Formerly a songwriter to the stars, Elena Rose penned hits for the likes of Bad Bunny, Rauw Alejandro and Karol G before stepping out on her own with debut album En Las Nubes — Con Mis Pana in 2024.
From there it was off the races for the Venezuelan-American singer, a blur of chart-topping singles, festival performances including Coachella, and a major crossover collab with Ed Sheeran.
Fresh off a showstopping performance and nabbing a songwriter award for Song of the Year a couple of weeks ago at the Latin Grammys, she’s now on a U.S. headlining tour. Find out why her time is now.
7 p.m. Saturday, Nov. 29, House of Blues, Disney Springs, Lake Buena Vista, orlando.houseofblues.com, $64-$175.
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Songwriter to the stars now keeps her hits for herself
It’s been a long time coming, but Jack’s Mannequin finally made it to Orlando on their reunion tour — and the city showed up. The show sold out the day tickets went on sale, and from the moment Andrew McMahon sat at the piano and hit the first notes of “Holiday From Real,” the night became one big rush of nostalgia.
McMahon and the band tore through all three albums, blending favorites like “Bruised,” “The Mixed Tape,” “Dark Blue” and “The Resolution,” along with deeper cuts like “Cellphone” and “Amelia Jean.” It felt less like a concert and more like a shared memory, 20 songs of collective emotion, dancing and impassioned sing-alongs.
Opener Hellogoodbye set the tone for the night and even surprised fans by announcing their return to Orlando next year for the Zombies! Aliens! Vampires! Dinosaurs! 20th anniversary tour.
Credit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian SuarezCredit: Ian Suarez
“I wouldn’t wanna do anything else on Halloween but perform.”
When guitarist John 5 hits the stage in Orlando Halloween night, it won’t just be just another stop on his tour with Richie Kotzen; it’ll be a full-blown monster mash of metal and melody.
“I really love being on the road,” John 5 tells Orlando Weekly. “You know, a lot of people aren’t cut out for it, but I just really, really enjoy it. It’s super relaxing.”
This fall’s co-headlining Ghost tour is his latest solo adventure, showcasing songs from his 11th studio album, Ghost, an entirely instrumental outing that blends horror-inspired aesthetics with virtuosic guitar work.
“I have a guitar that came out a couple of years ago called the Ghost,” John 5 explains. “It’s all white, beautiful and it just fits me perfectly. And it’s attributed to the guitar, but also we all live with ghosts, and we don’t even really know it. It is like we’re surrounded by ghosts, so it just felt like the right title.”
The Ghost record, like much of John 5’s work, moves between genres with eerie ease — from jazz and rock to blues, country twang and straight-up metal.
“There’s an amalgamation of all these different styles of music,” John 5 says. “We’re incorporating that in the show too, and recording all these concerts. I want to put out a live album called A Live Ghost. We’re going to record a bunch on Halloween, so that’ll be special.”
For John 5, both a solo artist and an in-demand sideman with sundry grisly metal acts, there’s no better time to tour than around Halloween. His lifelong love of classic Universal horror movies, from Frankenstein to The Creature From the Black Lagoon, is woven through music.
“I remember having a little Frankenstein doll when I was five,” John 5 recalls. “I loved all those Universal movies: Dracula, The Wolf Man, The Mummy. That love never goes away. I incorporate that in my show, and it really is a perfect time for me to tour around Halloween because it just fits so perfectly. The fans eat it up. It’s still with me today; nothing really has changed since I was a little kid. ”
The Halloween show in Orlando is personal for the axman, too.
“My kids live in Florida, so it’s gonna be a wonderful experience. I’m looking forward to that show more than any show on the whole tour,” he says.
His admiration for horror runs deep and seeps into his shows, where visuals and lightning-fast riffs create a creature between a rock concert and a haunted house.
“I love The Shining, Carrie, The Texas Chainsaw Massacre, The Exorcist,” John 5 says. “Those really stand the test of time, and that’s what is difficult with horror movies. They’ll always be relevant.”
Despite his macabre inspirations, John 5’s work ethic is as disciplined as it is daring. With Ghost, he recorded the album live in the studio, no studio stitching or endless edits.
“I loved it,” he says. “I don’t have a home studio, so I just love to get things down so you don’t even have to think. And that’s how musicians were like back in the day. Just rehearsing these songs before I go into the studio, and it really helps you be a better musician.”
