over twenty songs and an encore: Trying to Find a Balance, Shoulda Known, Guns and Cigarettes, Between the Lines, Hope, To All My Friends, Sunshine, Modern Man's Hustle, Freefallin', Puppets, The Waitress, Godlovesugly, Shrapnel, Scapegoat, Guarantees, Don't Ever Fucking Question That, Pour Me Another, Lovelife, Angelface, Always Coming Back Home to You. Encore: Not Another Day, Like Today, You, and The Best Day.

As an Atmosphere fan, I am lucky for having the well rounded experience of listening first, meeting second, and seeing third. It only allowed time for his music to root deep and keeping my interest level high. Slug is talented on the mic, an artist with words and emotions, and truly puts on a great performance. Atmosphere is a must see for any true hip hop lover.

Ratatat

I first saw Ratatat live in December 2006, at the intimate but now closed Art Bar downtown. I stood only a few feet away from the band on their little stage, completely drenched in color from their projectors, and I still vividly remember their immense music traveling through my body. I have only seen a few bands that can produce a true feeling of euphoria with their music alone. After that show, I instantly became a huge fan and supporter of Ratatat. I have literally been bursting with excitement counting down the days to this show.

Opening tonight’s show at the House of Blues was Bobby Birdman and Dom. Although we missed Bobby Birdman due to the biggest box office line I have ever seen, I was happy to know so many people made a last minute decision to see Ratatat. We walked in with enough time to get a drink and get close to the stage when Dom came out.

As I was expecting similar instrumental groups to open the show, I was happily surprised with Dom’s grungy garage rock sound. The lead vocals were echoed with rough edges and produced ample sound as they completed most of their set as three guitarists and one drummer. Although I’m not quite sure how to describe their sound, it was old but new, think Sonic Youth. Dom had a good vibe, fresh sound, and put on an enjoyable show.

As the audience and anticipation grew, many of us up front started sharing Ratatat stories, only heightening our excitement. Looking across the stage, I noticed the quality and quantity of their music instruments had grown, and so had their visual equipment. As lights darkened, a roar of cheers filled the room, while Ratatat slowly brought up the lights and their synthesizers. Within minutes the stage was an eruption of light and sound. Both members hopped between several instruments, in front of a large projection screen of images from their videos, with two incredible holographic glass panes on either side of the stage. Just as I remembered, their music was overwhelming but also greatly enhanced by the visual elements.
Ratatat kept the crowd dancing and clapping throughout.their amazing set that included songs from every album: Bob Gandhi, Grape Juice City, Mandy, Mirando, Loud Pipes, Falcon Jab, Mahalo, Shempi, Neckbrace, Gettysberg (introduced as, “This song is about surfing.”), Party With Children, Wildcat, Drugs, Lex. After the chanting had diminished and it was unclear if they were going to play an encore, the crowd went wild when we heard, “I’ve been rappin’ for about seventeen years...” For the last two songs, Seventeen Years and Bare Feast, Ratatat and the fans gave all they had left.
As the House of Blues cleared, we were left bubbling with pure fascination of the incredible show we had just experienced. Many of us met up afterward and continued our Ratatat stories and the rush we felt after the show. Just as it was four years ago, Ratatat made a deep impression on their audience, spreading the bond of music through people, comparable to nothing else. True to my tweet after the show, “Ratatat is still one of the top 10 live bands I've ever seen.”

Mike Posner

The September House of Blues Artist of the Month, Mike Posner, stopped in Las Vegas on Saturday night. I read the article and was impressed to learn he recorded his own album from his dorm room and got the word out online. A grass-root artist that worked his way up to major pop star and has the time for a meet and greet with his fans, truly deserves the adoration. I was anxious to hear his music and find out what a top 40 pop singer is like in concert.
Although we were tardy due to another full parking garage, we arrived just as the energy in the room was about to burst. Mike Posner was active across the stage, his vocals were crisp, and he was backed by a full band rather than just a DJ. Most of the audience appeared to be female superfans who cheered louder and louder after each song. He also kept the crowd moving, saying “Don’t be shy, this is not the time... Put your hands up!” The condensed crowd followed his every move, put their hands up and waved along with him.
Mike Posner mostly played songs from his debut album 31 Minutes To Takeoff, just released in August. Posner’s performance included a solo moment while he played piano, was joined by featured artist, Big Sean for his song Speed of Sound, and even included a costume change. I found myself really get into it during Dynamite (Taio Cruz cover) and his lively cover of Electric Light Orchestra’s Evil Woman. Singing for just over an hour, he treated his fans to a great show and also gave one encore. The setlist included (no particular order): Please Don't Go, Bow Chicka Wow Wow, Deja Vu, Please Don't Go, Gone In September, Save Your Goodbye, and Cooler Than Me.
As the venue cleared, I left with the impression that although he is a talented up and coming artist, but I think he still has some growing to do. Even though his vocals and presence were both great, his beats were generic and seemed rather similar. It is rough to say, but until he progresses toward the dance vibe his remixes have, I feel his music falls short. However, if a smooth male R&B vocalist is what you’re into, check out Mike Posner, he’s got what the ladies like. ;)

