Author and Photographer: Ian Urquhart
Doors opened the Worcester Palladium at 5:45 PM. At 5:15 PM, a five-block line patiently waited to gain entrance to an anticipated night of metal. This was to be expected with Trivium and Arch Enemy co-headlining the evening’s festivities. However, before these metal vets took the stage, a few other bands wanted to make their presence known.
First to the stage: Fit For An Autopsy.
As the first band to initiate the evening’s events, Fit For An Autopsy opened the metal flood gates as well as the pit. There were no secretes about these New Jersey natives. They came to slay. Initiate: Death Metal. Featuring one of their heaviest hits “Absolute Hope Absolute Hell” off Absolute Hope Absolute Hell (2015), Worcester was given a loud wake up call to get moving, sweating, jumping and screaming. It worked. Warm-up: complete.
Next on the bill: While She Sleeps.
While far away from home, the Sheffield boys brought everything but the kitchen sink to Massachusetts. Lead by their intensely dedicated vocalist, Lawrence Taylor, gravity seemed to be non-existent. Guitar flips. Stage dives and drum leaps are what could be found during a While She Sleeps set. Persevering through microphone difficulties, nothing stopped the UK metal-heads from melting faces. What drove the crowd into a circling frenzy was their banger “Brainwashed” off of Brainwashed (2015). Coming off a recent headlining tour across-the-pond, it’s clear to see why people are drinking the While She Sleeps kool-aid.
Soon to follow: Trivium.
“Trivium! Trivium! Trivium!”
The crowd could have been heard from Lansdowne Street. A switch was flipped. The Palladium’s energy thickened as Matt Heafy, lead vocalist/guitarist, and the rest of the Florida rockers opened a Trivium can of whoop-ass while performing their newest single “The Sin and Sentence” off of The Sin and Sentence (2017). Conceptualizing the fact that hundreds of fans were witnessing legends was heavy enough; let alone Trivium’s breakdowns. “Like Light to the Flies” off of Ascendancy (2005) has easily been one of the most recognizable Trivium tracks to have been recorded. This being said… the general admission floor almost split in half when this record ripped the stage. Even the photographers couldn’t help but to sing along. And what better way to end a set than to have hundreds of headbangers jump in synchronous. Heroes get remembered, Trivium never dies.
In Conclusion: Arch Enemy.
After co-headliner number one stepped behind the curtain, surely there wasn’t enough energy for another hour-long set...
Goodness gracious did Arch Enemy deliver. With one of the most distinct, impressive and unique voices, Alissa White-Gluz, lead vocalist, made her presence known. Accompanied by two guitar-shredding pros, Michael Amott and Jeff Loomis, there was still fuel in the Worcester tank to bring it up a notch. “War Eternal” off of War Eternal (2014) triggered a floor wide mosh-pit our mothers and fathers would have been proud of. No one remained still. Absolute chaos. Even with broken in-ear-monitors, these Swedes knew what it took to perform and follow up bands like Fit For An Autopsy, While She Sleeps and Trivium. If you are contemplating going to an Arch Enemy show in the near future..
.. Do it!
Review by Camran Ferrier; Photos by Jordan Lindley
The Orpheum Theatre was a fitting venue for Evanescence to take the stage with a full orchestra to perform their newest record, Synthesis. This is their first album since 2011, and it showcases a collection of the bands music reimagined with orchestral and electronic elements added. The album itself is set to drop on November 10th, but the show was a sensational display with tantalizing lighting as a backdrop for this epic pairing, and they delivered in full to a packed house in downtown Boston.
It is not common for an alternative rock band to open their shows with a performance of Beethoven’s ‘Moonlight Sonata’, but when a live orchestra is your support then you can afford such a luxury. There have been other bands that have used a live orchestra in their performances, Metallica’s ‘S&M’ album jumps to mind, but Evanescence made it their own and used it to spectacular effect when performing their new album in its entirety.
The orchestra complimented Amy Lee’s hauntingly beautiful vocals seamlessly, and the audience was on their feet when the band started playing ‘Bring Me To Life’. A perfect example of how a record released in 2003 can still hold its own in 2017. The set ranged from intense, electronic drumbeats to beautiful melodies floating over a soft piano- a dynamic and versatile performance that was incredibly entertaining to watch.
‘Synthesis’ is to be released on November 10th, and going off of the tracks currently available as well as the performance on Sunday night it will be something inspiring. Don’t be fooled into thinking Evanescence are just nostalgia to your teenage years, they are still going strong and I would highly recommend trying to catch them on this tour. Check out the dates below for upcoming shows!
