The live show coverage continues in full force here at DaveCromwellWrites. With the first half of this year favoring live performances over new recorded works, that pattern continues here once again. Returning to a venue last visited at the end of 2024, two favorite bands now appeared there for the first time. Having experienced these artists spectacular live shows multiple times at other storied locales, the opportunity now presented itself once more in a unique and well-respected arena.
It was just over a year ago when a show at the House Of Blues in Orlando, FL dubbed “The Goth Prom” was attended. Performing that night (and seeing for the first time) were two of the best Tribute bands on tour. Both Lovesong-The Cure Tribute and Strangelove-The Depeche Mode Experience put on dazzling shows of exceptional interpretation at the highest level. In the 12 months plus that followed, more Lovesong shows would be attended at a number of nearby popular Orlando-area venues. Thrilled to see that *both* bands would be performing together again on June 19th at The Plaza Live made attendance there a must.
Opening the show was the band we've become quite familiar with over the last year. Having caught multiple shows by them all over the Orlando area, Lovesong The Cure Tribute present a stunningly accurate re-creation of that English Goth bands entire catalog of music.
They kicked the night off with one of their most recognizable songs "Just Like Heaven," much to the packed crowds delight.
That was followed by the equally beloved "Inbetween Days" - the whole show was pretty much one Cure hit after another.
With the fan favorite "Pictures Of You" serving as further evidence.
Deeper tracks began to emerge, with the still wildly popular "The Walk"
The moody and mysterious "Fascination Street"
Quirky/cute pop of "Let's Go To Bed"
Trippy fever dream "A Forrest"
Heartfelt angst with "A Night Like This"
An anticipated show highlight was the visually stimulating fire-on-screen projections for "Burn." Robert Smith and peak-era drummer Boris Williams wrote and recorded the track specifically for the 1994 film "The Crow."
Another expected moment was the band playing their namesake composition "Lovesong," which comes complete with romantic video screen images of Robert Smith and his wife Mary.
That was followed by the creepy-cool spider musings of "Lullaby"
Since it was a Friday night, it could have been more appropriate to hear them play "Friday I'm In Love"
They closed out their show with The Cure's first hit and probably most know song "Boys Don't Cry."
There are a number of opportunities to catch Lovesong live in the days ahead.
Getting a second opportunity to see and hear Strangelove-The Depeche Mode Experience on this their 40 years of Black Celebration 2026 World Tour was a thrill once again. With a few back-end personnel changes this time around, there was no loss of quality in both sound and overall performance. Front men Brent and Leo still carry the show, with rock solid drummer Chris (a more live upgrade over electronic beats) and new keyboardist/harmony vocals Kaleb all contribute to a show that the one and only OG Martin Gore says is “such fine detail that's it's scary.”
The show opened with "A Question Of Time," the third single and sixth track on Black Celebration. The visuals of various clocks on the projection screen behind them set the tone for all that followed.
That was followed by "World In My Eyes," an instantly recognizable and wildly popular DM single from their seventh studio album, 1990's Violator.
"Get The Balance Right" was next, delivering a perfect rendition of this 1983 single (and first with Alan Wilder as an official member).
The sometimes maligned "People Are People" from 1984 was delivered with precision. A chart topper at the time, both Martin Gore and Dave Gahan thought the song was ultimately "too commercial" and stopped playing it live in their shows.
Less pop and more in line with darker themes saw the band perform 1985 single "Shake The Disease." Brent leading the audience with his "understand me" vocal is a particularly sublime moment.
Returning to Black Celebration, the moody lead single from that album "Stripped" was played. Sometimes confused with sexual connotations, it's more about stripping away all of your trappings.
A brilliant version of "Halo" from 1990's Violator album.
Brent really puts all his heart and emotion into the tender relationship ballad "A Question Of Lust."
Going back to the early days, 1981's "Just Can't Get Enough" was DM's only 3rd single (and first release in the US), and one of the few to be written by soon-to-be-leaving the band Vince Clarke.
Another early gem, 1983's "Everything Counts" is still so relevant with it's satirical critique of corporate greed.
Since this day was actually Brent's (a/k/a "Counterfeit Martin") Birthday, the guys from Lovesong (and his own band) came out and presented him with a birthday cake, and an audience serenade to him.
The always popular "Policy of Truth" from 1990 album Violator was another show highlight.
As was the deep groove "It's No Good" from 1997's Ultra.