Apocalyptica with Dir En Grey

Quite honestly, I had never heard of Apocalyptica or Dir En Grey prior to the show announcement, but their names alone intrigued me. After doing a little research, I was so impressed, I could not wait to see this show. Dir En Grey is an extremely popular Japanese metal band and "Apocalyptica is a Finnish cello metal band from Helsinki" made famous doing Metallica covers. Both have over 10 years making music in a specifically unique metal niche. Not knowing what to expect I walked into The House of Blues anxious and looking forward to a one of a kind show.
Dir En Grey had a massive fan base, many of which were Japanese girls. As the curtains opened to a dim foggy stage, a shriek of screaming girls filled the room, as the lead singer (Kyo) taunted them with his moves. While amazed by the loud audience, Dir En Grey played their music even louder. During a few songs, I was surprised by how heavy and loud they were, reminding me of Norma Jean, largely bass and drum driven hardcore. Each member was very talented, the bassist played nearly upright and Kyo did a few a’capella screamo bits, truly a first for me. Image is a high priority to their performance, the singer was showcased on his own raised stage and the guitarist had a fan blowing his long hair. Although I didn't know what to think for a minute, their "look" and attitude made their set fun to watch and kept the girls screaming.
After an hour had passed and Dir En Grey was still going strong. Since I had never seen an opening act complete a full set, I became concerned that Apocalyptica may have cancelled. After their ninth song, Kyo sat Buddha-style, alone on his raised stage covered in blue light, and performed a several minute echoing scream that he pulled from within, entitled Inward Scream. Since I had never seen an opening act complete a full set, I became concerned that Apocalyptica may have canceled. As that was not the case, fans were treated to an immense setlist and with a few experimental transitions: Sa Bir, Red Soil, Agitated Screams of Maggots, Gaika, Chinmoku ga Nemuru Koro, Hageshisa To, Kono Mune No Naka De Karamitsuita Shekunetsu No Yami, Rotting Root, Vinushka, Shokubeni, Obscure, Inward Scream, Dozing Green, Reiketsu Nariseba, The Final, and Rasetsukoku. Encore: Inconvenient Ideal. (setlist courtesy of @trentskers)
After a prolonged break, I was surprised to find that much of the audience had left prior to Apocalyptica taking the stage. Apocalyptica wasted no time showing off their talent by opening with an intricate cello version of Metallica’s Wherever I May Roam, immediately followed by Sepultura’s Refuse/Resist. My guest and I were floored by how much sound their three acoustic cellos produced and how amazing the “guitar solos” sounded. Not only was their instrumental metal totally on point, but it was also as beautiful as a symphony.
Apocalyptica burned through an energetic performance of their music and numerous covers. Whether they were playing sweet melodies or jamming through a metal solo, they captured the audience’s adoration. Although most of the songs were completely cello and drums (no vocals), guest vocalist Tipe Johnson from Leningrad Cowboys, joined in on a few songs. The band interacted with the crowd between songs, and once mistakenly exclaiming, “Thank you Los Angeles!” The setlist included: Grace, At the Gates of Manala, End Of Me (w/ vocals), I'm Not Jesus (w/ vocals), Master of Puppets (Metallica cover), Beautiful, Sacra, Last Hope, Bring Them to Light, Seek & Destroy (Metallica cover), Inquisition Symphony (Sepultura cover), Life Burns! (w/ vocals) Encore: I Don't Care (w/ vocals) and an epic performance of the classic symphony The Hall of the Mountain King.
I came to this show with a blank slate and left with two exceptional masterpieces. After all the live music I have seen, both Dir En Grey and Apocalyptica put on incredible performances and showed me music/style like nothing I have previously experienced. If you have not yet experienced either of these bands and you love metal, it is a must.

Check out an acoustic performance Apocalyptica did on local radio station KOMP earlier that day.