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.
The best recording artists put as much creative effort into every song they choose to include on their album. While standout tracks may appear, there is a consistent quality to each track on it. Those full-length albums deserve to be carefully listened to, from first track to last. This site makes a point to review those albums track-by-track, leaving no stone unturned. It's the deep dive and detailed analysis that sparks creative exploration and new experiences. Two full albums for a total of 19 songs receive the DaveCromwellWrites focus here. Finally, the loss of a beloved animal companion is never easy, and celebrating their influence on all those affected helps keep their spirit alive.
Burbank, California based music label Big Stir Records provides a seemingly endless amount of wonderful new music. With their reach expanded internationally, there is a treasure trove of high-quality recording artists there, well worth checking out. The latest to find their way into the DCW sphere is the album “Earworms” by Croydon, England's Nick Frater. Scheduled for full release on November 19, a complete track-by-track review is given the CromwellWrites treatment right away.
Opening track and the album's first single “It's All Rumours” comes with an official video expanding on the cover collage image approach. The audio jumps out of the box immediately with rough-edged guitar riffs over a powerful rhythm-section progression. With visual images showing classic memories from days gone by (“get the BIG SOUNDS with Sears Instruments” and “give the new, big Sound Of Now”) fresh faced youngsters behind drum kits and winking gals with guitars at the beauty parlor double-down on 1960's-1970's nostalgia. As the vocals commence (an instantly likeable voice in that Nick Lowe/Dave Edmunds mid-range) key lyric punctuations like “hit the ground” and “run-around” are displayed in bold type over more eccentric video images.
The rhythmic vocal cadence and lyrical delivery share similar qualities with the Paul McCartney and Wings 1975 back-end hit single “Rock Show,” further adding to the songs appeal. “She sells her story to the Daily Hell” (surely a reference to British Tabloid “The Daily Mail”) - “don't trust a word it's only kiss and tell” provide clever lyrical turn, with graphic emphasis in the video as well. “Did I stay? That's what they're starting to say” commences a perfectly constructed bridge. It all leads in to the falsetto sung, wonderfully hooky sing-along-chorus, appropriately centered around the songs title-line, capped at the end with a Beatles-esque “Ahh!” (or is that an homage to Freddie Mercury/Roger Meadows Taylor's combined voices in Queen). Embedded inside all of the lyrical examination is a basic romance story (of sorts) where “staying the night again” ultimately leads to “they don't know what to believe,” because – well – “it's all rumours – lying in your arms tonight.” There's even one more change section two-thirds of the way through serving up additional sonic elements (moving into 10CC piano territory) along with more curiously amusing found and reassembled imagery, with Mick Jagger showing up multiple times.
Listen and check out this wonderful song and video here:
The album's second cut “Buggin' Out” blends more Beatle-y inspiration, establishing a similar vocal cadence to the Paul McCartney penned “Wait” (from 1965's “Rubber Soul”) on the verse, along with “doo wop” background vocals on the chorus. “We could be breaking out – making out – staying out way too late” encapsulates the enthusiasm that chorus imparts. “What's with Your Heavy Heart?” chugs along with pop earnestness, propelled by some particularly whip-crack drumming. Another dip into Beatles vocal stylings (at least to this writers ear) comes on the “always rolling thunder and hiding undercover” change section. There's even a George Harrison-style slide-guitar hook fill for good measure.
Syrupy strings and bonkers synth twiddles introduces fourth cut “Lucky Strike.” Keyboards stab out the chord progression while up-in-your-ear vocals establish this lullaby tale. Soon enough the full band is engaged along with sugary background vocals to enhance the proceedings. “Making the same mistakes – over and over and over again” eventually gives way to “maybe soon we'll see happy endings on the horizon.” Impressively blistering tandem guitar soloing adds a near prog-rock tip to the whole proceedings.
The album's longest track (at 5:10) is also arguably it's best, with the heart-tugging ballad “Star-Crossed.” The smooth 70's am radio vibe is immediately apparent with it's soft “ooooh” background vocals, again bringing to mind the genius of band like 10CC or even Fleetwood Mac. Cool lounge electric piano and a powerful rhythm section of prominent bass guitar and drums provide the musical force for unfolding lyrics. “I would like – to leave in the morning. I won't ask – to know where your going. Alll night – you keep yourself together – I won't ask again.” A song about personal relationships for sure – but listening can also furnish comfort and emotional release for anything you've ever loved. The rising background vocals behind lyrics “and I would like – to know where your heart IS – star-crossed once again” bring the title-line into focus. Piercing lead guitar riffs as bridging interludes echo both melody and sentiment with equal measure.
