AC/DC MURAL IN INDIO, CA REPORTEDLY DAMAGED DURING KENDALL JENNER TEQUILA EVENT

A vibrant AC/DC mural was painted on the exterior wall of the Club 5 Bar in Indio, CA ahead of the Power Trip music festival last year. The mural was the only permanent decoration created for a pop-up celebrating the band's 50th anniversary and historic Power Trip performance — AC/DC's first time onstage together in seven years — but according to a report by Desert Sun, the physical reminder of the occasion is now tarnished.

Last week, the mural was damaged, and one of the bar's owners believed it happened during a pop-up event for Kendall Jenner's 818 Tequila, which was held during Weekend 1 of the Coachella Valley Music and Arts Festival.

According to social media posts on the brand's social pages as well as the City of Indio's Instagram page, 818 Tequila installed various decorations for the event, which included a large company decal that was placed over the mural on the side of the bar's exterior. In the social media photos, the decal is seen in the same spot The Desert Sun photographed a mural during an AC/DC pop-up for Power Trip in October.

INTRODUCING: Gods Of Sometimes

GODS OF SOMETIMES are a new band who consist of Andrew Giacumakis (who also plays in MOAB) and Brad Hill (from FU MANCHU) and released their self-titled debut album last year. While the band’s music on the album is a long way from either of their main bands, being that it is a lot mellower and hazier, it still comes with the same passion. The pair between them, perform everything on the album with a bit of help from some special guest friends along this musical journey like J Mascis from Dinosaur Jr and Steven Drozd from Flaming Lips and it sounds like a perfect summer listening experience. We caught up with Brad and Andrew to talk about the album and how GODS OF SOMETIMES became a reality.



We start off with Brad telling us about how the recording process of the album went and what went into making Gods Of Sometimes. “It was lengthy but smooth. We both live in Southern California. However, I live in Orange County, which is about two hours south of where Andrew lives and where the studio that we have is, so we had to chop that up into various weekends throughout the last three years.”

With GODS OF SOMETIMES being a new band, Brad then gave us a bit of insight into how they started and when. “I think probably about nine or ten years ago, I met Andrew through a mutual friend because FU MANCHU was looking to play some shows in Los Angeles and Orange County, and we were trying to think of some new opening bands that we could play with and our friend Jeff recommended MOAB to me. I got a record from Andrew and I listened to it and I was very taken with the production. I was like, ‘who produced this? Where did these guys get these tones from?’ It turned out that it was Andrew recording it himself. We started to work with Andrew on some other recording projects. Then, eventually I started playing drums for MOAB after Erik Herzog sadly passed away. We were playing shows and just through conversations, it came about that me and Andrew and both were into a lot of mellow music, so we decided that it would be fun to do a recording project where we can kind of play that music that was now on our mellow side of things.”

With GODS OF SOMETIMES sounding so different to both Andrew and Brad‘s other bands, we delved into the reason why they wanted to make music with a much mellower vibe as Andrew tells us. “It’s been an ongoing thing for a while for me. Brad heard me say that for me it started when my father passed away in 2019. For some reason, listening to heavy music felt weird. I was bummed out when I lost my dad, he’s a good guy and I was listening to a lot of mellow music at the time and lost my fire for riffs for a bit. Not forever, but for a bit. That prompted me to make mellow or music softer, That’s where it started for me.”


With their debut album out already, talk turns to if GODS OF SOMETIMES have thought about any new material and it is good news as Brad reveals. “It seems like we’re already sitting on another half a new record and hopefully the next one won’t take as long as this first one.”

With the revelation that the band’s next album won’t take as long to emerge as their debut, Andrew delves into why the debut took a while to create. “Another reason the record took a long time wasn’t just the fact that we were working on weekends, basically. We were also finding out what the vibe of the record was. We didn’t really know and we went into it open minded, let’s try this kind of style. Most of what we did stuck, but there were a few tunes that weren’t right, they weren’t the right kind of vibe for what the record was turning out to be and so those got tossed to the side.”

When it comes to who has influenced the music of GODS OF SOMETIMES so far, the duo plump for some classics, with Brad telling us. “As far as the ones that me and Andrew share would definitely be THE BEATLES and FLAMING LIPS.” Andrew adds, “NEIL YOUNG too, and there’s a classic rock vibe to it, that kind of thing.”