It's always a celebration (black or otherwise) when the tribute band plays their namesake song, as was the case here with "Strangelove."
"Behind The Wheel" is another deep dive into the bands catalogue, from their 1987 album Music for the Masses.
Moving ahead two decades, "Suffer Well" is from their 2005 eleventh studio album Playing the Angel. It was their first single written by Dave Gahan, and first single not written by Martin Gore since the above mentioned "Just Can't Get Enough."
Dipping back into the Ultra catalog, the fourth and final single from that album "Useless" is always a crowd pleaser.
As is the bands most successful worldwide hit "Enjoy The Silence." The Violator track because their highest-charting US single, and has since amassed over a billion streams.
That is rivaled by the other huge Violator single "Personal Jesus." The first release to enter the US Top 40 since 1984's "People Are People," it was also their first gold-certified single in the US.
Closing out the show was live show crowd pleaser "Never Let Me Down Again." A fitting end to a satisfying 20 song concert, leaving everyone buzzed by the incredible audio and visual experience.
A hand signed setlist always a treasured keepsake.
Pre and Post Show chit chat were the order of the day, engaging with our favorite usher Natalie (we see her at Hard Rock Live all the time as well) and of course two of the Strangelove superstars.
Lovesong's Nick Bomleny is always great to catch-up with.
All the fun of the fair.
Recognition for the positive Florida turnout.
The tour rolls on throughout the summer.
Including a number of dates continuing "Love Is Strange" with Lovesong.
Multiple live concerts came fast and furious recently here in the DaveCromwellWrites universe. With two big shows covered in last month’s feature, the most instrumentally intricate showcase attended now receives full coverage right here. It’s a rare occasion when storied musical trailblazers join forces in one single band for a tour. An opportunity to attend an event like this is something you never want to miss. As the rock music world continues to expand and evolve, recognizing true talent and artistic intent will always be a worthwhile pursuit.
As soon as it was announced that legendary ultimate-shredding guitar virtuoso’s Joe Satriani and Steve Vai were teaming up for a joint 40 shows #surfingwiththehydra tour across North American spanning April through May, we knew it was a must attend event. Spotting April 26 was scheduled for our favorite Orlando Florida venue The Hard Rock Live, plans were quickly made to be there. Rather than doing two separate solo shows, the lifelong friends (beginning in their hometown Carle Place, Long Island) created one single band to play the best of their material together. Enlisting an all-star cast of super drummer Kenny Aronoff, bassist/occasional vocalist Marco Mendoza and rhythm/3rd guitarist Pete Thorn, the two front-man heavyweights delivered a brilliant set of their catalogues, both classic and new.
After the shows opening act (more on them later), Joe and Steve came out accompanied by their aforementioned super sidemen, kicking off the show their recent single release "Dancing."
A choppy “Boléro” type rhythm with Joe and Steve’s signature precision guitar soling over top, the song is actually a reimagined instrumental interpretation of Italian singer and songwriter Paolo Conte's original 1982 composition. This updated arrangement was designed by Steve, with it's accompanying official music video (shown on the big screens behind while the band played) directed by Joe's son ZZ.
Sticking with their latest material, the next song was another single "I Wanna Play My Guitar." Co-written by Joe, Steve and legendary vocalist Glenn Hughes (who sings on the studio version) the initial lyrical idea was Joe's. Bassist/Vocalist Marco Mendoza steps up to handle the singing here on the tour.
Choosing one more original composition specifically written for this historic Satch/Vai collaboration, "The Sea of Emotion, Pt.1" rounds out the opening 3-song arc. Inspired by a field outside their mutually attended high school they called this song's title, this heavy chord progression includes sequences they used to jam over when they worked on guitar lessons together.
The next two songs were Steve compositions from his 2022 studio album "Inviolate." First up was "Zeus in Chains" which was released as a single at the beginning of that year.
Emphasizing sophisticated start-stop rock rhythms with precision guitar note fills in the open spaces.
That made way for the next Inviolate song, the fusion-funk track "Little Pretty."
Choosing to play this one on a Gretsch hollowbody guitar instead of his signature Ibanez solid-body model, this sound complimented his complex shifting chord changes.
Shifting over to Joe's catalogue, a four song set of his beloved classics got under way.