That same dedication shows up onstage and even in his daily routine.
“I am very health-conscious all the time but especially on the road,” John 5 explains. “I try to go to bed around the same time every night because getting sleep is the most important thing you can do, eat right, and take vitamins. It’s not the rock & roll answer people expect, but it’s true. That’s how I stay ready for 50 shows in a row.”
Between Ghost and his time with Marilyn Manson, Rob Zombie and Mötley Crüe, John 5’s career continues to evolve without losing its spark.
“It was one of the best touring experiences of my life, and to get to play with the guys and play those great songs, I don’t know if that’ll ever be topped,” John 5 says of his time with the Crüe in particular. “It was just so much fun.”
John 5 started touring in 1994, at the age of 24. Next year, he’ll be embarking on a 50-show, 50-state tour — with no days off — slated to begin in Alaska in October. But, still, his focus remains on evolution.
“I am always trying to improve,” he explains. “A lot of people get comfortable, but I’m always learning and doing research and getting as good as possible.”
For John 5, Halloween night in Orlando is a celebration of everything that’s shaped him: the monsters, the music and the magic of doing what he loves most.
“I’m so lucky and I’m so fortunate to be doing what I am doing. I think that’s the meaning of life — doing what you love — and luckily that’s what I’m doing,” he says.
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The lawsuit accuses the DeSantis administration of slow-walking the process to put its proposed amendment on the Florida ballot.
The debt relief initiative, made possible through funds from the Biden administration, has relieved medical debt for 302,000 people.
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Phantogram get enigmatic in Orlando Credit: Live Nation
Chameleonic but icy-cool L.A. electro duo Phantogram are back on the road and returning to Orlando this fall, buoyed by bold new sounds and styles.
Case in point: new single “In My Head,” written in collaboration with Charli XCX ally Whethan. This is a band that can tour with the Deftones, casually drop Krautrock references in interviews and then tease a collab with Big Boi, sunglasses still firmly in place.
7 p.m., Sunday,, Oct. 19, House of Blues, Disney Springs, orlando.houseofblues.com, $49-$147.
Although his cameos on Beyoncé’s blockbusting Cowboy Carter album vaulted him into the public consciousness, Shaboozey’s quickly proven himself as not just a leading man but a musical unicorn.
Being a Black man in country music has always been a rare and uphill path. In bitterly divided times like these, it seems like outright fantasy. But Shaboozey is fucking doing it. With a big-stomping pop sense but some hip-hop edge in his back pocket, the Nigerian-American (chill, bros — he’s U.S.-born) artist has the stuff to not just infiltrate the alt-country fringes but take the mainstream head-on.
If there’s a time and place for us all to come get tipsy together, it’s right here and now. Shaboozey is the great Black hope.
This Orlando stop will be the finale of the U.S. leg of his Great American Roadshow tour, so expect this skyrocketing star to close big.
7 p.m. Thursday, Oct. 16, House of Blues, $101.36-$655.88
“Houston, I love y’all!” yelled an energetic Anderson .Paak, draped in all white with a white plush crown like hat atop his head. He paced in front of the stage length screen flashing spinning images of the word “NXWORRIES.”
“Give it up for Knxwledge!”
Above, seemingly floating on top of the screen, stood Knxwledge working the turntables as he filled the room with music through the speakers at the House of Blues.
As the room filled with thunderous applause, Anderson .Paak began to pace faster. The night had been filled with flashing lights, images of Ninja Turtles, and the Oxnard, California native crooning through hits from the duo’s two albums.
“This means the world to us. This is our first ever national tour. This is for our fans and the people that have been rocking with us from day one. Me and my brother go back ten years plus in this band and in this industry, and this industry can make you real f—king sad sometimes. But somehow we messed around and got a Grammy! And it ain’t over.”
As .Paak stepped to the side of the stage, Knxwledge began to play, taking the crowd through a mix of music from artists like H-Town, Anita Baker, Khruangbin, Mobb Deep, and more. Video clips of characters like Peggy Hill and Marge Simpson dancing alongside Waluigi doing yoga were superimposed over classic music videos. The Why Lawd? Tour had touched down in Houston.