We then talk about what both members of GODS OF SOMETIMES feels that the other brings to the band and their sound with Brad going first. “Andrew does almost everything. He’s a multi instrumentalist, musical genius, who is also a producer and engineer. He engineered all the songs, all the recordings and mixes everything. It’s quite awesome. I’m kinda on there like Flavor Flav! Although I did see a video and Flavor Flav is actually a multi instrumental, like talented dude.”

Andrew then gives his input. “Brad, well first off, everybody knows his bass playing but beyond that, his drumming which isn’t overly technical but has so much groove. Beyond the instrument playing, his taste is hard to find. A lot of musicians, they tend to be good musicians, but overly focused on technique and things like that, as opposed to just like, what are we doing here? What’s the sort of artistic flavour of what we’re doing? Brad‘s very good at that and very honed in on that, and also has a great work ethic.”

Gods Of Sometimes is out now via Falling Dome Records.

Follow GODS OF SOMETIMES on Instagram.

LEAH – THE GLORY AND THE FALLEN

LEAH – THE GLORY AND THE FALLEN



Nick Balazs

Rating: 8.0

review heavy metal leah



The Glory And The Fallen is a pleasant listening experience. Canada’s Leah presents songs rooted in perseverance, romance, and inspiration wrapped in an otherworldly, fantasy mindset. On Glory And The Fallen, she is joined by current and former Delain members (guitarist Timo Somers, drummer Sander Zoer) and Epica’s Mark Jansen brings his growling vocals on “Sleeping Giant”.

The result is Leah’s trademark Celtic/folksy tunes wrapped in a symphonic metal soundscape. The instrumentation is tastefully mixed, letting the lighter elements to mesh well with the electric guitars. Opener “Archangel” has that classic symphonic metal glistening bounce to it – similar to classic Delain, but the notch is raised higher as Leah’s signature vocals power the medieval textures to “No More Fear” with hooks aplenty.

“Revive” is another highlight with complementing vocals from Syr, it’s dramatic, Celtic presentation a song of bringing and ended relationship back to life while “Little Stars” has a sad, nostalgic feeling to it with melancholic chords. “Speak To Me” has an airy, soothing vibe which definitely reminds of Enya.

ENTREVISTA Doro Pesch: levando sua música aos True Metal Maniacs

Divulgando o recente single “True Metal Maniacs”, lançado em 20 de dezembro de 2023, a rainha do metal Doro Pesch carinhosamente recebeu virtualmente em sua casa a imprensa da América Latina para uma entrevista coletiva, que na verdade se desenrolou em um bate papo para lá de descontraído.

A nova música trata-se de uma das cinco faixas bônus que acompanham a versão física de seu mais recente álbum, ‘Conqueress – Forever Strong And Proud’, a qual veio acompanhada de um vídeo clipe, que é um compilado de gravações de suas performances ao vivo no Wacken Open Air de 2023, no grande show de seu aniversário em Düsseldorf e, carinhosamente, no festival Monsters Of Rock, que aconteceu no Brasil também em 2023.

Anteriormente, a cantora já havia declarado que a faixa representa seu agradecimento aos fãs, que considera ser a força que a impulsiona e, inclusive, o segredo de se manter sempre jovem. Quando perguntada sobre qual o segredo para se manter com a mesma energia por todo o curso de sua carreira, a simpática alemã respondeu: “Ei, essa é uma resposta fácil. Não quero aborrecer todos vocês com minhas longas respostas. É uma palavra. São os fãs. São os fãs e pronto. Isso é tudo que é preciso. Quando vejo pessoas que amam música, nem precisa ser minha música… Mas você sabe, assim como amar música, ser apaixonado por alguma coisa, sabe, falar sobre outras bandas, falar sobre músicas ou fazer um show que me dê tanta energia e acho que isso me mantém jovem e eu adoraria fazer isso pelos próximos 40 anos, se assim for. Mas são os fãs, são as pessoas, são todos vocês. Adoro conversar com todo mundo e falar sobre as canções, sobre música, fico muito feliz quando posso falar sobre tudo isso. Provavelmente não sou muito boa falando sobre qualquer outra coisa. Você sabe, quando eu tenho conversas com amigas, e elas me dizem que compraram uma casa nova ou compraram móveis novos, então, cara, eu fico morta de tédio. E eu penso ‘do que eles estão falando? Esse não é o meu mundo’. Mas quando se trata de música, então eu me sinto viva, bem energizada e jovem. Então este é o meu mundo, claramente”.