Questioning dogma is never a bad thing (regardless of whichever side it's coming from) and sixth track “Not Born Again” does that well. Embedded within a driving pop-rhythm is the lyrical refrain “you say that we never can play, 'cause baby you're not born again. But I pray we can make it this day, 'cause baby I'm not born again.” Much like Pete Townshend's “Won't Get Fooled Again” and his ultimate declaration “I'll get on my knees and pray - We don't get fooled again” we all eventually embrace our own “hypnosis.” Discovering that seventh cut “Desert Ships” is based (at least partially) on legends of treasure ships buried in the California desert, a bit of research was in order. It seems there is some evidence to bear this out. The globe is a fascinating place, especially when digging deeper in it's rich, historical layered past. The the track itself is a piano driven, bright guitar-lick enhanced chugger, lyrically presented as a date stamped travelogue. “Palm Springs '75,” “Cat Walk '73,” “Fat Chance '71,” “Short Shrift '74” are all referenced, while a quick-delivery guitar solo supplies agile musical interlude.
A buzzing violin approximation and strong piano chords sustain dominant musical accompaniment on the sentimental, Paul McCartney-esque “The Unbroken.” Primary hook “cross your heart another day, holding on for us to stay – I heard you say” evoke the spirit of classic Beatles ballads, like “The Long And Winding Road.” The synth-driven “Who Says I Need A Plan At All?” elicits David Bowie's “Space Oddity” vibe, with that particular mellotron sound riding high throughout the mix. Doubling up on the ¾ waltz time to a steadier rock 6/8 allows the track to stand out from the album's previous, more pop oriented cuts. Closing entry “How to Survive Somebody” builds around that room-echo piano sound so prominent on Supertramp songs like “Goodbye Stranger.” This track moves at a slower pace – a true piano ballad – before ultimately bursting into full band and background accompaniment. Exploring the eternal subject of “knowing someone well” the title line turns the table from 'you' to 'me.'
"Earworms" by Nick Frater is out November 19 on vinyl, CD and all digital platforms.
Previous Features about Big Stir Records on this site can be found Here and Here.
* * * * *
EEP is an alternative rock band out of El Paso, Texas that plays a varied style of psychedelic dream pop and gazey indie music. Their latest album “Winter Skin” was released earlier this month, and features nine original, wide-ranging songs. Released on the local Hogar Records label, the tracks were produced and engineered by the band themselves, with recording and mixing done at Brainville Studios in Sunland Park, New Mexico.
Opening cut “Hanging On A Wire” makes clever use of muted ambient textures as it's sonic introductory point, before the clear, undistorted vocals begin. “You left me hangin on the rebound,” begins the pointed story of a one-sided affair. As deep level drumming kicks in, off-kilter tones share space with guitar power chords, leading into a soaring cascading vocal chorus. The dynamic flow is impressive, moving from elevated multi-layered vocals to spacious interludes with extended note guitar structures. A rhythmic shift develops under subsequent vocal passage “do you even care - why am I am I am I am I am I am I am I am I,” as forceful snare drum shots and buzzing guitars drive it all along.
Follow up track (and single release) “No Inbetween” sprinkles extra percussion on top of a decidedly rock solid drum beat and out-front bass guitar progression. The vocals commence in full shimmer mode stating how “you always compare something to everything.” A solid background sheen of voices creates an angelic halo around the singular lead vocal lines. As the essential change presents itself, a subtle downward shift can be felt on the lines “lay your judgement down for once - let it fly away from you.” Points must also be given for the cool “wah-wah” guitar solo and the coining of new word “inbetweenin'.”