11/7 - Sands Bethlehem Event Center - Bethlehem, PA
11/8 - Hippodrome Theatre - Baltimore, MD
11/10 - Kings Theatre- Brooklyn, NY
11/30 - Chicago Theatre - Chicago, IL
12/2 - The Palladium - Carmel, IN
12/5 - State Theatre - Minneapolis, MN
12/6 - Orpheum Theatre - Madison, WI
12/8 - Sony Centre for the Performing Arts - Toronto, Ontario
12/9 - Caesar's Windsor - Windsor, Ontario
12/11 - Kansas City Music Hall - Kansas City, MO
12/13 - Paramount Theatre - Denver, CO
12/15 - Grand Theatre at the Grand Sierra Resort - Reno, NV
12/16 - Masonic Auditorium - San Francisco, CA
12/19 - Arlene Schnitzer Concert Hall - Portland, OR
By Jordan Lindley
We had the pleasure to chat with blues-rock extraordinaire Tyler Bryant of Tyler Bryant And The Shakedown, and we picked his brain a little on his band's new self-titled album. Check out what the rocker has to say below:
It's been a while since your last full-length album. What's the best lesson you've learned in tracking and performing since Wild Child came out? How does your new self-titled differ from The Wayside EP as a whole?
We’ve lived a lot of life and played even more shows since “Wild Child” and “The Wayside” and I think the songs show that. While we were not constantly releasing music, we were constantly creating music. You learn a little bit more with each creation and I feel like after all the touring, writing, and recording that’s taken place in the last couple of years, we now have a record that really represents this band. Unlike the previous two releases, this record was recorded and produced by us. We didn’t have a dollar to spend on it as we were fresh out of our deal with Republic Records, but we’re still riding a high from the Rock or Bust tour with ACDC and felt like we had to capitalize on that excitement. The band was tight after so many shows on the road and we couldn’t/wouldn’t let the “no record label/no money” thing carry any weight. We decided to start making a record in my home studio and what started out as “throwing paint” ended up being a pretty cool piece of art, I think.
The album is different from the other two, because the four of us band members were pretty much the only cooks in the kitchen. That’s why this album is self titled.
You've toured with bands who have some amazing history and firm footprints in rock - bands whose influence reverberates through your own music. Was it humbling, empowering, or otherwise to play alongside icons in the industry?
I always find sharing the stage with people I truly respect humbling and empowering.
2016 was a massive year for TBSD as far as touring is concerned. We got to experience so much.
One of our first shows of the year was getting to be Chris Cornell’s backing band. He’s always been and always will be one of my favorite artists, so I definitely felt a little nervous before that one. It went great and after that I think we all felt a new kind of confidence. Little did I know I was gonna really need it in the coming months. We went out to support Billy Gibbons acoustically and straight to the AC/DC tour from there. It hasn’t stopped and we haven’t stopped learning. There’s always more to pick up.
The group and producing team have clearly spent a lot of time focusing on capturing the right guitar tone. What are your main influences with your playing? How does your practice routine with guitar differ from your practice routine with your voice? Which do you prefer?
I don’t really sit down to practice playing guitar or singing unless we’re rehearsing songs for the road. I get my practice in when I’m writing and recording in my home studio. If I start a song, I can really get lost in it. Before I know it, I’ll look up and realize I’ve been “down in my cave” for twelve hours or more. I don’t set out to practice, but end up doing so while putting together ideas.
How did your relationship with the band members begin? Do you find that touring and recording for as long as you have has changed the relationship since the band's inception?
A mutual friend introduced Caleb and I and we knew as soon as we jammed for the first time that we were gonna have a band. It just clicked.
We met Graham in NYC and then again in California and he was always a good hang. I heard him play for the first time in LA and asked him to uproot and move to Nashville from Boston not long after. We needed his attitude.
Speaking of attitude, Noah Denney came in to audition for the bass role in the Shakedown with plenty of that. He sound was scary and he could sing anything we needed him to. Boom, we had a band.
We’ve spent so much time together on the road and in the studio, that we’ve all pretty much just become best friends. You wouldn’t think that by reading a text convo between the four of us though. Ha. We’re like brothers and like to give each other a hard time when an opportunity presents itself. We can pick on each other, but will have each other’s backs in any other situation.
Since you have such an interesting dynamic as a band, can you share what your process for making and recording music is?
We just show up and create. Sometimes it’ll just be two of us. Sometimes it’ll be three or even all four of us. There’s not a set way that we like to create. A drum groove, a potential title, a guitar riff, or even a rough concept could send us on a two day song excursion. We just show up as much as we can and put in as much time and effort as we can. Some days you’ll get something worth forgetting, but some days you’ll get one that you want to remember. I think we all live for those days when a song worth remembering comes along.
The album, Tyler Bryant And The Shakedown, is available today on iTunes, Spotify, and more! For more exclusive rock coverage, stick with Headrush TV!
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