NxWorries is the genre blending duo of singer, rapper, and drummer Anderson .Paak and producer Knxwledge, both accomplished artists before joining forces. The pair formed in the mid 2010s, bringing together .Paak’s soulful rasp and charismatic storytelling with Knxwledge’s sample heavy production rooted in vintage soul, gospel, and hip hop. Their chemistry was immediate, a seamless blend of texture and rhythm that turned small studio sessions into something much larger. Signed to Stones Throw Records, NxWorries quickly gained attention for their timeless sound and effortless groove, reviving the feeling of classic R&B while keeping a distinctly modern edge.
Their breakout came in 2015 with the single “Suede,” a slow burning, funk driven track that captured the duo’s signature feel, playful, intimate, and sonically rich. The success of “Suede” led to the release of their debut album Yes Lawd! in 2016, a project praised for its warmth and fluid storytelling. The album showcased .Paak’s charisma and Knxwledge’s ear for nostalgic yet forward thinking production, earning widespread critical acclaim. The following year, they released Yes Lawd! Remixes, a full reinterpretation of the original album that highlighted Knxwledge’s versatility and commitment to experimentation.
After several years focused on solo endeavors, NxWorries reunited for their long awaited sophomore album Why Lawd? released in 2024. The project marked their return to the spotlight and displayed a more mature, reflective tone while maintaining the soulful core that defined their debut. The album featured collaborations with artists like H.E.R., Thundercat, and Earl Sweatshirt and went on to win Best Progressive R&B Album at the 2025 Grammy Awards. In support of Why Lawd? the duo launched the Why Lawd? Tour, their first national headlining run, bringing their decade long creative partnership from the studio to stages across the country.
The response to the show has been evident, with the duo selling out multiple venues, including the House of Blues Thursday night. The almost decade long wait between critically acclaimed projects has helped build a fan base that eagerly looks for anything by the band. That excitement was clear from the merch line, which grew so long it wound through the crowd and filled the room. Knxwledge provided the foundational sound to Anderson .Paak, who powered through crowd favorites like “Lyk Dis,” “Suede,” and “Link Up.” The stage almost played as a third member with the gigantic screen projecting laser light shows, flashing real time video of .Paak and Knxwledge, showing absurd art and music videos. The room responded in kind, belting out hit after hit, at times even drowning out. Paak.
NxWorries has always been about balance. Anderson .Paak brings the showmanship and swing while Knxwledge supplies the soul and texture underneath it all. Together they have built a sound that feels familiar but never dated, pulling from R&B, hip hop, and funk without chasing trends. What makes their work hit is how natural it feels, two artists who know exactly who they are and what they sound like when they are locked in. Nearly ten years later, that chemistry still feels effortless.
Setlist: ThankU Wngs Kutless What More Can I Say MoveOn Fall Thru KeepHer Distractions Where I Go Best One Lyk Dis Battlefield Suede OutTheWay (with Rae Khalil) More Of It FromHere jstfrends (Knxwledge song) (Knxwledge DJ set) Link Up Droogs I Wanna Dance With Somebody (Who Loves Me) (Whitney Houston cover) Suede Everybody Gets Down Don’t Be Afraid Daydreaming
Indie poppers Peach Pit returned to the House of Blues Monday to play a show that was reminiscent of their past but indicative of their musical growth.
The Canadian quartet of Neil Smith (singer), Chris Vanderkooy (guitarist), Peter Wilton (bassist) and Mikey Pascuzzi (drummer) hadn’t played a show in Orlando since 2022. While they still played some tunes from their past albums, they made sure to set the standard that this 2025 tour was distinct from any previous. See, tonight was all about their latest album, Maggie.
Apart from a setlist that heavily favored this latest album, the stage design felt very apropos for the band’s sonic reintroduction to Orlando, all bold colors and imposing angles. The background was a wall of retro-circular lamps that constantly changed color and brightness. The stage also featured several imposing platforms that allowed Peach Pit to tower over the stage and audience.
The band even made some switches between past and present obvious, with Smith jokingly introducing an old banger by saying, “All right, now let’s play some shit you guys actually want to hear.”
A special moment was when Peach Pit took a break from their own discography to pay tribute to Her’s, an indie-rock duo from England who were both killed when a drunk driver hit their tour vehicle in 2019. The tribute included a cover of the popular song “What Once Was” and a change in lighting that reflected the purple and pink color scheme of that band’s pivotal Songs of Her’salbum.
Accompanying Peach Pit that evening at House of Blues was Miya Folick, bringing soft indie-pop from Los Angeles.