Apesar da clara vocação para música e uma longa e próspera carreira, a cantora assumiu que ainda sente ansiedade e nervosismo antes de entrar nos palcos: “Sim, na verdade, ainda tenho medo do palco depois de 40 anos. Eu ainda estou tipo ‘oh meu Deus’. Eu ainda fico animada… Com medo do palco… É sempre como uma grande aventura. E quando é algo tão especial como por exemplo o Monsters Of Rock, não é como um pequeno show em um clube, é um grande momento, você sabe, e eu quero fazê-lo bem, sabe?! E sim… o medo do palco é terrível antes do show. Mas então, quando estou no palco, no primeiro segundo, quando canto a primeira palavra, então está tudo bem, tudo fica bem. Mas antes… oh Deus! Estou nervosa para diabo, sabe?! E às vezes eu penso ‘cara, eu espero que eu consiga’, porque é muita adrenalina, é como se você tivesse tomado 50 xícaras de café. É sempre tão sufocante e excitante ao mesmo tempo. Nos anos 80 eu precisava sair para vomitar no camarim e hoje em dia não preciso mais fazer isso, então estou um passo a frente… Era inacreditável. Eu ainda tenho medo do palco, mas eu não morro mais. Era terrível. Você quer fazer o bem. Você quer dar o seu melhor. Você quer dar tudo de si e é difícil quando há 50.000 pessoas ou 10.000 pessoas ou mesmo em um clube, mesmo 1.000 pessoas. É tipo ‘uau’ você sabe, sou apenas uma pequena pessoa vinda da Alemanha, de Dusseldorf, e de repente você tem que estar no palco fazendo o que tem que fazer… É sempre muito especial”.

O álbum recém-lançado surpreendeu com duas colaborações. Dentre elas, o ilustre Rob Halford, do Judas Priest: “Foi muito especial. Minha primeira turnê em 1986 foi com o Judas Priest. Sempre fui uma grande fã do Judas Priest. Nós fizemos o lendário Monsters Of Rock Festival, dois na Alemanha e um na Inglaterra, eram 80.000 pessoas e foi ótimo! E aí todos disseram ‘ok, vamos dar uma chance para essa banda’, que antes era o Warlock e nós fizemos uma turnê com o Judas Priest em 1986. Foi ótimo, foi incrível e nós viramos amigos e somos até hoje. Nós sempre nos vemos em festivais, já tocamos várias vezes juntos. No último ano nós tocamos juntos em um festival na França e estávamos agendados para tocar no mesmo dia. Estávamos passando um tempo no backstage, conversando, e então o Rob Halford estava me perguntando o que eu estava fazendo, eu respondi que eu estava terminando um álbum novo, que estava quase pronto. E aí nós estávamos um olhando para o outro e eu disse ‘Rob, você está pensando o mesmo que eu?’ e ele disse ‘sim! Vamos fazer algo juntos! Você tem algo em mente?’. Imediatamente eu respondi: “Living After Midnight”, pois fui nascida e criada com o álbum do Judas Priest e seria imensamente feliz se gravássemos esta música. Ele concordou e disse “ok, vamos fazer, mas tenho um pedido também, pois também tenho uma música que sempre quis gravar com você’. Perguntei qual era e ele me surpreendeu respondendo ‘Total Eclipse Of The Heart’. Eu disse a ele que não esperava por isso, que era uma escolha incomum. Mas ele disse ‘eu amaria gravá-la com você’ e agora eu estou no paraíso com dois duetos com o Rob Halford no álbum. Eu estou muito feliz. Foi bem inusitado, mas eu amo uma aventura e estou muito feliz com o resultado”


