Illuminating Report on Dazzling Live Shows and Cutting-Edge Music

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:

SatchVai Band

Joe Satriani

Steve Vai

Animals As Leaders

A previous DCW feature covering Joe Satriani can be found on this website here.

*     *     *     *     *

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.”   

Check out how to listen to and acquire this wonderful album here:

Follow Guest Directors on Social Media

Official Website  -  Facebook  -  Instagram  - Bandcamp  -  YouTube  -  Record Label

A previous DCW feature on this artist can be found here.

*     *     *     *     *     *

Dynamic Reviews of Live Shows and New Music Releases

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.  

Follow them on their Social Media at Facebook, Instagram and YouTube.

A complete track-by-track review of “Pe'ahi II” can be found here.

A full review the first “Pe'ahi” album (along with links at the end to 8 other Raveonettes reviews) can be found here.

An interview with Sune Rose Wagner on this site can be found here.

Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.

*     *     *     *     *

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.

Follow this darkly dreaming glam wave band on their Social Media - Facebook  -  Instagram  -  YouTube  -  X  -  Official Website 

*     *     *     *     *

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.

Follow apbwas on their Social Media:    Facebook    -   Instagram    -   Official Site

Previous DCW features on this artist can be found   here  -  here  -  here  -  here  and  here.

*     *     *     *     *     *

Meticulous Reviews of Recent Albums, Singles and Live Shows

Discovering that new music has dropped from bands you know and love is always exciting. The need to experience every note and lyric is a powerful thing that ultimately leads to a thorough track-by-track analysis. Whether it’s a full-length album or an advance promotional single, a detailed approach for the recorded works is essential. Furthermore, the current trend of generational classic rock bands bringing their live shows to hometowns across the globe leads to rediscovery of what you always loved about them. Along the way, previously unheard artists find their way into your wheelhouse. It all adds up to yet another informed literary discourse.

It was towards the end of last year (during the “spooky season”) when we got a first glimpse of The Suncharms forthcoming album “Darkening Sky.” Featured track “Monster to Me (Halloween Version)” was released at that time, receiving a detailed review here on this site. The band have recently put out the entire 12 track album, and with it comes a greater sense of maturity. Once focused solely on singles and live shows, they’ve now completed their third full-length album in the last five years. The time has come once again to listen with purpose and discover the core elements of these new songs.

Opening cut “Midnight Train” leans on a relaxed bass and drums groove with retro organ keyboard textures. Wire-y guitar lines slither through with Stone Roses-like appeal. Vocal maestro Marcus Palmer delivers his storyteller lines with just the right amount of Jesus and Mary Chain vibes. It’s so much about the mood, but there’s thought behind those lyrics. “Names rusted into the pier . . . for 100 years,” is both poetic and sublime listening. The twist comes via it’s minor chord chorus where picturesque lyrical imagery leads to having “never caught that train.” Adding subtle trumpets on the end out elevate everything to conclusion.

Follow-up track “Annabel Lee” continues the thematic by-the-seaside, looking-back poetry, this time wrapped in a perfectly concise uptempo pace. Memorable guitar melodies, fluid bass and drums with organ enhancements are all there. “Love became a stranger” between “me” and “Annabel Lee.” 

“Stone Tape Rewind” blends a subtle country-esque vibe using according and pedal-steel sounding guitar work. Book-ending all that are some classic John Squire-like guitar riffs. “Was that the ghost of you? Was that the ghost of us?” is the lyrical question asked - “locked in walls of blue.”

As mentioned in the intro above, fourth entry “Monster To Me” received a fully detailed review this past October.  “Air Raid Shelter” tells the story of an unexpected encounter where “you told me you were born with your feet facing the wrong way” (?!) “and by the way your lover is still at home and I've nowhere to go.”  So oddly specific, the picture created stands out uniquely. “How can I get home?” the chorus asks – “all the coaches have gone” and “I’m hundreds of miles away.”  Light piano notes sprinkled throughout add a delightful sonic compliment to the proceedings.

“Diamonds” features a more distorted primary guitar figure as it’s dominant sonic force.  The overall rhythm has a 1960’s feel about it, as a tale is woven around someone magical and kind.  Having “diamonds in her soul,” she is found “stepping over insects and butterflies.” 

 “1000 Years” comes on by way of triumphant power chords and big rock arena song appeal.  Boldy uptempo, the story tells of a “lost wish” where one “drifted back” from “a lost romance” and “a wasted chance.” 

 “Motorway Bridge” opens (and closes) with the sounds of cars traveling by, before it’s main progression commences in full force.  Busy multi-note bass guitar and tom-tom drumming creates the rhythmic undertow for chiming guitar figures over top.  The chorus hits “like a dagger” with vocals channeling the other above-mentioned Stone Roses front man, Ian Brown (back in happier times).

Commencing in full flight out of the gate, “Interstellar” bounces along at a spirited pace.  The bass, drums, keyboards and guitar configuration all contribute with the appropriate touch.  Comparing a photo of earth from space to a tower block, “behind each light hundreds of lives both unique and the same.”  The chorus surprises by going instrumentally sparse on the lines “capturing beauty in the mundane - raindrops glistening on a window pane.”  Another trumpet emerges as a lovely enhancement on the outro.

With amusement park sounds fluttering in the background, tenth entry “Ferris Wheel” emerges via relaxed groove driven by acoustic guitar and shuffling drums. Making comparisons between circular movements of coffee stirring and the song-title subject matter, this perspective shows “where it all went wrong.”  What is supposed to be casual fun, actually provides insight on “silent screams” and “hidden fears.”  A gentle twangy guitar solo playfully dances against counter-melody bass lines up to the songs final notes.

