After solely focusing on recorded works over the last few months here at DaveCromwellWrites, live show coverage is now back in full force. Catching a living legend you grew up listening to is always a must attend. If their tour comes to your town, every effort must be made to experience this incredible music one more time. As is often the case, opening acts provide a source of new, unheard material from musicians you weren’t previously aware of. It all adds up to a wonderful concert experience with both classic and new material providing the soundtrack to it all.
When notification was received that long-revered electric blues virtuoso guitarist Robin Trower was performing nearby on his current US Tour, immediate plans were made to attend. Having been a life-long fan of his Jimi Hendrix influenced blusey rock, excitement built leading up to the Friday, September 18, 2026 appearance at The Plaza Live in Orlando, Florida. Rather than recap his lengthy career to the uninitiated here, all that can be found at his Wiki and more thoroughly via Steve Shail’s in depth collection of Robin’s history, his bands, albums and interviews. However, as this is a live review, we now dive in to the show experienced.
Opening the show with the instantly recognizable, much beloved "Too Rolling Stoned" from Robin's second (and most well-known) 1974 solo album "Bridge of Sighs" had the audience immediately locked in.
Part 2Wicked Outro Guitar Solo
Robin has just released a brand new album titled "Shine" and featured a track from it right away with it's debut single "Live Your Time" as the second entry of the night.
Dipping back into his somewhat more recent catalog (into the 2000's) the band played "Distant Places of the Heart" from the Jack Bruce and Robin collaboration album "Seven Moons." Special mention to vocalist (and bassist) Richard Watts for his wonderful rendition, paying tribute to the legendary Cream vocalist.
The set flowed smoothly as the audience gave all their attention to the this well-honed musical power trio. The purity of three great players expressing themselves through their craft completely live without any kind of backing tracks is something to hold on to in this day and age.
Dipping back into his late 70's catalog, "Somebody Calling" from Robin's 1977 album "In City Dreams" was rolled out with precision.
Moving to his previous most-recent release, "One Go Round" from the 2025 album "Come and Find Me" shows how prolific Robin continues to be.
Listen to the enthusiastic applause at the song's completion.
Returning to his classic 1974 album, lead track and live show favorite "Day of the Eagle" dazzled the attentive crowd.
Reaching the track most fans know him for, the inimitable "Bridge of Sighs" was performed.
This atmospheric blues-rock song builds slowly, with each successive note evoking a deep sense of existential sorrow and cosmic isolation.
While Robin states he took the title from a racehorse name he saw in the sports pages, the actual bridge exists in Venice, Italy where prisoners in the 1600's crossed over (hence the sigh where they viewed freedom one last time) to the prison on the other side.
Coming back to more recent work, the title track of 2022's "No More Worlds To Conquer" delighted the listeners. It must also be noted that drummer Chris Taggart was a pleasure to listen to and appeared to be having fun with every song.
Going all the way back to his debut solo album "Twice Removed From Yesterday," the band delivered an inspired rendition of featured track "Daydream."
The final song of the night (before encore) drew a fourth track from the "Bridge Of Sighs" album with the live concert favorite "Little Bit of Sympathy."
After a brief farewell, the band returned for an encore of two songs from the "No More Worlds to Conquer" album, "The Razor's Edge" and "Birdsong." Taking advantage of the opportunity to move up closer to the stage, this wonderful final performance was captured.
Up close and personal!
With the conclusion of "Birdsong" Robin and his band wished everyone adieu, as the audience voiced their appreciation for what we all just experienced.
Interactions with the band are always a blast!
Robin Trower has a brand new album "Shine" out now on vinyl, CD and digital. Listen / order here.
Opening this night’s show was a bluesy-rock female-duo named KG & The Drive. Fronted by Katy Guillen on guitar and vocals, paired with drummer Stephanie Williams, the Kansas City, Missouri based band specializes in rootsy rock laced with blistering guitar solos. While being an opening act can be challenging in winning an audience over who are waiting for the headliners, these two rockers managed to pull that task off.