A segunda colaboração veio de forma inusitada, com o punk-rock de Sammy Amara da banda alemã Broilers: “Sammy já está no ramo há 30 anos. Eu sempre penso que é uma banda nova, mas o Boilers já tem uns 30 anos e eles são mais da pegada punk e eles me convidaram para participar de dois shows de Natal que eles sempre fazem. Nós somos da mesma cidade, Düsseldorf, e eles me convidaram para cantar uma música de Natal. Durante os ensaios, tudo foi muito divertido e bacana e nós acabamos decidindo tocar uma segunda música, que seria “Breaking The Law”. Nós fizemos estes dois shows e eles têm fãs totalmente diferentes dos meus. Os fãs deles são bem mais novos, entre 20 e 25 anos, eu usualmente tenho fãs um pouco mais velhos, mas foi totalmente louco! Tinha tanta energia por lá que foi ótimo. Então, depois do segundo show, eu liguei para o Sammy para agradecer pelo convite e pela experiência e disse ‘ei, Sammy, eu realmente estou finalizando meu álbum, mas você acha que devemos fazer algo juntos?’ e ele disse ‘com certeza!’. Então, algumas semanas depois eu fui até a casa dele pra trabalharmos em seu home studio e tivemos essa ideia de escrever sobre amizades profundas. Eu tenho duas coisas sobre as quais eu realmente gosto de escrever: amizade e “fighting the good fight” (lutar em uma boa batalha). E esta foi a última música que foi composta para o álbum. Já “Total Eclipse Of The Heart” foi a última a ser gravada para o álbum. E realmente foi bem no processo de finalização do álbum e eu percebi que muitas vezes, no último dia disponível, você pode aparecer com uma ideia maravilhosa e as coisas acontecem, é ótimo quando as coisas que você não planeja saem tão bem”.

Para o ano de 2024, Doro planeja participar de muitos festivais na América do Sul, além da turnê de promoção de seu novo álbum, e que pretende deixar que os fãs escolham quais músicas do disco querem ouvir. Além de, claro, todas as melhores músicas dos últimos 40 anos de sua carreira. “Há um novo DVD, um Blu-Ray, sendo produzido, e nele queremos apresentar o show do Wacken Open Air e o show de Düsseldorf [40º aniversário] e algumas coisas especiais, como um bootleg com takes do meu aniversário de 20 anos de carreira em que o Lemmy (Motorhead) aparece ensaiando, que considero um material muito especial e quero muito usar. Além disso, estamos planejando alguns vídeos e tem um em especial sendo feito, que vai levar bastante tempo para ser lançado pois é meu primeiro “comic video”. Eu já vi os primeiros dois minutos e é simplesmente ótimo e muito engraçado”.

Agradecimentos à Marcos Franke (assessoria Shinigami Records/Nuclear Blast) pelo contato para participação nesta entrevista coletiva.

Death to All repassa toda discografia da banda de Chuck Schuldiner em SP

Death to All repassa toda discografia da banda de Chuck Schuldiner em SP





O show do Death to All se aproximava da reta final quando o dono da noite em cima do palco, Steve Di Giorgio, fez um solo de baixo e começou a próxima música em seu instrumento. Bastou iniciar a singela melodia de guitarra para a pista quase lotada do Carioca Club acompanhar cantando a introdução de “Lack of Comprehension”, faixa de “Human”, disco seminal lançado em 1991 para quebrar paradigmas do death metal.



Por mais de uma hora e meia, com volume bem alto, em frente a apenas um pano de fundo com o logo do projeto-tributo e sob iluminação até simplória, foram executadas faixas de toda a discografia do Death. O respeito ao legado de Chuck Schuldiner ficou evidenciado na reprodução cuidadosa dos arranjos originais.




Assim como a sonoridade da banda homenageada, o show do Death to All não repete os estereótipos de um show de metal extremo. Rodas são pontuais. O público, muitas vezes, acompanha embasbacado o apuro técnico dos instrumentistas — principalmente de Di Giorgio no baixo — ou as labirínticas composições. E canta junto as melodias e os refrãos.

Muitas vezes, parece mais um show de prog. Mas nunca deixa de ser death metal.Foto: Gustavo Diakov / @xchicanox
Death to All e o legado de Chuck Schuldiner



Quando Chuck Schuldiner morreu, em 13 de dezembro de 2001, a associação dos dois subgêneros mencionados ainda engatinhava e estava longe de ser tão natural como é hoje em dia. Não à toa, o guitarrista se sentia limitado e criou uma nova banda, o Control Denied, para dar vazão à musicalidade que então julgava incompatível ao esperado pelos fãs do Death.



