By Julie Ann Shaw

I had been waiting years to see ZZ Ward live, and it absolutely was worth the wait. People were lining up to get into the venue hours before the doors even opened, so I knew I was in good company. The opener for the night was a beautiful young lady with a gorgeous raspy voice and a friend on the guitar, Lanie Gardner. When Gardner first started playing, the audience continued their conversations at full volume, almost drawing out Gardner’s soulful set. However, by the time she got to her cover of Fleetwood Mac’s “Dream” from their timeless 1977 album, Rumours, the audience not only stopped all personal conversations, but everyone was singing along with her. She had won over the entire room very quickly and most likely earned herself a lot of new fans. 

After a 30 minute set change, ZZ Ward glided onto the stage with a beautiful and indescribable grace. The first two songs she opened with were from her newest album, Dirty Shine, “Forget About Us,” and “Baby Don’t.” Ward then picked up her guitar for Til The Casket Drops’ “Put The Gun Down,” and “Til The Casket Drops.” 

By this time the crowd was already immersed in the bluesy, indie rock pop artist’s mesmerizing voice and singing along like there was no tomorrow. The floor was covered in various alcoholic beverages and people were packed shoulder to shoulder but still managed to dance like the world was ending. Ward followed with “Giant,” and “Ride,” Ward’s duet with Gary Clark Jr. from her 2017 album, The Storm, and featured on Disney/ Pixar’s Cars 3 soundtrack. Next Ward performed “Break Her Heart,” “Sex & Stardust,” “Tin Cups,” “Last Love Song,” “Bag Of Bones,” and her classic, “Charlie Ain’t Home.”

For the next couple of songs, Ward paid homage to her blues heroes. First, she performed a moving cover of Son House’s “Grinning In Your Face.” Then, Ward performed a gorgeous cover of Elmore James’ “Dust My Broom.” Lastly, Ward gifted us with a heart stopping cover of Lowell Fulson’s “Three O’Clock Blues.”

After her beautiful tributes, Ward finished off her set with her own songs “Lil’ Darlin,” “The Dark,” “365 Days,” “ If I Could Be Her,” and lastly, “Move Like U Stole It,” from Til The Casket Drops.  Obviously, that was not the end of the night. Of course there were encores. The first encore was “OverdoZZe” from her new album, Dirty Shine. Ward’s second encore, and very last song of the night was “Blue Eyes Blind” which made the audience ecstatic.  

You can find ZZ Ward online at: https://www.zzward.com/

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Photographed @robloud

Walking into a stadium for a show can be overwhelming at first. Thousands of people around you at all times, making you feel small. Then, every once in a while, a band or artist puts on a show that makes that feeling disappear, and in its place, a sense of being a part of a community bonded by this moving thing. Even if you never see the faces or learn the names of the people you share this night with, you know that this shared experience will change you in the same, yet unique, ways. The Killers put on one such show at the Banc of California Stadium in LA.

Johnny Marr opened the night, and his set, with “Armatopia” from his 2019 album, Armatopia. Given Marr’s impressive and remarkable tenure with The Smiths, it is not surprising that he integrated several The Smiths songs into his set. The first of The Smiths’ songs was “Panic” from the 1987 album; The World Won’t Listen, followed by his own “Night and Day” from his latest Fever Dreams. Sometimes, an artist will surprise you with something unexpected, like playing “Getting Away With It,” which can only be found on the live album Adrenaline Baby because this is a song that only truly exists for the live audience. Marr followed with The Smiths’ “There Is A Light That Never Goes Out” and his own “Easy Money” from Playland. After what was already a fantastic set that took us on a journey through Marr’s career, he whips out what is undoubted the most recognizable and covered The Smiths’ songs, “How Soon Is Now?”

 The time between Marr and The Killers was short but long enough for me to have time to grab some nachos and Reese’s Pieces because I make perfect life choices. By this time, the stadium was packed with fans eagerly awaiting The Killers to take the stage, teased by the illuminated infinity symbol keyboard stand placed at the front and center of the stage. They walked out onto the stage one by one, causing the audience to erupt with pure excitement.