The first thing you notice about their live show is how relaxed and at-ease these two musician are with performing. They get right in to their set and immediate draw the audience in to their guitar, drum and vocal world.
Katy makes an impression early with her guitar mastery and confidence to soar on a number of extended guitar solos.
Which includes some powerful, soulful blues licks, along with intuitive interaction between guitarist and drummer.
One more spectacular track captured, here with Katy ripping hard on a heavy-blues guitar solo as Stephanie's drums pound along in tandem.
It's also rewarding to connect with a band you've just become a fan of.
Four exciting new releases serve as the comprehensive focus here in this late summer DaveCromwellWrites Feature. Along with trips to the pool (providing opportunity for a growing “pool cast” phenomena), time has been carved out to investigate and ruminate on some of the more thought-provoking new music releases. Old friends and new share space here, with descriptive representations fully accompanied by the music they choose to share with the world.
It’s inevitable that prolific artist Julian Shah-Tayler (a/k/a The Singularity Music) would have new music to experience. A creative who’s always working, his output has been featured here at this site numerous times. Along with his primary focus on a solo career that continues to grow, Julian engages with live audiences through his wildly popular Electric Duke Bowie Tribute show. This latest original music takes things in a darkwave direction, exploring subtle, mood-driven suspense and cinematic atmospheres.
Hard snare-shot drum beat and throbbing bass guitar kick off new song (and video) “Just You Wait ‘Til I Get You Home.” Unsettling melodic tones emerge as video images of a man in a dark coat (looking suspiciously like Julian) moves through film-noir lit rooms, some with tape recorders and cassettes scattered on desks. As vocals emerge with those familiar Bowie-esque tones, a story of laying “awake at night waiting patiently for my nightmares” is told. Shadowy rooms and unoccupied hallways are pulled into view, leading to a running reel-to-reel recorder and the Julian/Darkman holding a dated reel (March 17, 1992).
Midway through shows Dark Julian closing filing cabinets in a grimy, trash-strewn room, as vocals rise in pitch on lines “thinking of you.” With the ominous melody line returning, a chant of “I’m waiting, I’m waiting” arrives, first softly, then more prominent as the beat drops out. Pulsing bass and distant sirens are heard, leading up to a distorted instrumental solo and glitch-cut sonics. As the darkman hunches over his tape recorder, a single “interrogation” chair is again focused on, having appeared throughout the video. Vocals now float with dramatic emphasis on lines “Oh, the things I’ll do to you” and overall theme “Just you wait till I get you home.”
Check out this brilliant new track and suspenseful narrative video here:
Follow Julian all across his Social Media via his LinkTree here.
Previous Features of Julian can be found on This Site - here - here - here - and - here.
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Another musician who is always creating new works is the Baltimore-based recording artist Andres Alfonso Lugo Cruz. While simultaneously producing a number of poetry books, he composes and records music under the name Los Dientes Hundidos en la Garganta (The Teeth Sunk in the Throat). Having already reviewed a number of those works here on this site, a new entry “AL OTRO LADO DEL OCÉANO” (On The Other Side of the Ocean) is now featured. Once again playing all the drums, bass and guitars, ethereal voices are provided by Gene Santiago-Holt aka Moyogash. Inspired by Andres 2024 poetry collection Postropodicea, everything was recorded and mixed at his Where Are We Going studio lab.
Subtle waves of churning ambience rise up from misty depths, as asymmetrical percussion attempts to establish some kind of beat. Heavily submerged voices provided by Moyogash wash through underneath, adding an element of mystery and wonder. The percussion moves about in a natural sounding way, avoiding more rigid, mechanized rhythms. An angelic hue is cast as a wider net of spacious audio fills this sonic field. As this supernatural feel intensifies and expands, the beats (now enhanced by cymbal-like splashes) lay out fractured patterns of dynamics. Never static in their execution, these beats will drop out momentarily, allowing ambient space to command the listeners focus.