As each song was treated with thematic visuals, the image of the band name frozen and dripping with icicles was a particularly clever touch. The Vonnegut/Cat’s Cradle inspired 2nd track off “Surfing With The Alien” delivered a unique performance as Joe and Steve played in tandem for much of it.
Playing the title track to his third album, "Flying in a Blue Dream" had Joe out front and solo, with Steve and rhythm guitarist Pete Thorn laying down support. Like most of Joe's songs, it's a gorgeous blend of blues, jazz phrasing and soaring melodies.
The signature and album title song from Joe's 1987 breakthrough album "Surfing with the Alien" is everything you could want from this brilliant musician. Chugging rock rhythms, pitch bended accent notes and high-speed shredding all over the fretboard.
Jumping way ahead to Joe's 2022 19th studio album "The Elephants of Mars," it's cinematic, Middle-Eastern influenced opening track "Sahara" was given the full live show treatment. Steve comes back into the spotlight to play intertwined melodic lines together, with the projected visuals behind once again coming from son ZZ's video of the song.
Alternating the set once more, a two song Steve arc was up next.
Going back to his 1995 EP "Alien Love Secrets," Steve presented his emotional ballad "Tender Surrender." Against a backdrop featuring his "V A Eye" graphic symbol, this image serves to depict his spiritual journey of inner enlightenment, and higher consciousness.
Reaching the most "showy" portion of the night, Steve stood in front of what looked like a magicians table with a heavy tarp over it. Slowly the covering was lifted off, revealing a massive multi-guitar structure. It was The Hydra - a custom-built triple-neck guitar on a stand. Built in collaboration with Ibanez, the instrument features a 12-string neck, 7-string neck, 4-string fretless bass and a 13 harp strings. Vai plays this composition titled "Teeth of the Hydra" by rapidly switching between the instruments. He taps the 7-string fretboard, alternates open A-strings on the bass and 12-string necks, and frequently flicks the built-in harp strings for eerie, synth-like dissonances. The track is another from his tenth studio album, 2022's Inviolate.
Moving over once more to a Joe featured segment, two of his classics are presented to a delighted audience.
First up was one of his most famous pieces, the high-energy rocker "Satch Boogie." The fifth track from his breakthrough album "Surfing with the Alien" is quick paced rocker that blends blues with virtuoso guitar techniques, highlighted by his signature two-handed tapping.
That was followed by the much-beloved, somewhat controversial "If I Could Fly." One of Joe's most beautiful melodies, the track first appeared on his 2004 album, "Is There Love in Space?" The melody is distinctive as he makes his guitar sing like a vocal line. The "controversy" comes Joe having to sue song-thieves Coldplay, who blatantly ripped off this song for their massive hit "Via La Vida." Knowing they were going to lose in a big way legally, they settled with Joe out of court, and he surely got a huge payday. This song lives on as one of Joe's most uplifting and haunting pieces.
Reaching the penultimate moment of the show, it was back to Steve for arguably his greatest piece ever.
The one so many of us were waiting for, he did not disappoint with his Passion and Warfare masterpiece "For the Love of God." Written in 1990 during a 10 day fast, producing an altered state of consciousness and vision quest in search of spiritual connection. Having been on repeat for this writers life over the past 30 years, it holds a special place in the annals of lived history. The contrast of high-speed playing over a slower moving progression accentuates the sheer brilliance of ascending tremolo notes and descending legato runs.
The final (pre encore) song of the night went back to Joe, with his romantic ballad "Always With Me, Always With You."
Steve soon comes back into the spotlight and the two of them play brilliant tandem and complimentary lines on this 1987 "Surfing with the Alien" classic. Featuring uplifting vocal-like melodies, it's the delicate arpeggiated phrasing that truly stands out. The beautiful sweeping chord progression and song title make it perfect for a wedding song.
Returning for the expected encore, first up was Joe's wildly popular "Crowd Chant" from his 2006 album's "Super Colossal" and then later that year on "Satriani Live!"
It's a super fun back-and-forth participation call-and-response with the audience, where Joe plays a lick and then the crowd is encouraged to sing it back to him (which everyone does enthusiastically). The track has also been featured prominently for some time during the NHL's Long Island team The New York Islanders promotions. Anyone who listens to their games on the radio has heard this open a seasons worth of broadcasts. A fitting tribute for a hometown hero.
The final performance of the night was a cover of the Mars Bonfire written Steppenwolf hit "Born To Be Wild."