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Scottish post-punk crossover stars Franz Ferdinand played Orlando for the first time in over 20 years Wednesday night and the packed house was ready for it.
First up, young post-everything openers Master Peace warmed up the crowd to the point of getting up close and personal with said crowd. An auspicious beginning.
Franz Ferdinand then played a hard-charging set that pulled equally from newest album The Human Fear and their self-titled debut, now over two decades old. Moment of the night was when Franz frontman Alex Kapranos convinced the crowd to ditch their phones collectively during “Take Me Out” and a good old-fashioned millennial dance party ensued.
It’s only rock and roll, but people still seem to like it.
By the time UK glam rockers The Struts hit the stage at House of Blues Thursday night, the crowd that ranged from small children to people in their 70s was clearly ready for a rock show, something that, if you checked the charts any time in the last decade or so, didn’t seem possible. From beat one, the crowd ate out of the widely outstretched hand of flamboyant, effervescent singer Luke Spiller, who spent the entire night doing whatever was necessary to keep the crowd involved.
Celebrating the 10th anniversary of their debut album, Everybody Wants, The Struts performed every song from the record in order, adding only a handful of other tunes from their canon including the raucous opener “Primadonna Like Me” and the title track to their 2023 release, Pretty Vicious.
A toothy, gyrating combination of Freddie Mercury, Mick Jagger and Austin Powers (“baby” is his favorite direct address and he at one point admonished the crowd with a cheeky “oh, behave”), Spiller took the crowd through a series of Simon Says directions including a practiced cell phone choreography during “Mary Go Round.”
“I’m going to have fun with you guys,” he said, clearly amused with the overly compliant audience. “I can get you to do anything.”
For the uninitiated, The Struts weave bits of virtually every era of rock music into their repertoire. Queen, The Rolling Stones, ’70s glam rock, ’80s hair metal, and a sturdy dose of modern alternative (see: Jet and The Killers) is brought together in a melodic, bombastic sound that is tailor made for big stages. It’s modern, but the huge drums and loud guitars backing massive anthemic hooks feel positively classic.
Guitarist Adam Slack (left) and singer Luke Spiller of The Struts.
Photo by Jeff Balke
They weren’t a success out of the gate, however. Everybody Wants actually flopped in their native England, but they got a break when French radio stations began playing the songs. That landed them an opening spot for, of all bands, The Stones in Paris. By the time they had re-recorded and re-released the album in the U.S., its slick production and radio-friendly hooks caught on with alt-rock enthusiasts.
On Thursday, fans in attendance certainly weren’t newbies. When Spiller asked how many saw them on their first U.S. tour in 2015, a good number cheered and raised their hands. It was easy to get this crowd to sing along because they all knew the words.
Musically, The Struts were absolutely flawless. Pitch perfect and focused, it was about as good a rendering of recorded music as you’ll hear in a live setting. Granted, it’s a little jarring to see how animated Spiller was compared with his bandmates. Guitarist Adam Slack is a tremendously gifted musician, but he felt almost like a shoegazer next to his campy energetic singer.
But, when you sound this good, who cares? The rhythm section of Jed Elliot (bass) and Gethin Davies (drums) held down a formidable groove. Davies, in particular, was thunderous behind the kit. And both Elliot and Slack handled back up vocal duties admirably. That doesn’t even begin to address the impressive range and power of Spiller’s vocals, which seemed almost effortless for him despite the pipes needed to pull them off.
Opener Dirty Honey, singlehandedly holding space for all the L.A. metalheads who pine away for the days of Cinderella, Faster Pussycat and Tesla, were a tight, fun reminder of when bands built out of hair, guitar strings and bare chests. If you are into that style of music, you’d be hard pressed to find a better representative and clearly there were plenty of fans in the building just to see them.
But the headliner was the show stopper delivering the goods for 90 minutes with fans hanging on every word and answering Spiller’s every beck and call. For someone who remembers when loud guitars were the foundation of the most popular genre of popular music at the time, it was refreshing to hear a band so willingly wear their rock credentials on their collective sleeves. Never a band to shy away from their heroes — they routinely cover Queen, David Bowie, AC/DC, Sweet, Bad Company and The Stones — the influences were obvious and, on Thursday, they did their heroes and the people who came to bear witness proud.
Turns out, rock music might not be dead after all.