Voices float up again into the mix, as waves of flowing textures rise and then slowly recede. What sound like field recording sound bites momentarily join in. Or perhaps not, and instead your imagination is set loose to create these elements from your own internal audio channels. With those synapses now fired, the sensation of being led through a jungle or tropical forest serves as an inspired journey. Voices continue to float through the sonic spectrum as deep and powerful audio washes abound. The tracks final minutes find the percussion getting busier with multi-strike shots rumbling throughout. Wind rushes, distant whistles and throbbing string notes lead everything out to it’s conclusion.
Listen to and find out how to acquire this visionary audio journey here:
Previous DCW features on this artist can be found - here - here - here - and - here.
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One more ambient instrumental collective circling the DCW orbit is Peruvian label Chip Musik Records. They have focused on releasing emerging artists that specialize in experimental and avante-garde music since 2007. A new entry into their catalog is an over 20 minute sonic journey by local project ion axs. Titled “Ceremonia Disoluble Procesión para nevados” (Dissoluble Ceremony. Procession for Nevados), the piece draws it’s inspiration from the Huandoy Nevado mountain range of the Andes. Allowing for a slowly developing experience, words begin to flow from this transformative audio journey.
A deep bass note is the first thing you hear as the piece commences. Slow and deliberate, ominous overtones join in as the bass notes measure out a subtle progression. A steady drone rises and then fades back. Descriptive liner notes indicate a desire to create through sound the immensity of traveling through this stark, beautiful landscape. Combing field recordings with synths and studio manipulation creates a meditative mental state that fuses with natural surroundings. Anyone who has gone on a long journey through mountainous terrain can relate to the hyper-alert, sometimes hallucinogenic feeling you get.
This recording approximates that through its repeated “dissoluble” textures of disintegration. Midway through, the piece introduces additional instrumental elements, like ancient wind instrument know as pututos. These ceremonial trumpets pre-date Spanish culture, going back to the Inca empire.
Deep bellowing and higher-pitched flute-like textures float in and out, while rough-scratch abrasiveness shares space with a steady repeated drum strike. As the audio journey fades to it’s conclusion, the sense of oneness with this geography creates a portal to inner contemplation.
Check out this meticulous introspective adventure (including how to acquire it) here:
At the beginning of this year, DCW was introduced to Italian record label I Dischi del Minollo. Vowing to avoid a single style or genre of music, the company focuses on a wider variety of sounds. While progressive instrumental music served as the initial feature here, vocal rock music is now presented for review. Venice, Italy’s Mother put out a full-length album recently titled “The Stars Within” that draws inspiration from 90’s alt rock and more. Listening to what they’ve created now inspires thoughts on it all.
Leadoff cut “Magic Lungs” kicks things off in full thundering motion. Hyper-strum guitars and speed rolling drums power anxious lyrical emo aggression alternating with melodic interludes. The title comes early with a declaration that “there’s no more magic in my lungs.” Precision sharp turns come locked between bass, guitar and drums with head spinning frequency. Melody arrives more fully on a chorus that states “I'm gonna push, push up daisies, before u will get what I’m saying.”
Second entry “Blaue Reiter” takes a more angular approach, with quick start/stop rhythms between half sung/half shouted vocals. A dramatic pause is followed by tempo change under lyrics “I want to dance the night away, eatin’ sun ‘n’ drinkin’ rain.” It’s impressive how many subsequent hooks are packed within this 3 minute song.
“To You, Red Giant” manages to work in multiple movements in even less than 3 minutes. The initial burst of guitar-riff and drum driven propulsion is quickly paused for a near-acapella harmony vocal asking “how could you love safely. If you never loved your scars?” Once the full chorus is reached, it’s sing-along time on lines “I’m giving you my hand, it can be late to make amend.” Special mention to the momentary bass guitar outburst following the line “you’re cold as stone.” Another interlude soon follows, with one more tempo shift complete with sharp accents and soaring vocals around repeated lyric “is it just a loop?”