The Killers opened with a bang, literally. They wasted no time shooting off their confetti cannons in the first few seconds of the opening song, “My Own Soul’s Warning,” from the 2020 album for which this tour is named, Imploding The Mirage. It foreshadowed the highly colorful, adrenaline-filled night that was still to come. The Killers continued with “Enterlude” and “When You Were Young” without missing a beat or letting up in the least.

What happened next still leaves me speechless. They started playing “Jenny Was A Friend Of Mine” just as I am sure they did every other show, but out of nowhere, Flowers stopped mid-song music. A man in the front of the stadium was acting erratically, and Flowers demanded that security remove him right then and there, stating that “he is going to hurt someone,” as Flowers confided he was on some psychedelic drug, like LSD. Flowers refused to let up about security, removing this man for the safety of the people around him until security finally removed the man. I have attended a few shows where violent and/or dangerous behavior was evident to the band on the stage and encouraged, which left me furious that anyone would allow harm to come to people who will enable them to do what they love for a living. The fact that Flowers was even watching his fans, let alone willing to stop the show for them to remain safe, has made me an even bigger fan of his as a human being. Once he was removed, they started thesong up again, perfectly in sync, not missing a beat, as if nothing had happened.

The rest of the show, although a spectacle to behold, was far less dramatic. The Killers continued with “Smile LikeYou Mean It” from Hot Fuss, “Shot At The Night”, and “Running Towards A Place”. For every song, the imagery on the screen behind them changed. They displayed everything from album art, to beautifully colored shapes and patterns, to images that take us on an adventure. For “Human”, rows of dozens of boxes filled with dancing people appeared and changed patterns and dances to match the song’s melody. For “Spaceman”, we started in space,among thousands of stars, and traveled through the desert.

I will admit, their next song, “Somebody Told Me”, was the first song I ever heard and remained my favorite, as it will always stay with me in the same way that a first love will always stay with you. Hearing it live for the first time was a moving experience. “Fire In Bone”, “Boy”, “A Dustland Fairytale”, and “For Reasons Unknown” came next. Obviously, no band can go on tour with Johnny Marr and not do a The Smiths cover. That would be a waste. They performed an incredible cover of “This Charming Man” with Johnny Marr. They continuedwith “Runaways” from Battleborn, “Read My Mind”, and “Dying Breed”, before closing the set with everyone’sfavorite, “All These Things That I’ve Done”.

I could never have guessed what they had planned for this night’s encore, and it was worth coming out to the show just for the last three songs. The first encore was “Caution”, followed by the cover of Fleetwood Mac’s “Go Your Own Way”, both accompanied by the legend himself, Lindsey Buckingham. The final encore, the last song of the night was a culmination of all the amazingness of the night as a whole, “Mr. Brightside” performedby The Killers, Johnny Marr, and Lindsey Buckingham. I nearly lost my mind! There might have been tears of happiness running down my face. Who knows for sure?

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photo by Rob Loud

Written and Photographed by Julie Ann Shaw

The original plan was to celebrate twenty years since forming as a band by going on tour, but sadly, The Decemberists had to postpone their celebration tour. Twice. To cope, they opted to offer three online concerts, each with a different setlist that spans their 20 years’ worth of music, in the middle of April 2021. However, even with the best intentions, the streamed concerts fell short. It wasn’t because the band’s performance was lacking, but because the heart and soul of all The Decemberists’ music is the audience and their participation.

The line wrapped around the corner, and even as the line moved forward, so many people continued to arrive that no matter how many people entered the venue, the line only got longer. The same was true for the line to the merch table, forcing an employee to add barriers to extend the zigzag multiple times. No matter where I walked in the venue, the excitement was palpable, and everyone was anxious for the night to begin.

Joining them on tour was Jake Xerxes Fussell, a folky blues singer with a voice that could soothe even the most anxious souls, and his guitar. His setlist consisted of “Jump For Joy,” “Push Boat,” “Jubilee,” Bessie Jones & The Georgia Sea Island Singers’ “Raggy Levee,” “The River St. Johns,” and “Have You Ever Seen Peaches Growing on a Sweet Potato Vine.”

The moment finally came. The Decemberists, Colin Meloy (vocals, rhythm guitar, bouzouki, harmonica), ChrisFunk (lead guitar, mandolin, banjo), Nate Query (upright bass, electric bass, cello), Jenny Conlee (keyboards, accordion, glockenspiel), and John Moen (drums) took the stage. Before they began playing, Meloy took a moment to remind the audience and inform those new to the fandom that their shows are like campfires; everyone must sing every song. It’s not just because, Meloy confessed jokingly, that he forgets the words.