JJ Grey & Mofro play the House of Blues Credit: Ryan West
Touting their first new album in nearly a decade, Olustee, JJ Grey & Mofro are hitting the road. The band’s next stop? House of Blues, alongside supporting act and local Americana power couple Harber Wynn.
For those unfamiliar with JJ Grey, this Jacksonville-based artist creates music summoning up his own experiences living in the swamplands of North Florida. The band’s raucous blend of soul, funk, gospel, folk and rock has netted them a wide audience over the past 20 years on the road.
Says Grey of his process: “The best songs I’ve ever written, I never wrote. They wrote themselves. The best show I ever played, played itself and had little to do with me or talent. To me, those things come from the power of an honest moment, and I guess I’m trying to live in that power and not force life to cough up what I want.” Get ready for more than a few honest moments Friday.
6:30 p.m. Friday, Sept. 26, House of Blues, Disney Springs, Lake Buena Vista, orlando.houseofblues.com, $62.
4Batz is going back on tour again, which we assume he’s putting his honeymoon on hold. The Dallas R&B singer is taking his marriage to Anycia seriously, dropping the video for “act xxiii: let’s press play,” the last song on his latest album Still Shinin…
Going to shows can be a transformative experience filled with wonder and energy and great music. It can also be a sweaty hellscape that leaves you with ringing ears, smelling of spilt beer.
Every concertgoer has their preferred experience for seeing artists live. Some want a picture of the whole thing while certain audiophiles crave perfect sound. Others want to get in the pit and dance. Whatever your idea of a great concert experience, where you sit (or stand as the case may be) makes all the difference.
Casual Observers
If you are going to see a band you don’t know that well and your primary interest is that of a curious bystander, consider the middle back of a general admission show or side of the stage in a larger arena. If you are standing up, being able to take in the overall is critical without the crush of the crowd. If you have the option of seats, the side of the stage is a great way to see not just the performance, but things going on behind the scenes. This is a great option for musicians as well, just make sure you are on the side of the person you actually want to watch.
Visual Learners
Love the spectacle of it all? Want to see every backup dancer and every bright flashing light? Get to the back of the crowd in an elevated position. You might not be the closest to the artist, but you’ll be able to see everything. In a venue like Toyota Center, that means the back lower section 10-20 rows up to make sure you aren’t blocked by anything below. In a more general admission setting, the key is to get up higher than the people in front of you like a balcony at 713 Music Hall or House of Blues.
The Audiophile
If you love the auditory experience of a great show, look for the mixing board and get as close to it as possible. Audio engineers position themselves at a venue for a reason. The center of the room gives them stereo separation of the sound system and helps them to get the best picture of how everything is actually sounding. In big arenas, that often means being on the floor or in the first couple rows in the lower bowl. In smaller venues, you will probably have to cram yourself in front of the sound guy. But, leave them alone because that job is difficult enough without people asking for more delay on the lead vocal.
Active Participants
Dancers, mosh pitters, this is for you. Keep in mind that this is much more attainable at general admission shows where you can force yourself to the front and party like a rock star. Obviously, proceed with caution. The larger the crowd and the hotter the weather if you are outside, the more dangerous it can be. For big arenas, it means ponying up big bucks to get a seat down front. It’s the only way to be close to the action and might even allow you to interact with the artist. Of course, if you just want to dance, you can to that any damn where you please, so have fun!
For the Claustrophobic
Yes, there are music lovers who also happen to struggle in crowded environments. It can be panic inducing and downright terrifying. For you folks, the choices are somewhat more limited, but not unattainable. Consider more outdoor shows like the ones at the Cynthia Woods Mitchell Pavilion where you can bring a lawn chair and sit in the expanse of grass. If you must go to a show in more cramped corners, get there early and scope out a spot in the back near an exit. It will help ease some of the discomfort that comes with dealing with so many people.
The Option to Sit Down
If you are someone that doesn’t want to stand for long periods of time or has a physical disability, make sure the show you go to is not entirely general admission. You MIGHT be able to find a seat like a barstool or similar (House of Blues has some) if you get there early enough, but if not, you could be in trouble. For seated shows, ideally pick somewhere that is easy to access – the end of a row or a seat towards the back. It will make it much easier to enter and exit and keep the show enjoyable for both you and your seat mates.