Check out the video for this blistering track here:
Other tracks like “Star Rover” also come with an illuminating video combining effective animation with band performance clips. Inspired by author Jack London’s 1915 novel of the same title, a parallel is made between the books story of triumph over physical abuse and their own aversion to meaningless pursuits. Multiple segments blend angsty emo-rock (“Forgotten – At office – In a coffin”) with calmer interludes (“Lay things low”). The songs final minute taps Beach Boys style harmonies and Beatle-esque/Sgt Peppers-like instrumentation for redemptive lines “there are no savings to save,
by now I’m dancing with days.”
Check it out here:
One more song benefitting from video treatment is deeper track “Chamomile,” presented visually as an interpretive performance in stark black and white. Lyrically it portrays the journey of a bands evolution from young dreamers to more experienced adults. “Do you recall listening in that tiny place,
how our lives could change” is the initial question asked. It’s a musical love-letter to their past and present, filled with melody-filled guitar riffs, fluid bass and throttling drums. “Feeling something,
missing something, yearning something, longing for things” leads to the universal query “how will I spend the rest of days?”
Enjoy this one here:
Listen to all the the album’s tracks here, and find out how to acquire it, as well as some cool merch from the band.
Longtime favorites and brand new-to-this-site artists are the featured music reviews here in the latest DCW. Advance singles come in anticipation of a new full length album by an accomplished still-in-their-prime creator. Furthermore, a single release is reviewed from a similarly positioned lyrical composer. Two other first timers here receive thorough analysis via a complete full length recording and alternative video single release. All of this new output provide the perfect soundtrack for your relaxed summertime listening.
There’s more that a little bit of history with musician Frankie Rose here at DaveCromwellWrites. In additional to all the live shows attended through her various alliances in multiple bands (as well as solo shows), an extensive album review of her 2017 masterpiece “Cage Tropical” was a particular highlight. Now the news of her latest record “Hila” being set for full release in the coming days is something to look forward to. Two advance singles have been released from it so far, providing early opportunity to dig into it’s sonic details.
Immediately blown away by the sound of first single “Cant Be Wrong,” the sheer brilliance of it’s studio production and creativity in vocal layering is transcendent. That it was all self-produced in a home studio (with collaboration from Jesus and Mary Chain drummer Justin Welch) is even more impressive. Opening with an instantly catchy higher-end synth keyboard melody, the syncopated bass synth against it brings to mind the 80’s new wave funk of a band like The Human League. Stabbing keyboard chords on top only add to that feeling.
Frankie’s vocals commence and you are instantly taken away to a magical place of wonder and nostalgia. That you can barely make out the words being sung doesn’t matter all all. It’s all about feeling and it’s gorgeously romantic. Exceptional production values have the end of vocal lines swirling upward, blending seamlessly with the overall sonic wash. Rising to a pinnacle, the hook becomes her “I love the way you are” and “tell me” and “cant be wrong” vocals immersed in the swirl of keyboards and magic.
The track comes with an equally impressionistic black and white video depicting the artist walking on the beach, morphing in creative ways. Check it out here:
A second single and video for the song “Manifest” has now been released. Moving Tarot cards opens the video as Frankie sits within a circle of candles. The mood is dark with a heavy percussive groove that conjures thoughts of The Sisters Of Mercy’s gothic dance tracks. Vocals are multiplied and chorused for maximum chilling effect. Soon images of atomic bombs, people running in the street, burning buildings and airplanes descending all serve as stark reminders of the ticking doomsday clock we all live under. Frankie appears singing behind water sprayed plexiglass, then four panel quadriptych, as the tarot cards continue to turn. Her voice soars on primary vocal lines, while a higher level of responding voices add an element of urgency to it all.