Não que “Symbolic”, álbum de 1995 no qual Schuldiner se sentiu no limite da identidade do Death, tenha sido mal recebido por imprensa e fãs. O último trabalho da banda, “The Sound of Perseverance” (1998), também aclamado, veio como parte de um acordo com a gravadora Nuclear Blast por mais um disco dos ícones do death metal antes de dar suporte ao Control Denied. Ninguém, além do falecido músico, desejava o fim do grupo.



Mais de vinte anos após a morte de Schuldiner, seu já reconhecido legado só ganhou importância e admiradores. Parte considerável do público que encheu o Carioca Club no fim de tarde de sábado mal balbuciava palavras ao final de 2001. Dificilmente algum presente conseguiu ver o Death ao vivo — o mais próximo que a banda esteve do Brasil foi em uma apresentação no Chile em novembro de 1998.Foto: Gustavo Diakov / @xchicanox



Em 2012, coube ao ex-empresário e curador do legado musical do Death, Eric Greif, organizar alguns shows cheios de convidados e ex-membros para homenagear Schuldiner. No ano seguinte, colocou o projeto na estrada capitaneado pelo baixista Steve Di Giorgio, mais longevo parceiro do falecido compositor, ao lado de Paul Masvidal e Sean Reinert, dupla do Cynic que gravou o citado “Human” — cujo guitarrista de apoio, Max Phelps, foi o escolhido para completar o time também assumindo vocais. Um achado.



É possível dizer que, sem Phelps, o Death to All não vingaria. A semelhança física com Schuldiner salta aos olhos e vem acompanhada da capacidade técnica de reproduzir tanto seu apuro instrumental quanto os vocais do falecido músico. Se houve variação inicial de ex-membros do Death acompanhando o baixista Steve Di Giorgio nas turnês realizadas pelo projeto, Phelps foi uma constante. Assim como o foco do projeto em representar toda a carreira do grupo.

HEAVY MUSIC HISTORY: The Bleeding – Cannibal Corpse

At the dawn of the 90’s CANNIBAL CORPSE had only existed for a couple of years. Releasing their first album, Eaten Back To Life in 1990 and subsequent three albums before 1995, the band cemented their relevance during an exciting time for death metal. The trajectory of this otherwise underground genre was skyrocketing; The likes of AUTOPSY, CARCASS and DEATH producing instructions on how to create a seminal album. With growing prominence, 1994’s offering, The Bleeding, slotted in amidst the powerhouses at the time.



While various components make The Bleeding a standout record, previous release, Tomb Of The Mutilated (1992), may be responsible for some of its success. Producing two of the band’s most notable tracks, Hammer Smashed Face and I Cum Blood, the record landed them a cameo in Ace Ventura: Pet Detective and features in popular video game soundtracks. Despite their grotesque lyrical themes and relentless ferocity being favourable among fans, the band would find themselves met with controversy and censorship leading to their music being banned in certain counties. Although Tomb Of The Mutilated nods towards a slight enhancement of complexity, the album very much continued CANNIBAL CORPSE’S prior work and solidified their sound.

Basking in the prosperity of its predecessor, The Bleeding, was released two years later through Metal Blade Records. Landing its place as the fifth top-selling death metal LP in the US, there are a multitude of reasons why The Bleeding is a paramount album in CANNIBAL CORPSE‘s history and their most successful to date. Marking a deviation away from their usual sound and the end of an era, The Bleeding is an entirely unique album in the band’s catalogue. Most significantly, this record would be the last to feature founding member, vocalist and lyrical mastermind, Chris Barnes and original guitarist, Bob Rusay.