They opened their set with a hit from their debut 2002 album, “Castaways & Cutouts,” “July, July!” and then went on with their mining song about the deadly disaster at Granite Mountain in 1917, “Rox In The Box.” They continued their 20-year spanning set with “Sucker’s Prayer” from their 2018 album “I’ll Be Your Girl.” “The Wrong Year,” “The Engine Driver,” “The Wanting Comes In Waves/Repaid,” “The Sporting Life,” “Burial Ground,” “Severed,” and “Calamity Song,” which merged into “Hank, Eat Your Oatmeal.” “The Crane Wife 1 & 2”, “Down By The Water,” “16 Military Wives,” and “California One/Youth And Beauty Brigade.”

As is tradition, The Decemberists left the stage, but the lights stayed down, signaling that the show was not truly over. After a minute or two, they returned to deliver a three-song encore, which sent the crowd into the most enthusiastic explosion of cheers. The first encore was “William Fitzwilliam,” written and debuted during quarantine in 2020 on Live on KEXP at Home Session. Next, from their 2015 album “What A Terrible World, WhatABeautiful World,” “A Beginning Song.” Finally, “Sons & Daughters” off their 2006 album, “The Crane Wife .” Written in only two chords because Meloy had just purchased a bouzouki, and that was all he knew how to play at the time.

Like all shows nowadays, this show was long anticipated. And, of course, The Decemberists did not disappoint either of their old or new fans. 

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Written and Photographed by: Julie Ann Shaw

This year marked the 20th anniversary of Norah Jones’ debut album, “Come Away With Me,” and three years since Jones’ last tour. The outdoor Greek Theater was a surprising venue to find Norah Jones, given that her alternative-pop jazz sound echoes beautifully in indoor venues. I was worried that the experience would be lost in the vastness of Griffith Park. Thankfully, I was worried for nothing as the giant forest-like park served as the perfect environment for such an intimate and soul-energizing evening.

Opening for Norah Jones was Puss n Boots, an alternative pop country band formed by Sasha Dobson and NorahJones as a way to experiment with different kinds of music than they usually do as solo artists, along with Catherine Popper. While introducing the band, Jones had to repeatedly assure the audience that she was, in fact, the Norah Jones that everyone had come to see. “No, really, I am Norah Jones.” Of course, she was as sweet as anyone could be about it. Before their last song, the group joked with each other and the audience that they hoped Norah Jones, as the main act, doesn’t get angry with them for running late and kick them off her tour. Puss n Boots was a special guest opener for this show, not the regular opener for the rest of Jones’ tour.

After a delightful opening act, Jones returned to the stage in a new outfit, as if she were a different person than the one who was just on stage with Puss n Boots making us smile. Jones opened with “Just A LittleBit” as she stood at the mic with her band behind her. Jones headed to her signature piano for her second song and serenaded us with “I’m Alive” and “What Am I To You?”

Throughout the evening, Jones moved from piano to keyboard, to guitar, and back to her piano. For some reason, if you were really paying attention, you could see her looking at one of the monitors displaying the slow with a slightly concerned look on her face every so often. It wasn’t until she stood behind her keyboard, where she could see the monitor with relative ease, that the look became obvious. After “Something Is Calling You,” Jones finally revealed that she thought wearing polka dots would be a good idea before the show, but would catch glances in the corner of her eye on the monitor would freak her out. Like, really freak her out. You could tell from her voice that she was serious but was trying to have a good sense of humor about it and laughed. The audience reassured her that she looked amazing and that they all loved her for her candor.

Jones continued her set with “Sunrise,” “To Live,” “Feeling The Same Way,” “Thinking About You,” “This Life,” “Little Broken Hearts,” “Rosie’s Lullaby,” “All A Dream,” “Humble Me,” and “It Was You.” The lights constantly changed from one color to another, always in soft, pastel colors. They mainly highlighted Jones, with her band remaining in the shadows for most of the set. Despite being in a somewhat large outdoor venue, the show’s entirety was designed to create an extraordinarily intimate and calming atmosphere. Everything about this show took away from the world, its problems, the darkness, and the challenges that await tomorrow and allowed me to experience absolute and true calm right down to my soul. Nothing else mattered. Nothing else existed. Norah Jones and her piano were the only things that existed in those two hours.