In addition to familiar artists who’ve been reviewed on this site more than once, previously unheard musicians often find their way on here as well. Such is the case with French creator Thierry Haliniak and his project My Raining Stars. Having connected earlier this year via Social Media, a notification of his recently released new album piqued curiosity. Titled “Toy Club,” the collection is a collaboration with longtime friend Didier Frahier (E-grand), whom he has known for over 35 years. The process involved Thierry sending stripped-down demos of songs he wrote to Didier to shape and arrange the overall sound while preserving the original vocal melodies and song structures.
What came out of that are nine indie dreampop tracks that draw from late 80’s and early 90’s Creation Records, C86 and Sarah Records influences. To put further emphasis on that, the album was mastered by Ride lead vocalist Mark Gardener. The title "Toy Club" pays tribute to the small club in Lyon, France where the two friends first met and discovered the British indie music that had a profound influence on them. Released on Shelflife Records in the US, and Too Good To Be True in the UK and Rest of the World, a careful listen and detailed review of this music follows below.
Opening track “Wherever” kicks things off with chiming indie-jangle guitar chords that instantly grab your attention. It’s primary 4 chord progression soon commences, fully formed with drums and bass. While verses are melodic and lyrically sincere, the chorus hits hard with the title word embedded in catchy hook lyrics “wherever you are, I do my best, I don’t on tight and try to live as good as I can.” Tasty electric guitar leads follow over those slashing guitar/bass/drum rhythms.
Follow-up cut “Kind Of Light” features a chunky guitar rhythm in the style of The Rolling Stones ‘Under My Thumb.” Lyrically focusing on love that starts out well but eventually turns bad, the double-time chorus states “you do not need me to bring this new kind of light in your life.” Ethereal background vocals on the second chorus pass through and songs end-out add a dreamy quality to it all. Third entry “Silent Girl” builds out of an easy groove shuffle, powered by drummer Casper Iskov (who also plays all the bass guitar on this album). It’s heart-tugging and emotional when Thierry sings “I can’t believe I won’t see you again” and “nobody knows how much I miss you.” Brilliant lead guitar work bridge all the passages together seamlessly.
“In His Heart” is a poppy whimsical number recalling how friends helped “to fight the lack of confidence that was inside him.” An instantly likeable, catchy melody where “comfort” in “difficult times” are remembered and “engraved in his heart.” Midpoint track “Fine” emphasizes rich keyboards, jangly strummed guitars and that ever-present rock-solid bass & drums rhythm section. Thematically wrestling with the wonder of youth and how that diminishes over time, “you would give everything to feel that way again.” However, you come to “realize everything has changed and nothing feels the same” because of so many “regrets.”
The subject of sudden loss is explored on the track “It Will Take Me A While.” Embedded in a jangly guitar driven, heartfelt song are the emotions dealing with having “to accept your absence.” While one can only “wonder if you can seem me from beyond,” all that is left to do is “honour your memory.” “Priceless” bursts forward as a hard charging rocker. Understanding that “freedom is priceless, and I know that time files,” the desire to “stop wasting my time” becomes paramount. The overall relentless driving progression gives this one a more punk-pop feel.
Penultimate track “As Far Back” is bass guitar heavy and groove oriented, with it’s descending chord progression and sinewy guitar figures. A thank you song to “Dad” for his sacrifices and dedication to his children’s happiness. Final song “Till The Time Comes To Leave” uses acoustic guitars to lead the way through this power ballad. A variety of audio textures accompany the story telling, none-the-least being some brilliant electric guitar melodies. A particularly enchanting higher-register background voice joins in on a chorus that goes “we will dance all night she said, we will dance till the morning light.” With that voice joining in on subsequent passages, the title line comes into focus when “it’s time to say goodbye.”
Listen to this wonderful album (with info on how to acquire it) here:
Follow My Raining Stars on their Social Mediahere and here.