There is a distinct shift in style on The Bleeding in comparison to earlier material. For one, the original album artwork is far from graphic, depicting only raw flesh and muscle. Though, the 2016 reissue would later uncover this was part of a larger, more explicit image of a man being ripped apart and devoured by zombies, in typical CANNIBAL CORPSE fashion. As a result of Barnes’ desire to adopt a new musical approach, the record maintains their explosive savagery, but with heightened maturity and a confident understanding of direction. The band’s particular attention to songwriting and accessibility is evident on this album. Rather than blasting through at a thousand BPM, the tracks lack the excessive extremity of previous cuts in favour of captivating riffs and vocals that stick in your head. As such, the vocals on this release are more intelligible in place of indecipherable growls featured on previous releases. However, it is clear that the preceding censorship issues weren’t considered when composing new music as The Bleeding kept up the outlandish poetry. Barnes’ later confirmed this in an interview stating, “I just wrote what I felt in my gut” (MTV Special, Las Vegas, 1994).

Preventing the formation of one long grindy nightmare, each track on The Bleeding conserves its independence, branching away from the regarded monotony of earlier material. Favouring a more technical approach, the enchanting guitar work between new guitarist Rob Barrett and Jack Owen is the best in CANNIBAL CORPSE history to this point. Thanks to the expertise of Scott Burns, the lead and rhythm sections are exceptionally tight, effortlessly bouncing off each other. This riffwork mastery shines through in the groovy thrashings in She Was Asking For It and The Bleeding and even leaves the thick doom-charged sections in Return To Flesh memorable. However, it’s the masterful skill of bassist Alex Webster that really stands out on this record. At no point does the bass fade into the background, triumphantly persevering with the relentless speed and almost taking on the position of a second rhythm guitar.

In exploring a new direction, The Bleeding managed to elevate the band’s sound without losing the underpinning heaviness and unsavoury theming. Albeit, these elements do feel more sophisticated. Just by the names alone, The Pick Axe Murders and Fucked With A Knife highlight the inclusion of these foundations, both featuring sections of fast-paced brutality that you can’t help but to headbang to. At this point in their career, it was pretty well established that their lyrics would encompass unsettling concepts. And while The Bleeding does extend this trend, the lyrics are not announced in muffled grunts. Instead, Barnes switches between high-pitched shrieks and unnerving gutturals, even opting to commence Stripped, Raped and Strangled with a sinister spoken section: “They think they know who I am. All they know is I love to Kill. Face down, dead on the ground. Find me before another is found.”

The Bleeding left behind a legacy, bidding farewell to Chris Barnes. Current vocalist George Fisher would later replace Barnes and be heard on their fifth album, Vile (1996). Even though the Barnes era is highly regarded by some fans, Vile was well received with reviews acknowledging the enhanced complexity and dynamics Fisher induced, livening up and refreshing their sound. Nonetheless, The Bleeding will always be a principal record for CANNIBAL CORPSE. Pushing their boundaries into new realms without abandoning their quintessential prowess, this record tapped into the flourishing wave of death metal, becoming a prominent record of the mid-90s.



The Bleeding was originally released on April 12, 1994 via Metal Blade.

Like CANNIBAL CORPSE on Facebook.

RUCE DICKINSON Plays First Solo Concert In Over 20 Years At Legendary Whisky A Go Go Club

IRON MAIDEN singer Bruce Dickinson played an intimate concert at legendary Los Angeles club Whisky A Go Go last night (Friday, April 12) as a warm-up for his upcoming solo tour. Performing under the banner of THE HOUSE BAND FROM HELL, Dickinson played a 15-song set with his backing band, featuring Dave Moreno (drums),Mistheria (keyboards) and Tanya O'Callaghan (bass),alongside the group's latest additions, Swedish-born guitarist, songwriter and multi-platinum-credited producer Philip Näslund and Swiss session and touring guitarist Chris Declercq (who played on Dickinson's "Rain On The Graves" single). Bruce's longtime guitarist and collaborator Roy "Z" Ramirez is not part of the touring lineup.

Among the tracks Bruce played last night were first-time performances of "Abduction", taken from Dickinson's 2005 solo album "Tyranny Of Souls"; "The Alchemist", taken from Dickinson's 1998 album "The Chemical Wedding"; and four songs from Bruce's latest solo album, this year's "The Mandrake Project": "Afterglow Of Ragnarok", "Many Doors To Hell", "Resurrection Men" and "Rain On The Graves". There were also the classic Dickinson solo cuts "Tears Of The Dragon" and "Accident Of Birth", as well as a cover version of THE EDGAR ALLEN WINTER GROUP's "Frankenstein".




