Just when I thought Jones couldn’t possibly make this evening any better for humanity, she played “Come Away With Me,” one of the most beautiful songs delivered by the most beautiful voice I have ever heard. “Happy Pills” followed, and then “Don’t Know Why,” which made me feel all the emotions all at once and forever. Of course, Jones couldn’t let us leave without an incredible encore. The first encore was the Danger Mouse song that one was featured on, “Black.” The night’s final piece was off the album “Come Away With Me,” “Nightingale.”

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Written and Photographed by: Julie Ann Shaw

Cleopatrick is a Canadian rock duo currently on tour with Royal Blood throughout Northern America to promote their album, Bummer, released in June 2021. I would never have guessed that they were the supporting act by the way the venue quickly filled with fans who knew every lyric to every song and shook the floor with their screams of excitement every time the first few notes of each piece were played. 

Cleopatrick, Luke Gruntz (vocals, guitar), and Ian Freser (drums) opened with “Sanjake”. This song, which they describe as both stupid and fun, was the perfect way to open the night. It was written as an ode to their friends, Sanjay and Jake, and all those “…who find their own friends in the mosh pit, and a spit in the face of conformity and those who force it upon musicians in the name of profit over content quality.” I don’t know who Sanjay and Jake are, but they inspire musicians to write a song about them, and their friendship speaks volumes about their quality of character.

As expected from anyone familiar with Cleopatrick, each song in their setlist felt like a hand being held out in solidarity with those who feel lost in the world, struggle with life, self, and identity, or only find solace on the floor of a music venue. Every aspect of Cleopatrick’s performance mirrored their desire for honesty and connection, especially their lighting design. Gruntz and Freser were mainly lit with a white spotlight, making them visible and accessible; they did not hide behind the harsh colored lights that would otherwise make it feel as if they were behind some kind of barrier. The colored lights mainly illuminated the sides of the stage, surrounding Cleopatrick in colors that signaled their set’s brutally honest range of emotions. It was beautifully thoughtful and created a complete emotional experience. 

“Good Grief” was written during the pandemic, during a time of heightened solitude, loneliness, and fear of an unforeseeable future. In a single song, Cleopatrick is simultaneously comforting and reassuring their friends of the good times to come and warning all their “enemies” that they are not to be reckoned with. “The Drake” was written about the worst performance, in their own opinion (not mine), that they had experienced up to that point at The Drake Hotel in Toronto in 2017. Immediately before the performance, they looked out into the crowd and saw a group of the type of boys that had made their lives miserable in high school. The kind that made them ashamed of themselves as people, music lovers, and musicians. I know I can relate all too well to this experience. To be proud of what I have learned, or created, or achieved, and then to crumble as Cleopatrick did that fateful night in Toronto at the reminder that there are people out there who not only know your insecurities and weaknesses but relish in using them to make you feel small and worthless. To feel the slightest bit of shame that even after I have grown to be proud and strong, my legs still give out from under me instead of holding me up. 

The set continued with the depths, followed by hometown, an honest confession of fear of never being heard, stemming from growing up in a small town that was devoid of all artistic muses or mentors. “No Sweat” came next, their anthem for those who feel perpetually lost and the fear of never fully being who you know you were meant to be. 

“Family Van” is “an exercise in anger” over a larger band stealing one of their songs. Still, they chose to persevere by touring as nothing less than their honest selves in Fraser’s beat-up old minivan, knowing that phonies will always be found out and eventually forgotten. Then came bernard trigger, which concluded with the most fantastic sort of musical battle between Gruntz and Fraser, a back and forth between guitar and drums that made the entire world disappear as I got lost in fascination, and the fear that I would miss a single second of the impressive live version. 