Along with Joe and Steve taking the tandem guitar spotlight on this closer, bassist Marco stepped up to take the lead vocals once again. Also spotted was Steve stepping up to the mic and singing hearty background vocals on the chorus. A perfect ending to an amazing concert experience!
Opening the show and appearing on all 40 dates of this tour was the heavy math-rock instrumental progressive metal band Animals as Leaders.
Challenging the listener with their complex structures and ferocious attack, this highly-skilled musical trio consists of guitarists Tosin Abasi, Javier Reyes and drummer Matt Garstka.
Along with the percussive low rumble pummel and fluid guitar shredding, the bands unique light show featured spinning circles that projected colored lights all around the arena.
At times what they were playing moved over toward a more prog-rock style. The above clip shows them sounding a bit like English progressive pioneers Yes at their most frantic. Like the manic speed-driven into to "Close To The Edge" and Steve Howe's tonal quality and fluid notes.
So many styles combined within just one piece. Sophisticated jazz with funky moments anchored by thundering drums.
The Hard Rock Live at Universal CityWalk in general is a great place to see a show.
There's tons of great restaurants to choose from, making for a pleasing dining experience before you head over to the concert hall.
Happy concert goers having a meal before the event.
Find more info on each of these artists at their websites:
Towards the end of 2023, Seattle, WA based gazey-guitar rockers Guest Directors released their first full-length album “Interference Patterns.” Impressed with its quality, that recording garnered a detailed review here on DCW at that time. The band is now back with their follow-up second album, the recently released “Before You Get Broken.” Putting it out again on the TopsyRecords label, the acclaimed Cromwell listen and review follows below.
Opening track “Meet You on the Land” lays out a bouncy rhythmic groove, before bright female vocals commence a tale of sea and sky. W ell placed distorted, chugging guitar chords enhance the lyrical story where “I’ll meet you on the land, but I can’t stay.” This siren song to “keep me on the ground” is ultimately rejected with “no, I won’t stay.”
Listen and watch via their official video for it here:
Follow-up cut “You Are Never” pairs male and female voices together with tandem delivery. Quick paced and clean, higher-register guitar driven, the simple (yet-catchy) chorus stating “you are never done” is almost always universally true. Third entry “Now I Know” builds around dual guitar interplay, with static notes paired against contrasting melodies. Vocals bring to mind the timbre and delivery of 80’s legends Berlin on a chorus that looks back on being charmed by someone insincere. While a touch of Garbage’s Shirley Manson is felt on outro lines “I tried to stop you.”
There’s a distinct Sonic Youth feel to the pitch-bend accented, crunchy guitar chords and Moore/Ranaldo style vocals of “Just Not Today.” Even the snare drum accents and quick-cut guitar figure punctuation give off a lost track from “Daydream Nation” feel.
Accompanied by an official video release, check all that out here.
A laid-back, unhurried groove sets the pace for fifth offering “So Many Somedays.” Dual female harmonies add a fuller quality to the straightforward title-line chorus. However, each of these calmer plateaus is followed by expressive, harsher guitar textures. “Restore Your Soul” flips back to male lead vocals, and with it comes that SY/DinoJr/Seattle late 90’s/early aughts vibe. Slightly off-kilter downstroke guitar chords share space with open-note guitar phrasings. Repeated line “I got caught in the middle” provides a thematic center.
Listen to that here:
Chiming guitars and sharp accent percussion provide the underpinnings for the female voiced “Blame Pandora.” Momentary “Oooooooh-oooh” vocal segments provide contrast to alternating guitar interplay. “At The Gate” continues the alternating lead vocals with male voices telling the tale. A relaxed vibe permeates throughout, with spacious moments between guitar licks for the unfolding story. With “Ahhhhs” now added behind a chorus that goes “standing in line waiting at the gate,” an extended wiry guitar solo cuts in between. The album’s closing track “What Shapes They Take” is a tom-tom fueled, mystical descending trip. Soaring guitar washes flood spaces, creating emotional peaks. Points for the clever lyrics “I thought that you might be my pet - because you hadn’t bit me yet.”
Leaving the busy place you’ve called home all your adult life for less-stressful pastures is a choice as well as an adjustment. For this writer, people and bands that were seen there regularly are now hoped they’ll come to your new locale. The good news is a number of them have, and the opportunity to catch their shows again has not been wasted. When a new album offers fresh source material along with an appearance, a deep-dive-analysis is the only way forward. As is often the case, some of these shows also introduce performances by artists previously unheard in the live environment.