Third entry (and also a single) “A Message To You” takes a clearly defined song structure and blankets it with pummeling rhythms, shearing guitars and wall-of-sound vocals. It's more than simple dreamgaze (although including the lyric “story in your gaze” is a clever touch), packing much more punch overall. While the opening chords emphasize a softer jangle, triumphant drums and buoyant bass guitar fills point the way to a coming force. This explosiveness hits in full motion, with stomping percussive beat, enveloping guitars and multi-layers of elongated vocals. A minute in and right to the bridge, “it's so hard to explain” sparks those pleasure sensors in your brain as it should. That arousal is extended further with a Chorus that takes one single line and turns it into an uplifting celebration of hope. With the primary voices ringing that out, a chanting background vocal call-and-response approach heightens sensations further. A final beatless, ambient coda emphasizes the songs overall message of honest revelation, and that sometimes “it's ok to cry.”
One more single release, Ángeles is delivered entirely in the Spanish language, and features two guest percussionists playing the Djembe. According to the Bambara people in Mali, the name of the djembe comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace" and defines the drum's purpose. Fifth cut “Today I Woke Up” employs the ¾ (or is that 6/8) time signature for that alternative 1-2-3 waltz effect. The guitars are jangly, and the descending progression benefits from a dominant bass guitar pattern adding counter-melody movement. Inventive lyrical turns “the powers of my weirdness” and “crocus bulbs of irrepressible audacity” add psychedelic insights.
“Stubblefield” pivots deeper into the psychedelic realm, utilizing backward playing, reverse instrumentation effects, hypnotic repeating drum pattern and bold extended guitar notes. Additional psych-rock elements include inward-trip lyrics “if we turn around and go back to where we started, we just might understand all of the reasons why we parted - if we turn around and go back to where we parted, we just might understand all of the reasons why we started.” Sharing a similar auditory experience with The Beatles “Tomorrow Never Knows,” the sequence-shifted layering of voices and periodic submergence under guitars pitches this track closer to true gazey-rock.
“Stargazer” surfaces via otherworldly repeating bleeps and patterns before being joined by elastic-bending guitar textures. A full minute of this outer-space ambience flows until measured bass guitar and light-ticking percussion eventually joins in. Making lyrical references to “death,” “En plein air”(French translation: “in the open air”) and “Auvers,” the songs title (and content) appears to be referencing Vincent van Gogh's work and ultimate tragic end. A distinct tempo shift downward occurs at the songs midway point, emphasizing spacious ambience. The repeated closing mantra “life's for shooting man,” ultimately morphs into stark piano chords and a gentle floating away.
A singular driving guitar riff ushers in eighth track “Time Crunch.” As the band kicks in, forceful propulsion comes by way of hammering drums, vigorous bass and crunchy guitar chords. The verses roll out with syncopated snare-accented percussion underneath, while a larger sonic wall of gaze explodes on the lyrical “I've been watching you go” repeated passages. There's a holding-level interlude where dual harmony vocals repeat “under your nose,” leading into an extended intensity segment focusing on “I've been watching watching - I've been watching you go” once again. A final synth accompanied segment conclusively states “you've surely returned from a dream to discover-
you've been dreaming your life away.”
Final entry “Slow Down” does just that, with it's measured pace and understated instrumentation. Focusing primarily on sincerely felt lyrics and vocal delivery, the album's title is revealed with the lines “Shed your anxious shaking Winter Skin - And let yourself be something new again.” A song of understanding and acceptance of the life cycle, it serves as a fitting conclusion to this truly inspired collection of songs.
On November 10, 2021 our precious baby girl cat Cherry crossed over the Rainbow Bridge to be with her twin brother, after 14 years of joyous life. She was the most perfect chubby cat that ever lived and she will be missed and remembered forever.
Cherry came to us as a baby kitten with her brother in 2007.
She was a sweet and gentle cat who would purr up a storm at a moments notice.
Like most sibling pets, or those that arrive together, the bond of snoozing in close proximity (or actually on each other) was a very frequent activity.
Donning a holiday appropriate festive hat was certainly not out of the question.
Paws and claws out for a good solid stretch.
Helping out with the computer or around-the-house decorations was one of her specialties.
An open box is always an endless source of fascination.
Gettin' a leg up and chubby snooze-a-thon.
The endless fascination with and secure feeling of a sturdy cardboard box.
Cherry was a beauty and a wonderful companion. We will never forget her.
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.
.jpg)