Gruntz took to the mic to announce that they would perform their last song, youth, which triggered the disappointment of the entire audience. When I walked into the venue at the beginning of the night, I was not expecting the whole experience that I had gotten. Hearing Cleopatrick through speakers is a compelling experience in and of itself; however, there is always the question of true honesty when music is delivered in a certain manufactured way, such as on YouTube or even Spotify. Experiencing Cleopatrick live is not the same as digitally; the experience is much better. I was not expecting the sound of one guitar and drums and one man’s voice to fill the venue so wholly and entirely. It indeed was an unforgettable night.

photo credit: Julie Ann Shaw

Written by Noelle Simeon

SYML breathed life and grace into the Masonic Lodge at the Hollywood Forever Cemetery on April 20. It was the first of 3 shows at the Masonic Lodge, and the first time he was back in L.A. after almost 3 years due to the COVID lockdown and restrictions. It was also the third time I was able to see him play, and I was more than thrilled at the chance.

The Masonic Lodge was built in 1927 and is a smaller venue with only a 150-person capacity. High-back booth seats were stretched along each side wall, and simple black chairs were set up in the middle of the room for the rest of the audience. Chandeliers, hand-painted wood beams across the ceiling, and wood floors that creaked with our weight added to the intimate and moody atmosphere. The lights were a soft hue of orange to purple to blue behind the stage, littered with orchestral instruments and keyboards. The vibe felt like we were sitting to hear a friend’s living room performance.

The Los Angeles shows were originally only two nights, with the second being labeled as ‘B Sides.’ Fans had the option to purchase either single tickets or a 2-show ticket bundle. Additionally, a third night was added, which also sold out, and was titled the same as the first.

For those unfamiliar with him, SYML means “simple” in Welsh and is the moniker that musician, Brian Fennel, performs under. His music is beautiful in its simplicity, without sounding overly produced or stylized, and creates an instant connection to his lyrics and melodies. Fennel‘s voice goes from whisper-like falsettos before perfectly transitioning to a full belt.

During this tour, he is mostly touring throughout Canada and Europe, and performing songs from his 2021 live album Sacred Spaces, which was recorded in SYML’s hometown of Seattle. Many of the spaces SYML has chosen for recording have been churches or similar smaller locations, with no exception to this album’s recording location, Saint Mark’s Cathedral.

Joining SYML are the two musicians who helped record Sacred Spaces, Brian Eichelberger, who has known SYML since the fifth grade, and Zawadi Morrow. Eichelberger is credited as background vocals, keyboards, and violinist, and Morrow as a saxophonist and violinist. Eichelberger is also credited as a co-producer, co-recorder, and the album’s mixer.

The opener, Blake Neely, took the stage behind a keyboard and was joined by a quartet. Without much introduction, they immediately began playing the first of three instrumental songs. He then addressed the audience, telling half of a funny antidote on how he became a fan of SYML and was able to reach him via his agent, but then playfully stated, “I’ll tell you the rest later.”

Neely is an award-winning composer of television and film. He was instantly familiar and friendly in addressing the audience, but he seemed a little nervous to be playing live, an act he probably is not used to. His slight nervousness only made him more endearing, and his beautiful instrumentals, complete with a violin solo, seemed to relax the room.

Towards the end of his set, Neely finished the story of connecting with SYML, who he then introduced. Dressed in his uniform black beanie and a white long-sleeve shirt, SYML took the stage with Neely and together they performed a piece they had written during the 2020 lockdown, “Trouble in Troubled Times.” Afterward, they broke for intermission to set the stage for SYML.

Once ready with Eichelberger and Morrow, SYML expressed how grateful he was to be back in Los Angeles, making references throughout the evening to how wonderful it felt to be able to be played live again. He opened with “Dim” from his 2021 EP DIM.

photo credit: Julie Ann Shaw

It is hard to describe the peace that fell over the crowd as he played. His lyrics describe the sadness, loneliness, and beauty we’ve all experienced in the last couple of years. SYML sang thru the Sacred Spaces tracklist, with favorites like “Girl,” “Meant to Stay Hid,” “Fear of the Water,” and “Mr. Sandman,” getting the audience to clap louder as each ended.

SYML loves his fans as much as they love him, stopping every few songs to do little Q&As, answering questions like “how did you meet Brian?” (5^th grade at basketball), to “who is your favorite artist?” (Jeff Buckley), to the anticipated “how did you get on Kimmel?” (in disbelief at the call, he jokingly told his agent to fuck off while at a song-writing camp in Santa Barbara).