Beloved and long-time adored band The Raveonettes have been doing a live show retrospective of all their albums since 2024, their first proper tour in a decade. Feeling a bit of FOMO as they played city after city, it was exiting news indeed when they announced a Florida date for April 1, 2026. Arranging for a modest road trip, the trek was made from Orlando to Ft. Lauderdale to experience once again the dazzling sights and sounds of this glorious band.
The location was venerable Ft. Lauderdale. Florida venue Culture Room.
On arrival a lengthy cue was already waiting to get in.
Entry didn't take long, and after opening act Astari Nite (more about them later) The Raveonettes were on stage.
Opening the show with "Blackest" from their most recent album “Pe'ahi II,” it's descending “detective story” guitar melody is instantly recognizable. That suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.”
Immediately following that was another track from the same album (it would eventually be discovered that the entire setlist would be blocks of songs from one album, before moving on to another) and a personal fave track "Killer." It's chorus hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.”
On more from that same album with the forward charging rocker "Speed." True to the song title, it’s fast paced, tasty guitar lick driven.
Choosing to play only one song from their 2003 debut full-length studio album, Chain Gang of Love, they went with the albums most recognizable track "That Great Love Sound."
Moving to their 2005 album Pretty in Black, first up was single "Love In A Trashcan."
Followed by "Red Tan" from that same album.
As well as "You Say You Lie."
Pivoting to their 2002 debut mini-album Whip It On, "Attack of the Ghost Riders" was up first.
Followed by "Veronica Fever"
As well as the blistering "My Tornado"
With "Cops on our Tail" as a fourth entry from that record.
Shifting focus to their 2007 album Lust Lust Lust, "Hallucinations" was first up from that heady period.
Followed by "Dead Sound"
Then it was on to their 2014 seventh studio album Pe'ahi with "Endless Sleeper." Fuzzy bass, shuffling percussion and deep twang guitar figures alternate between dense layers and open spaces. Lyrically, its one part songwriter Sune Rose Wagner recapping a near death experience from drowning while surfing a number of years back. Sudden bursts of quick flashing pulses match the tracks violent sonic outbursts, which in turn perfectly underscore appearances of tranquility abruptly exploding into violence.
Followed by "Sisters" from that same album, with it's frenzied guitar destructiveness and sonic landscape of beautify mayhem.
Breaking the album block cycle, they dipped back into Pe'ahi II, for a brilliant rendition of "Strange" with its familiar Every Brothers-style blended vocals. Then a cover of the 1967 Velvet Underground classic "Venus In Furs."
Perennial pre-encore show ender (and Lust Lust Lust album opener) "Aly, Walk With Me" is always a high point of every show.
For the encore Sharin took the spotlight singing lead vocals on their 2010/2013 Dr. Martens commissioned cover of The Stone Roses "I Wanna Be Adored."
Along with Sune handing his guitar to drummer Jakob to throttle, while he went solo on the mic for the 2011 album Raven In The Grave classic “Recharge & Revolt”
Show complete, the backstage shenanigans came fast and furious.
It's always a pleasure catching up with these amazing musicians and great people.
Looking forward to future shows down the road in sunny FLA.
Opening the show was alternative/dark wave band Astari Nite.
Originating out of the Miami, Fla alternative scene, frontman Mychael Ghost provides a visual center and primary focus on the songs he writes and performs.
Accompanied by a solid guitarist and multi-layered keyboard player, the electronic trio filled this venue with a captivating sound and light show.
“Your perfect light – makes me shine" Mychael sings.
"I always wanted you"
"Bowie In Daydreams"
Cathedral lighting and atmosphere further enhances the power of each song performed.
The aura is dramatic with touches of goth-rock melancholy.
"Unisex Games" - vocals draw from Bowie influence in both tone and diction. Early Peter Murphy (in Bauhaus days) is another point of reference.
Meeting the artist post show is always a rewarding experience.
There was a period of time in the year 2019 when this site covered live shows by the electro-art collective A Place Both Wonderful and Strange seemingly ever other month. The history goes back even further with a detailed album review in 2018 and very first live show personally attended in 2017. Along the way the band members took a hiatus from apbwas to do other things, including their wildly popular ADVENTURE[s] Robyn Party, acting, art projects and living their lives. After this writer moved to Florida, it was a pleasure to catch up with Russ and Laura in 2024 for their appearance at Crux in Orlando. Now back again for another Crux/Orlando show, the band also has a brand new album “Matter and Desire.” A deep dive analysis on all of this commences below.