Just Happy to Be Here
If you just want a good time, don’t even bother worrying about it. Show up, hang out and dance like everyone is watching you because, nowadays, they might be!
What do Orville Peck and Beyoncé have in common? One: they’re both fabulous. Two, and perhaps more notably, neither has ever been nominated for a Country Music Association award. Beyoncé was famously overlooked by the CMAs following the release of Cowboy Carter, while the inherently more country Peck received no nominations for either Pony or the even more critically lauded Bronco.
Awards are, in the final analysis, meaningless. It’s just funny that an album by an African-American artist that was No. 1 on the country charts for four weeks and two releases by a queer artist who can play all his own instruments and doesn’t use Autotune happened to be frozen out.
Peck has really taken off, especially in the wake of his latest release, Stampede. For example, this last few days saw him performing at ACL Fest in Austin and in Dallas before landing at House of Blues. Seemingly none the worse for wear, he emerged with band, clad in fashion reminiscent of the Texas Playboys, to an adoring (if somewhat meager) crowd.
“Big Sky” was an interesting choice of an opener. It’s the song that kicked it all off for Peck, and offers a prelude of that ‘Roy Orbison by way of Angelo Badalamenti’ sound that’s become almost as much his trademark as his mask. But it’s a little downbeat. The action picked up with Pony standout “Turn to Hate.” Meanwhile, “The Hurtin’ Kind”,” from the all-duet Stampede, and “Cry Baby, Cry” from Bronco continued to demonstrate Peck’s classic country bona fides.
He introduced the haunting “Hexie Mountains” by letting us know he wrote it while severely depressed, and described it as his favorite track off Bronco. This emphasis on mental health ran through the show, as Peck recalled canceling his most recent tour to focus on himself, while appealing to all of us to take the same measures if needed.
Unfortunately, I only caught two of the three ground rules he initially laid out for the show. The first was for the audience to sing along, even if you didn’t know the words (mission accomplished), while the third was to cry if you wanted to (conveniently offered as the intro to “C’mon Baby, Cry”).
Peck has a gift for unconventional covers, in the vein of Sturgill Simpson, and it was a bit of a bummer we didn’t get more of them (“Cowboys Are Frequently, Secretly Fond of Each Other” being a notable exception). Stampede is famous for his collaborations, but all we got was “How Far Will We Take It?” — with Emily Rose (of Emily Rose and the Rounders) capably taking the Noah Cyrus part — and “The Hurtin’ Kind,” with his band stepping in for Dripping Springs’s own Midland.
Would it have been nice to hear Peck’s versions of “Born This Way” or “Mona Lisas and Mad Hatters?” Sure, they would’ve killed. But by concentrating on his own songwriting gifts and unique voice, Peck made sure we appreciated this more stripped down approach. “Stripped down” also described the running time, with Peck responsibly ending his set before 10 p.m. Adulthood comes with some disadvantages, as we were denied numbers like “Let Me Drown” and “Permanently Lonely.”
There will always be those who dismiss him as a gimmick because of the mask (the full face one didn’t show up until the encore anyway) or the theatrics, and they’re sadly missing the point. Orville Peck is an infusion of fresh air that country music continues to need. Along with the likes of Zach Top, Priscilla Block, Dylan Gossett, or Tanner Adell, Peck gives us an alternative to the bro country bullshit polluting current C/W airwaves.
The Boston-born rock duo Slothrust brings their yearning and impassioned sounds to Orlando. Supporting Badflower on their “No Place Like Home” tour, singer/guitarist Leah Wellbaum and drummer Will Gorin are playing their melancholy tunes in 30 shows across the country.
Since their start in 2010, Slothrust has released eight albums, one EP and 22 singles defined by spirited vocals and distorted guitar tones. Stereogum praises the band as “bluesy alt-rock with stellar guitar work and swaggering wordplay.”
At this show, one of only two Florida dates, you should buckle up and get ready for a night of all-too-relatable anthems of love, loss, loneliness and (maybe) getting it all back together again.
7 p.m. Saturday, Sept. 7, House of Blues, Disney Springs, $48-$71.
DIIV’s North American headlining tour pedals into Orlando this summer.
Last autumn, the Brooklyn indie-shoegazers opened for Depeche Mode at the Kia Center, but this time DIIV take the stage in a more intimate venue.