Faye Webster - Underdressed at the Symphony SHORT REVIEW #rock #indie #review




Setlist:


01. Accident Of Birth
02. Abduction (live debut)
03. Laughing In The Hiding Bush
04. Afterglow Of Ragnarok (live debut)
05. Chemical Wedding
06. Many Doors To Hell (live debut)
07. Tears Of The Dragon
08. Resurrection Men (live debut)
09. Rain On The Graves (live debut)
10. Frankenstein (THE EDGAR WINTER GROUP cover)
11. Gods Of War
12. The Alchemist (live debut)
13. Darkside Of Aquarius

Encore:

14. Jerusalem
15. Road To Hell


Prior to Friday night's Whisky A Go Go show, Bruce last performed with his solo band on in August 2002 at the legendary Wacken Open Air festival in Germany.

Bruce and his band will play another concert at the Whisky A Go Go tonight (Saturday, April 13). Tickets to both shows went on sale Friday morning, only available for purchase at the Whisky box office. The lucky fans who lined up early got a special treat and were greeted by Dickinson in the box office selling tickets and meeting fans.

Commented Dickinson: "As we were holed up in our North Hollywood rehearsal studio preparing for the tour, we thought that since rehearsals were going so well maybe we should have a little fun and do something last-minute here in L.A. Putting tickets for sale at an actual box office should remind people what it used to be like back when I started gigging!"


He added: "We're raring to go and I'm just so excited to unleash this band on the world at the iconic Whisky A Go Go."

In a video message announcing the first Whisky gig, Bruce said: "Hello, a quick update. Oh my God, here we are in rehearsals with the House Band Of Hell, which is actually what is gonna be at the Whisky A Go Go in Los Angeles on Friday. Secret show, not secret anymore. 10 o'clock Friday morning, tickets go on sale. And when you turn up at the box office, you never know who you might meet. But anyway, never mind. So we're gonna be there.

"We are just absolutely stoked for this show," he continued. "I mean, we were ready a week ago. I've been trying to calm them down. Honestly, it's like having a lot of strange horny animals. [I have to] throw buckets of cold water over them. 'Boys, stop' — and girls. All equally. We are just ready to get it on. So ready for this tour."


In a recent interview with Full Metal Jackie's nationally syndicated radio show, Bruce spoke about the stripped-down nature of the upcoming tour in support of "The Mandrake Project". He said: "Well, we're doing a mix of festivals and headline shows so far in Europe up till July 21, about 40 shows. Luckily, I think most of the headline shows are almost sold out or sold out now. So we're gonna be sold out in most places in Europe. About two-and-a-half-thousand seaters — the average is probably about two and a half thousand, so they're cool-sized venues.

"For me, the whole essence of this is letting the music do the talking, let the music do the storytelling," he explained. "And so I'm not planning on having monsters or pyro or any of that stuff. There will be a screen, and, of course, we'll have a lot of stuff to put on it because we've got a great director and he'll be able to give us some content. But even then, I'm not going to have a show that's choreographed to like a time code or a click track or something else like that. This is gonna be a show where the music and the musicians take the story to people. So, I'm not thinking 2002, I'm not thinking 1982. I'm thinking 1972."

Last month, Bruce told Paul Anthony of Planet Rock about Roy's absence from the touring band: "[It] is disappointing, but there you are. He had a lot of stuff going on at home. And, basically, there's stuff he could be doing in the studio. We are in the middle of doing Dolby Atmos mixes for all of my back catalog, and that requires quite a lot of stuff, 'cause we're not just remixing; we are also — what's the expression? —


Watch: BRUCE DICKINSON Plays First Solo Concert In Over 20 Years At Legendary Whisky A Go Go Club

April 13, 2024



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IRON MAIDEN singer Bruce Dickinson played an intimate concert at legendary Los Angeles club Whisky A Go Go last night (Friday, April 12) as a warm-up for his upcoming solo tour. Performing under the banner of THE HOUSE BAND FROM HELL, Dickinson played a 15-song set with his backing band, featuring Dave Moreno (drums),Mistheria (keyboards) and Tanya O'Callaghan (bass),alongside the group's latest additions, Swedish-born guitarist, songwriter and multi-platinum-credited producer Philip Näslund and Swiss session and touring guitarist Chris Declercq (who played on Dickinson's "Rain On The Graves" single). Bruce's longtime guitarist and collaborator Roy "Z" Ramirez is not part of the touring lineup.