He was lovingly casual with us, which only added to the intimate setting of the entire evening. At one point during the Q&A, an audience member shouted it was her birthday, to which SYML immediately led everyone to sing “Happy Birthday,” as he explained we haven’t been able to be part of this public humiliation in so long, it was a necessity. He told us of how his daughter designed the award he recently received for his single, “Girl” going gold in Canada, a song he wrote for her.

Two singles from his upcoming, untitled album, “Sweet Home,” and “You and I” were peppered into the performance as well. SYML promised the next album would be more upbeat, making a reference to how he is known as a sad songwriter.

SYML ended the evening by playing “War,” and “Everything All At Once,” which, without stopping the music, shifted into “Where’s My Love.”

After joyous cheers, the crowd seemed hesitant to leave, as if we were leaving an old friend’s house. Thank you for the wonderful night, Brian. It was truly lovely.

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photo credit: Julie Ann Shaw

Written by Noelle Simeon

The electronic mastermind, Alison Wonderland, seemed especially excited to perform at the Shrine Auditorium on Friday, April 1st, 2022. Earlier in the day, she posted to Twitter that it was “going to be the first time ever that my mum and my bf see me sing live…” 

If she was nervous at all, her performance did not indicate it so. Alison’s current tour, the Loner Tour, is promoting her upcoming 3rd studio album, Loner, out on May 6th. She jokingly referred to it as the “I am not quite ready to share my album title or artwork yet” tour, until she premiered the artwork on her socials on March 7th.

I hadn’t been to the Shrine Auditorium in years, and even longer since I’ve been to an electronica show. And, wow, what a perfect night to experience both. Fishnets? Check. Nipple tape? Check. Bearded bros? Not what I was used to from my lite raver days, but sure…check.

Julie and I entered the venue and were met with the beautiful Moroccan décor and design that is the Shrine Auditorium, which I forgot how truly stunning the theatre is inside. After taking a few personal pics of the lobby, we made our way to the expo hall where the concert was taking place. The lights were pretty dim, save some blacklights over us, the bar areas, and the stage lights illuminating the crowd. There was a low amount of fog that filled the space, creating an instant air of theatre.

Manilla Killa delivers his killer beats to a huge crowd at Shrine Auditorium. // photo credit: Julie Ann Shaw

The opening acts, Quiet Bison and Manila Killa, helped warm up the audience from the two-story DJ booth upon the stage. Quiet Bison seemed a bit shy and took a few songs to really get into the groove of his performance. His boyish charm could be felt in the crowd as he shyly waved and danced. By his fourth song, he seemed to become more comfortable, and waving became visits to the front of the stage where he danced and interacted with the audience. 

When it was Manila Killa‘s turn, he greeted us and opened with his hit featuring Satica, “Youth.” The hall was starting to fill more, and a happy crowd entered dancing and grooving along with Manila. He spoke to the crowd a lot and had everyone jamming throughout his set. 

Between acts, I noticed on the stage were two sets of drums, one electronic cello, and a screen of lights that had not yet been utilized. Alison Wonderland is no stranger to using visuals and live musicians for her performances, as she herself plays the cello often onstage, and has had both big and small symphonies in previous shows.

photo credit: Julie Ann Shaw

The crowd was definitely ready for Alison when she appeared. Many fans could be spotted sporting freshly purchased ‘Loner’ shirts, as well as “fuck me up on a spiritual level” gear, which is a reference to lyrics from her song, “Happy Place.”

The huge screen behind her lit up with rain as moody beats slowly began. Onscreen, we see a shadowy version of Alison float up as if possessed, to the ceiling. The lights slowly change from rain to red, and she starts playing her hit, “I Want U.“

As Alison dances and sings at her booth, the visuals behind her play out scenes from the track’s music video. All of us are dancing with her, truly feeling each beat she passionately drops. One thing was for sure: we were ready for Alison’s adventure. 

The smaller screen on the front of the DJ booth intertwined with the bigger one behind her. Sometimes the bigger screen would show her live from the venue, along with special effects making it seem as if she were creating a music video in front of us. The smaller screen in front of the DJ booth would show still imagery or featured its own array of light effects.

photo credit: Julie Ann Shaw

As Alison had done with “I Want U,” clips from her videos “Fuck U, Love U,” “New Day,” and “Bad Things,” flashed as she performed those songs. There was even a small clip from the movie “The Exorcism of Emily Rose,” with Jennifer Carpenter’s face screaming along with Alison’s beats.