After a five-year wait for a new album, DIIV’s Frog in Boiling Water delivers the goods with lush reverb, melancholic dream-pop vocals and somber melodies all making for a shoegazer’s paradise.
With touring openers Horse Jumper of Love and Dutch Interior, the North American leg of the tour kicks off in a few days. There are only three Florida dates: Orlando, Tampa and Miami.
DIIV plays Orlando’s House of Blues on Saturday, July 20. Tickets start at $44.50 and can be purchased through Live Nation.
CLEVELAND (WJW) – It was a birthday present decades in the making! FOX 8’s Tracy McCool had the chance to rock out with her all-time favorite band, Queensrÿche.
With help from Live Nation and friends at FOX 8, Tracy was surprised with a chance to hang out with the Washington-based heavy metal band before their show the House of Blues on Wednesday.
“I just want to let you know that I spent longer getting ready for today than I did getting ready for high school prom,” Tracy told the band. “You are my all-time favorite.”
Tracy got to spend over an hour with the band as they did a sound check, even trying her hand at the drums. She also left with plenty of signed merchandise, like drumsticks and a tour shirt.
There was still one surprise left, though. During the show Wednesday night, as Tracy rocked out with FOX 8’s Natalie Herbick and Gabe Spiegel, the band and the audience sang “Happy Birthday” to her.
“This is a birthday surprise I will never forget!” Tracy said on Instagram.
In the ’70s and ’80s, the Cleveland-based band Fayrewether was one of the city’s more popular acts, and the group became known for its renditions of songs by Genesis, Jethro Tull and Alex Harvey as well as its own original material. At the height of the band’s popularity, it reportedly filled rooms all over the region and played in Ohio, New York, Indiana, Michigan, Illinois, Wisconsin, Minnesota and Pennsylvania.
“The ‘70s were in full-blossom,” says Fayrewether via phone. “There were a lot of clubs. We could have played six nights a week. We did when we first started. We played a different club every night. That was incredible. Everything was going along really well. You could make a living as a live band. There were a lot of folks who would come out. And when we played, the same people would come out every night. It was a real party.”
The group wanted to play original music, but it found it had to play at least a few covers to get gigs.
“At that time, a club wouldn’t hire you to play your original songs,” says Fayrewether. “They wanted people to dance and drink. We decided to play more unusual tunes and not the Top 10 hits. We started playing Alex Harvey, who was barely played on the radio. That was the same for Genesis and even Jethro Tull. We were doing the unusual stuff and mixing our original material in with it. People didn’t know what was original and what was a cover. We threw them all together. It was a lot of fun. The original Fayrewether was kind of a jazz-rock thing, but people pigeon-holed us as prog because they didn’t have any other place to put us.”
Much like Genesis, the group approached its live gigs as if they were theatrical endeavors.
“I wanted to have a different kind of stage show,” says Fayrewether. “All the bands at the time stood there and wiggled their hips. I wanted to do something edgy and more fun. I was putting on bat wings. I put a television set on top of my head for a song. The audience laughed about it, but they took us seriously because our musicianship was so good.”
The upcoming House of Blues show will feature highlights from the band’s 50-year career, which began in 1974. Even Fayrewether is surprised by the longevity.
“Twenty years ago, Fayrewether celebrated its 30th anniversary, and Michael Stanley interviewed me on air,” says Fayrewether. “He asked what it was like because he hadn’t had his yet. When we grew up, we didn’t expect to live to 30. Now, with my 50th anniversary, it’s like, ‘What is going on?’ It’s nice being supported by fans. I figure I’ll do it until they decide not to show up anymore. I’ve invited the ’80s version of Fayrewether to come back and do some songs. They’ll do the last half of the set. They’ll do nine or ten songs. They picked out the songs themselves. I wanted them to feel comfortable. Geoffrey Moore, my old guitarist, will be there. Gary Simmons and Steve Musichuk will be there. It’s a fun bunch of guys.”
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Ministry, Gary Numan, Front Line Assembly House of Blues March 29, 2024
Fourth (or fifth) time’s a charm. Legendary purveyors of industrial filth Ministry were first scheduled to play Houston back in the summer of 2020, and you can probably guess what happened. Later dates were also postponed due to COVID (or related travel restrictions). Along the way, the band was going to be joined by — depending on which iteration of the tour: KMFDM, Corrosion of Conformity, Melvins, and Filter.