Among the tracks Bruce played last night were first-time performances of "Abduction", taken from Dickinson's 2005 solo album "Tyranny Of Souls"; "The Alchemist", taken from Dickinson's 1998 album "The Chemical Wedding"; and four songs from Bruce's latest solo album, this year's "The Mandrake Project": "Afterglow Of Ragnarok", "Many Doors To Hell", "Resurrection Men" and "Rain On The Graves". There were also the classic Dickinson solo cuts "Tears Of The Dragon" and "Accident Of Birth", as well as a cover version of THE EDGAR ALLEN WINTER GROUP's "Frankenstein".




























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Setlist:


01. Accident Of Birth
02. Abduction (live debut)
03. Laughing In The Hiding Bush
04. Afterglow Of Ragnarok (live debut)
05. Chemical Wedding
06. Many Doors To Hell (live debut)
07. Tears Of The Dragon
08. Resurrection Men (live debut)
09. Rain On The Graves (live debut)
10. Frankenstein (THE EDGAR WINTER GROUP cover)
11. Gods Of War
12. The Alchemist (live debut)
13. Darkside Of Aquarius

Encore:

14. Jerusalem
15. Road To Hell


Prior to Friday night's Whisky A Go Go show, Bruce last performed with his solo band on in August 2002 at the legendary Wacken Open Air festival in Germany.

Bruce and his band will play another concert at the Whisky A Go Go tonight (Saturday, April 13). Tickets to both shows went on sale Friday morning, only available for purchase at the Whisky box office. The lucky fans who lined up early got a special treat and were greeted by Dickinson in the box office selling tickets and meeting fans.

Commented Dickinson: "As we were holed up in our North Hollywood rehearsal studio preparing for the tour, we thought that since rehearsals were going so well maybe we should have a little fun and do something last-minute here in L.A. Putting tickets for sale at an actual box office should remind people what it used to be like back when I started gigging!"


He added: "We're raring to go and I'm just so excited to unleash this band on the world at the iconic Whisky A Go Go."

In a video message announcing the first Whisky gig, Bruce said: "Hello, a quick update. Oh my God, here we are in rehearsals with the House Band Of Hell, which is actually what is gonna be at the Whisky A Go Go in Los Angeles on Friday. Secret show, not secret anymore. 10 o'clock Friday morning, tickets go on sale. And when you turn up at the box office, you never know who you might meet. But anyway, never mind. So we're gonna be there.

"We are just absolutely stoked for this show," he continued. "I mean, we were ready a week ago. I've been trying to calm them down. Honestly, it's like having a lot of strange horny animals. [I have to] throw buckets of cold water over them. 'Boys, stop' — and girls. All equally. We are just ready to get it on. So ready for this tour."


In a recent interview with Full Metal Jackie's nationally syndicated radio show, Bruce spoke about the stripped-down nature of the upcoming tour in support of "The Mandrake Project". He said: "Well, we're doing a mix of festivals and headline shows so far in Europe up till July 21, about 40 shows. Luckily, I think most of the headline shows are almost sold out or sold out now. So we're gonna be sold out in most places in Europe. About two-and-a-half-thousand seaters — the average is probably about two and a half thousand, so they're cool-sized venues.

"For me, the whole essence of this is letting the music do the talking, let the music do the storytelling," he explained. "And so I'm not planning on having monsters or pyro or any of that stuff. There will be a screen, and, of course, we'll have a lot of stuff to put on it because we've got a great director and he'll be able to give us some content. But even then, I'm not going to have a show that's choreographed to like a time code or a click track or something else like that. This is gonna be a show where the music and the musicians take the story to people. So, I'm not thinking 2002, I'm not thinking 1982. I'm thinking 1972."

Last month, Bruce told Paul Anthony of Planet Rock about Roy's absence from the touring band: "[It] is disappointing, but there you are. He had a lot of stuff going on at home. And, basically, there's stuff he could be doing in the studio. We are in the middle of doing Dolby Atmos mixes for all of my back catalog, and that requires quite a lot of stuff, 'cause we're not just remixing; we are also — what's the expression? — reim