She performed her own hits such as “Cry,” “Sometimes Love,” and “Fear of Dying.” A wonderful surprise was the use of live musicians that could be seen throughout the performance, hidden behind the web of screens that was only visible when Alison wanted us to see them. Alison played her electric cello beautifully during “Good Enough.” A pair of percussionists stepped onto the front of the stage for “Run,” adding even more energy to an already hyped audience. 

I was enjoying Alison‘s original songs and vocals so much that I almost forgot she was a DJ that was first known for remixes. She hit us with remixes of “Song 2” by 90s band, Blur, “New Rules” by Dua Lipa, and “Juicy” by The Notorious B.I.G., the crowd excitedly singing along to each one.

Towards the end of her performance, I moved to the 2nd story balcony, and wish I had gone there sooner. Alison‘s show is both visually and musically compelling no matter where you are, but you can truly see the creativity of her vision from afar. 

If there’s one thing I learned that night, it’s that Alison‘s fans LOVE HER. The audience knew every word to both her older hits and newer singles from her upcoming album, Loner. They were here to headbang to her beat drops, sway with their cellphone lights, and clap along to her fast tempos. We were all in the palm of her hand, and she took care of us to the end. 

When the final song was coming to a close, Alison told us how much she loved L.A., like a 2nd home, and thanked her mom for flying out from Australia. As I now know the importance of her mother being there, I believe Alison has so much to be proud of from this show. I am pretty sure she fucked all of us up on a spiritual level, and we will be forever grateful.

Connect with Alison Wonderland

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photo credit: Julie Ann Shaw

Written by Julie Ann Shaw

Jazz and adult contemporary artist, Paul Anka, is paying tribute to his late friend, Frank Sinatra, the only way he knows how…his way. With nearly 30 albums, hundreds of songs, and dozens of timeless classic hits under his belt, Anka is truly a living legend. I was born too late. I will never see Sinatra perform in person. A tragedy, really. If like me, you can never experience Sinatra for yourself, there is only one man alive who can do his songs any kind of real justice, and that is the unparalleled Paul Anka. 

He opened the show, His Songs, My Songs, My Way!, in a true showman fashion, by entering at the back of the venue and working his way to the stage while singing “You Are My Destiny.” He shook hands, posed for photos, and hugged members of the audience without missing a single beat. He arrived at the stage and immediately transitioned into “All Of Me” and “Diana.” Every aspect of his show is reminiscent of old Las Vegas lounge shows, from the simple stage setup of boxed platforms for the band to the single spotlight on Anka at all times, to his friendly, casual, and humorous banter.

photo credit: Julie Ann Shaw

He continued to perform classics that have become markers of beautiful memories for us all, “I’ve Got You Under My Skin,” “Strangers In The Night,” and “That’s Life.”

What came next was unexpected. Anka first told some delightful anecdotes of his late friend, Sammy Davis, Jr., before allowing us all to focus on the screen behind him to watch and listen, as a video of Sammy Davis Jr. playing the song Anka wrote for him, “I’m Not Anyone,” was shown. Anka was seated for the first half of the song and then joined the video in a duet. 

Throughout the set, members of the audience continually decided to engage Anka in a conversation, rather than simply allow him to banter. One woman was very determined to hear the song “Papa.” Anka had not planned on singing “Papa” just then but reassured her that he would accommodate her request at some point in the show.

photo credit: Julie Ann Shaw

Instead, he dedicated the next song to his family, to all our families, and asked us to remember what is truly important in this life. As a slideshow of his late friends from the past, and of his family played behind him, he sang “Times Of Your Life.” He took a moment to announce that the next song, “(You’re) Having My Baby,” would be dedicated to two members of the audience who are about to have their first baby.

He was supposed to sing “Put Your Head On My Shoulder” next, which he eventually did, while he came out into the audience and slow danced with a woman in the front row while singing. he told the band that before that happens, he wants to perform “Papa” for the woman in the audience, as promised. 