Finding inspiration from Andreas Weber’s book “Matter and Desire: An Erotic Ecology,” the band completed their unfinished songs (some 8 years in the making) that focus on “the moment before something changes forever.” Opening track “Intro444” combines ominous background sounds with spoken word lines (delivered by guest vocalist Devery) that state “I have a theory” morphing into “I HAD a theory.” The swirling, pulsing ambiance progresses mysteriously as vocal declarations float in and out “you have to honor me” and “in this house – renewal – creation.” It’s tense film-score sensations as voices continue with statements “to crawl, to walk, to run.”
Follow-up cut “Shedding Velvet” emerges via percolating machine-driven synth arpeggios that have been the staple of club music since forever. A solid 4-on-the-floor beat powers underneath orchestral melodies floating above. The rhythm is quick and motorik with synth stabs and ghostly voices adding depth during both it’s quieter and more frantic passages.
Third entry “Crying In An Uber” leans on world music percussion to establish it’s rhythmic base. Vocals are purposely buried deep into the mix, serving as one more ambient element, rather than direct storytelling. Liner notes, however indicate someone is witnessing “an apocalypse happen” (watching nuclear destruction coming this way?!) which would be more than enough to make anyone cry. Cryptic clearly-heard vocal inclusions such as “a light at the end of a tunnel” add more questions than answers to the heavily percussive outro.
“A Map For Birds (Behind The Glass)” is a hypnotic deep space meditation that seduces the listener into a trance-like state. As the lengthy (over 5 minute) recording evolves, hard-slap percussion, throbbing sonics and female vocals are interwoven for otherworldly effect. Liner notes indicate they’ve been developing this one in their live shows “for what feels like a decade,” before finally being able to “capture it on record.”
Featured track “It's Not That Bad, Muffin” also comes accompanied by an Official Music Video. Depicting a “Groundhog Day” scenario where Russ repeatedly wakes up at 7 am and goes about his daily routine. Against a heavy synth-stab and trip-hop percussion beat, the image of someone stalking him (Laura) appears, cut in with bloody drops in the snow. As the music rises in intensity, with higher-pitch synth notes cutting through, Laura’s murderous voice drifts in and out with dramatic audio quick stops. Russ ultimately stops in to a bar to get a drink. When the bartender steps away, menacing Laura takes his place, forcing him to make a run for it. However, there’s no escape from “murdering” Laura, who ultimately takes the 7 am wake-up place as the videos final scene.
Check out this deliciously macabre video here:
A majestic orchestral intro is first heard on the ultimately Lynchian rendition of 17th century Irish Gaelic poem “Táim Sínte Ar Do Thuama.” Numerous artists have covered this authorship-lost-to-time piece with it’s more recognized anglicized title “I Am Stretched On Your Grave.” For this version, Laura is tasked with an unsettling vocal rendition, with low-end percussion and layered sonics.
Penultimate cut “Vegetation” rises out of a pulsating electronic backwash, with Laura commencing another spoken-word segment. Much like the dense thickets of its title subject matter, additional audio layers roll in and further obscure ones ability to traverse and cut through. With a subtle jungle thump emerging, Russ now joins the fray with more intense shouted vocals.
Final entry “Dissociation (A Map For Birds)” serves up an alternate dub mix of previous (behind the glass) version. With less background activity, emphasis is placed the voices recorded, rising up (and then out) of the mix. A more playful audio trip, it serves as a perfect closer to this overall fascinating collected recordings.
In addition to this wonderful album's debut (both studio version and live renditions) were many curious sights encountered in this arty village and gallery/bar.
On arrival a majestic and relaxed cat was spotted, seemingly owning the streets outside.
It was soon discovered this was Lulu, the "mayor" of the venue and neighborhood.
With honors this regal individual so obviously deserves.
Being an art space, a variety of vintage photos (1921!) and paintings adorn the walls.
The night's theme was a Twin Peaks Costume Contents and the participants did an amazing job.
Out front with the best David Lynchian band there is.
Thanks for never forgetting to come to Florida!
“Matter and Desire” is on the Re:Mission Entertainment label and can be ordered here.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
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