Ice clinks introduce the electro/acoustic driven penultimate track “Winter Sun.”  With a rhythmic cadence not unlike the Church’s “Under The Milky Way,” it’s western frontier vibe is dappled with subtle instrumental touches.  Extended note synth pads stand out, while banjo-like figures are heard off in the distance.  As expected, the bass guitar is ever-busy throughout, and brassy synth-fills emerge to provide further sonic depth.  Lyrically reflecting on “what might have been,” it seems that “no spark was left for us.”

Final track “A Snowstorm” uses ethereal flutes and horns to augment an easy-going guitar-strummed rhythm.  The ghost of Lou Reed’s Velvet Underground floats through it’s lyrical cadence on picturesque verses.  While the chorus leans on melodies with images of “a snowstorm outside a room lit by streetlights . . . poisonous fire” and “desire,” a dreamy ending perfectly sums up this gratifying album.

Listen to and find out how to acquire this dreamy album here:

Follow The Suncharms on their Social Media  -  Facebook  -  Instagram

Previous DCW features on this artist can be found on this site here, here, here, here and here.

Check out what their IndiePop label Sunday Records has to offer via their Official Site - Facebook - Instagram - TwitterX - YouTube

*     *     *     *     *

When the opportunity arises to catch one of your all time favorite Rock and Roll bands live in concert, you’d be a fool to pass it up. Discovering that 2016 R+R Hall of Fame inductees and legendary hit makers Cheap Trick were coming to Hard Rock Live in Orlando, Florida – it was a no-brainer to attend this show. Listening to bassists Tom Petersson’s wit and humor on Eddie Trunk’s interview show only sealed the deal. Since moving to FLA, the Universal Citywalk concert venue has become a personal fave to see live concerts. Big Name bands in the perfect sized environment. Great sound, great sight-lines – and great performances. What follows here is a clip of every song they played.

The now traditional show opener "Hello There"

Followed by "Elo Kiddies"

"Hot Love"

"Radio Lover"

First spotlight moment goes to Rick and his cool square guitar

Which leads into their cover of The Move's "California Man"

Dipping into their most recent album, they play the marvelous "Twelve Gates"

The next featured musician moment was Daxx with a drum solo

Leading into their own hit cover version of Fats Domino's "Ain't That A Shame"

"The House Is Rockin"

"High Roller"

"Downed" (with Robin Taylor Zander on lead vocals)

The next solo spotlight went to brilliant bassist Tom Petersson

That leads into "I Know What I Want" with Tom on lead vocals

Last but certainly not least, a solo spotlight for perfect frontman Robin Zander

Leading into one of their all time great songs "The Flame"

Speaking of their biggest hits, here's "I Want You To Want Me"

Then there's "Dream Police" which they closed out the pre-encore show

After the lively Orlando crowd engaged in much applause and calls for "more" - the band returned within a reasonable amount of time with first encore "Never Had a Lot to Lose"

Followed by their arguably most well-known song "Surrender"

Then closing out the night we a redux of the opener "Goodnight"

Follow this legendary still going strong band at their Official Website  -  Facebook -  Instagram

*     *     *     *     *

A frequent occurrence attending live shows is the discovery of new, previously unheard music via the opening act.  That proved to be true once again with the Nashville based Americana style singer-songwriter James Hatem.  Impressed with his ability to command the spotlight with just an acoustic guitar and a few pedals as accompaniment, he delivered a tight 30 minute set that was thoroughly enjoyable.  James has just released a new single “Prodigal Son,” that now receives a close listen and review.

Opening with acoustic guitar chords and minimal percussion, a violin joins in on this soulful country progression. James sings “all my life I’ve been living like a loaded gun. Sights raised high and I’m shooting up towards the sun. ‘cause every day that comes and goes I know it’s a battle that I have won” delivered in a harrowing voice.

Taking in all the advice others seem to be giving, the introspective decision “I’m moving slow – but I’m coming home” rings sincere, enhanced by gentle keyboard swells.  The big, gospel-tinged chorus provides a twist with how “I ain’t a prodigal son – I’m just a poor man living free. This life on the run – oh it keeps on chasing me. I don’t know where I’m going, but I’ll let it take the lead” completes the cycle, as pedal-steel ambiance flows through the mix.  Big “Whoah Whoah” background vocals emphasize how he’s just “praying for a little peace.”

The songwriting craft is eloquent, with so many great lyrical passages. “Forgive me for all the wrongs I have done. Though I feel there will be more before I am gone. I am only flesh and bones and prone to hurt those that I love, but don’t lose hope,” comes straight from the heart.  As does the change section “life’s got chains, but none will hold me down – life’s got pain, but there’s joy to be found (with voice rising for uplift) – “ain’t no shame in living like I know how – a little grace holds a lot of power.”

Listen to this wonderful track wherever you stream.  Here it is on YouTube Music and Spotify.

Here's a short clip of it from the concert - listen to how it sounded live at the show:

Another outstanding number played was heart-tugging, previous single "Northern Winds"

Which made an impression (and later got the Story/ReStory treatment)

An artist worth checking out!

Follow James on his Official Website and Instagram

Wall of Fame Photos - so many you need multiple trips to see them all.

The whole Universal City Walk Experience is highly recommended.

*     *     *     *     *     *