Another new-to-this-site entry that arrived through the frequently accessed channel of promotional pr-to-the-press is Australian pop star daine. Announcing a debut album “In Endless Awe & Agony” due November 6th via Pack Records, an advance single for “Love Love (Love Love)” presents as good of an entry into the music and visual appeal one could possibly hope for. With this artists stated desire to fulfill their unique, authentic self, a closer inspection of this particular joyful song and video commences below.
As the video displays quick-cuts of the artist dancing around in various locales, it’s hard not to be immediately drawn in to the youthful beauty and energy on display. Buzzing synths and a 4-on-the-floor pulse beat establish the sonic groundwork for appealing vocals over top. A percolating percussion enters the mix as the lyrical question is asked “it is worth all that you give?” Vocals are doubled on an instantly catchy chorus that goes “lay low, then wonder where your friends go again // maybe you could stay close and give yourself another whirl.”
With many songs, that might have already been enough of a “hook” to satisfy, however daine takes it to another level with the swirlingly euphoric refrain “love, love, love, love - your heart is second to none” and “I’m living in the echo of us.” It’s full-blown dance music for sure, but sonic references to The Psychedelic Furs “The Ghost In You” come to mind, with it’s similar “love, love, love” refrain in that classic 80’s new-wave song. Short, melodic keyboard licks and deep booming drums further emphasize the rich audio quality of this studio recording.
The purring verses continue with lines “it takes it out of me, to always wear that mask” with a louder overlay of the word “stop!” seemingly as a form of internal motivation. Combined with this video imagery displaying energetic (and super-cute) dancing, is an aural quality that dips into the Charli XCX realm. Layering voices with a higher register delivery on a bridge that states “it’s hard to be yourself, even though no one’s around” ultimately demanding friends to “get out of bed and come see me.” The glitch-pop textures bubbling on the very end becomes a cherry on top of this intoxicating sundae.
There is a fair amount of history here at this website with the artist John Dorian, who has now released his latest single release “Love I Remember.” First meeting back in 2017, a number of live shows attended and reviews written over the following few years covered his band at that time HerMajesty. Always impressed with the level of creativity and musicianship, the announcement of this new solo release from John is a welcome one indeed. A careful inspection of the songs origins, inspiration and most importantly how it sounds follows in the detailed review below.
Continuing to Collaborate with high-level musicians, John co-wrote this new track with multi-instrumentalist Julian Harris. He then engaged with The Church alumni Marty Willson-Piper to arrange, provide original production and perform electric guitars on it. The final production came from Michael Beinhorn who also oversaw the final mix done by engineer Anthony Gallo at Virtue and Vice Studios in Brooklyn.
The three and a half minute track opens with John’s voice mostly solo (with only subtle guitar enhancement underneath) repeating essential lines “Love, Love remembers your name.” Full band kicks in right after with co-writer Julian on bass, acoustic guitar and keyboards, Marty providing lead guitars and longtime drummer Konrad laying down a rock solid beat. The vibe is swirling 80’s alternative pop with jangle guitars and big melodic keyboards. John lyrically elaborates that “love takes your hand to the end of the road,” and that “there is grace, in her flesh, in your soul.”
John’s familiar slightly-raspy mid-range vocals are poignantly expressive, periodically enhanced by additional collaborator Sirintip Phasuk (Tippan) who arranged and performed backup vocals. Lyrically inspired by Austrian poet Rainer Maria Rilke’s First Duino Elegy, John explores human limitations and romantic traps with lines “On this road you’ll find choice, regret, and forgive, so give, give to the one in your soul.” Reaching a crescendo in the song with the declaration “she’ll wave her arms and break our fall” opens up space for an ambient interlude of background voices echoing the songs theme. The tracks end out is lush with bass guitar becoming more noticeable in the mix and John’s final recitation of the title line.
Check out this creatively crafted piece of music here:
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.
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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