Anka continued the show with songs that he wrote, for himself, and for others, with songs like “Puppy Love,” “She’s A Lady,” which was made famous by Tom Jones, and also the song, “It Doesn’t Matter Anymore,” which he wrote for Buddy Holly shortly before he passed.

photo credit: Julie Ann Shaw

Anka then performed a solo version of the duet he recorded with Dolly Parton on his album, Duets, “Do I Love You? (Yes, In Every Way)” which transitioned into “Purple Rain” and back into the song, “Do I Love You? (Yes, In Every Way).”

photo credit: Julie Ann Shaw

Of course, as one of his last songs, Anka had to perform THE song. The rising popularity of pop music and the inescapable Beatlemania in the 1960s led Sinatra to believe that the time of the Rat Pack was over. He asked Anka to meet him for dinner, along with Mia Farrow, so that he could inform Anka that he was quitting show business after recording one last album, for which Ol’ Blue Eyes requested Anka write him a song.

Inspiration hit Anka when he heard the French song, “Comme d’habitude,” and immediately purchased the rights to the music. Anka wrote new lyrics specifically for Sinatra, based on what Anka thought he would say to maintain his “tough guy” image, and sent it off to Sinatra. The Chairman of The Board was overcome with a renewed sense of purpose when he heard the song that would be celebrated and covered by artists of all genres for decades to come: “My Way.”

How does one follow “My Way?” How do you close a completely spectacular show after a song like that? With “New York, New York,” of course.

Connect with Paul Anka

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New Zealand has already given this world Middle Earth, a gift that has made life a whole lot better, and one that is impossible to reciprocate. It would be unreasonable to expect New Zealand to give us anything more, and yet, she gave us the alternative indie rock/pop group, Mild Orange, anyway. 

The Roxy Theater opened in 1973 and has seen some truly remarkable performances upon her stage from Neil Young, Bob Marley, Chaka Khan, and so many others whose music has shaped our lives. I stood outside The Roxy for some time, watching the line to enter that wrapped around the corner quickly disappear through the metal detector and into the door, only to wrap around the corner again and again and again before I even had a chance to finish my coffee. This, and the level of excitement from almost everyone in the line, were the first indications that I was about to experience an amazing show. 

Upon entering, I quickly became overwhelmed by the number of people inside this small-ish venue. The opening act wasn’t scheduled to begin for another 20 minutes, but already there was very little room to move. I found a spot by the front of the stage and readied myself for the evening to come.

Opening for Mild Orange, was the synth-pop project Low Hum, a.k.a. Collin Desha, accompanied by the drummer and multi-instrumental artist, Keveen Baudouin. Low Hum has a unique sound that I had never heard before, mesmerizing auditory dreamscapes that both evoke and suppresses, all manner of realities.

Low Hum played a forty-minute set that included “Model Me,” “I Don’t Know Me Like You Do,” “All I Know,” “Nebraska,” and “Comatose.” During the set, Low Hum took a moment to recognize a young man in the audience, Josh, who was at the front of the stage rocking out and headbanging to all of his music. Low Hum couldn’t have been more humbled and grateful for Josh, and the rest of his fans who came out to see him.

Mild Orange, Josh Mehrtens (lead vocals, guitar), Josh Reid (guitar), Tom Kelk (bass), and Jack Ferguson (drums), stopped at the historic The Roxy Theater in Hollywood, CA, for their Looking For Space Tour to promote their new album, Looking For Space. By the time they took the stage, The Roxy Theater was packed from wall to wall. There was no room to move anywhere near the stage. As the curtain went up, a wave of pure joy and energy washed over the entire venue. 

The music of Mild Orange, named for the sense of calm elicited by the color, is beautiful and very calming. It’s the kind of music that fills your mind with pleasant imagery, your soul with peace, and before you are even aware, your entire body is moving.

“This Kinda Day,” from their new album Looking For Space, is Mehrtens‘s story of his six-month battle with pneumonia and pleurisy. He wrote this song to inspire people to reach out for help if they are suffering in any way mentally or physically.  

They played Looking For Space almost in its entirety from the singles and most-streamed songs “This Kinda Day,” “Clourise,” “F.E.A.R.,” “Hollywood Dreams to Aurora,” “Oh Yeah,” and “The Time Of Our Lives.”

Mixed into the set were fan favorites from their past two albums, Mild Orange and Foreplay, “Getting Warmer,” “Share This Dance,” and “In The Living Room” included. No one was ready for the night to end, but like all things, it must, and did, with one of their new songs “What’s Your Fire?”

Connect with Mild Orange

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