Our agonizing wait paid off last night, when Ministry finally took the stage following Front Line Assembly and ex-Tuebway Army frontman Gary Numan.
My first live experience with Jourgensen and company was at Lollapalooza ’92. I’d gone on a beer run during the end of Ice Cube’s set, and Ministry started while I was walking back to our lawn seats. As I crested the ridge, the bowl of Walnut Creek Amphitheatre looked like a scene from another world.
That stage was festooned with bones, and the sun was setting, casting an eerie glow over the roiling crowd. I felt like one of those naive investigators in an H.P. Lovecraft story who stumbles upon an ancient and profane ceremony they can barely comprehend.
Alas, the House of Blues can’t quite compete with that, not that it should have to. The stage setting may be a little less overt, but what hasn’t changed is Jourgensen’s barely tethered rage and desire to provoke the powers that be.
“This isn’t how he looked in those MTV videos, mother.”
Photo by Violeta Alvarez
But before Ministry took the stage, you had Front Line Assembly (yours truly didn’t make it in time) and Gary Numan. Numan regularly shows up on “one-hit wonders” lists thanks to the ubiquity of 1979’s “Cars,” but that assessment ignores the subsequent 20 albums he’s released, especially the industrial ones that have marked his last decades of output.
In other words, “Cars” got the phones out, but the bulk of Numan’s set was much more aggro and haunted, making for a performance that, from the looks of it, definitely caught the uninitiated in the audience by surprise. And that’s before considering Numan’s band, who look like somewhat de-S&M’ed Cenobites.
Ministry’s been kicking around in various incarnations since the early ’80s. The current group includes Jourgensen, keyboardist John Bechdel, drummer Ron Mayorga, and guitarist Cesar Soto, who bears an uncanny resemblance (at least to this guy watching from the back) to the late, great Dimebag Darrell.
But it’s still Jourgensen’s baby. Last night’s set opened with four songs from the band’s latest release, Hopiumforthemasses. “B.D.E.” (if you don’t know what that refers to, ask your grandkids) led into “Just Stop Oil.” Anti-fash song “Goddamn White Trash” followed, accompanied by the departure of what appeared to be a handful of skinheads.
What a shame.
Despite having an album CV to rival Numan’s, Ministry limited the set list to five of their releases. And it makes a certain amount of sense once you appreciate the pace Jourgensen establishes. Counterintuitively (for a band with 16 albums to its name), Ministry’s time on stage was brief, with Jourgensen’s banter mostly limited to “This next song is …”
In spite of the catalog (and even if you omit anything from With Sympathy, which they probably wouldn’t mind), Uncle Al often seems like he can’t be arsed (if I may use a fake English accent). By turns snarling the lines from “Alert Level” (“Let’s get ready to die:” more of a command than a request) or excoriating the pit for not knowing the proper response to “Broken System,” Jourgensen knows what the audience expects.
Sometimes the “Ministry” name is a little on the nose.
Photo by Violeta Alvarez
And he delivers. “N.W.O.” and “Just one Fix” brought the crowd to its peak, carried along by such Ministry classics as “Sitgmata” and “Jesus Built My Hotrod.” The latter is kind of a goofy outlier in a set busting at the seams with songs about political and religious hypocrisy, but it’s also one of their biggest hits.
Jourgensen’s demeanor lightened a bit at the back end of the set, when he commended the audience for getting the right call and response for “Thieves” (“That’s how you fucking do it, Houston!). Unlike that Lollapalooza show, he was relaxed. Don’t get me wrong; he’s still angry enough to howl at the structures of power and oppression, but considerate enough to let a bunch of aging goths get home before the Madonna show down the road ended.
Personal Bias: An ex of mine put “Work for Love” on a mix tape she made for me in college. The relationship didn’t last much past that.
The Crowd: Huge. A woman walked up to me during Numan’s set and said, “This place is so crowded! I can’t find my friends.” Me: “Were they wearing black? Her: “Yes, how did you…oh ha ha!”
Overheard In The Crowd: “You saw Linkin Park live?” “Sure, I grew up in Seattle.”
Random Notebook Dump: “Goths age better than other musicians. Must be all the vampirism.”
SET LIST B.D.E. Just Stop Oil Goddamn White Trash New Religion Alert Level Broken System N.W.O. Just One Fix The Missing Deity Stigmata Thieves Jesus Built My Hotrod
