When lockdown hit us in 2020, and we were all trapped inside of our houses, any frequent concert goer vividly remembers the last live show they were able to attend before concerts were cancelled around the world. We would constantly go back to that memory throughout lockdown remembering every detail like George Harvey savoring his last kill in the Lovely Bones. Fantasizing how the band played, how we felt throughout each song, how the venue and its patrons smelled. It was he only solace we had not being able to be back in that environment. For me that last concert was DragonForce mere days before the World stopped. Over three years later, they are finally back in California for their North America 2023 tour, and bringing with them Amaranthe, Nanowar of Steel, and Edge of Paradise. I was ready for the speed metal titans to rip blistering solos that would melt my face again, so I headed to the Wiltern ready to rock with these guitar heroes.
Opening the night was LA natives Edge of Paradise. I have been following these guys for years since they were playing local only shows in the area. It has been a pleasure to see them booking national tours and getting the chance to play for thousands of people each night. Seeing as this was their hometown show, they wanted to make sure all their long time fans got the best they had to offer. Singer Margarita Monet has probably the most powerful voice on this entire tour. She could sing to the packed Wiltern house without a microphone and still be heard by every single screaming fan in attendance. Draped in a cyberpunk style cloak, and glowing pauldrons, Edge of Paradise has been able to elevate their stage show aesthetic as well. Lead guitarist Dave Bates has turned into a post-apocalyptic warrior straight out of Mad Max, while creating riffs that help elevate Margarita’s voice. Rhythm guitarist David Ruiz layers his playing with Dave’s to create a stylized guitar line for the band. Bassist Kenny Lockwood and drummer Jamie Morena hold down the low end that helps the fans bang their heads. With songs like “Soldiers of Danger,” “Hologram,” “This is Personal,” “The Faceless,” “Unbeatable,” ‘The Unknown,” and closing with “Basilisk” Edge of Paradise set the tone for the night that was to follow. I personally cannot wait to see what else the band has in stored for us in 2024.
Up next was the only band on the tour I was not familiar with, that being Nanowar of Steel. Hailing from Italy, this was their first American tour ever. As the band hit the stage all dressed in colorful and exuberant costumes, I had a feeling we were in for something special and vastly unique. Before the music could even start co-lead singer Mr. Baffo turned around and spoke to the audience through his butt ala Ace Venture style. These guys were a comedy heavy metal band, and the audience went all in for whatever they had in store for us. Fellow co-lead singer Potowotominimak, dressed like an EDM Raver meets a BDSM dominatrix, would constantly be switching out costumes throughout the song. Dressing like an alien, as well as coming out in a giant owl-bear mascot suit at one point. Guitarist Mohammed Abdul looked like Aladdin in a Prince Ali outfit, while bassist Gattopanceri666 honestly looked like Joel McHale from Community during a Halloween episode. Drummer Uinona Raider looked as if he was teaching an 80s retro jazzercise class. Not only were we captivated by the outlandish costumes the band wore, but the songs themselves were all incredibly catchy. Songs like “Uranus,” “The Call of Cthulhu,” “Il cacciatore della notte,” “Pasadena 1994” which featured DragonForce’s guitar tech James Shotwell on guest guitar, “Disco Metal,” “Norwegian Reggaeton,” and ending with “Valhalleluja.” During the final song, members of the other three bands ran on stage with IKEA bags and desk furniture, helping throw out the furniture to the screaming fans who happily crowd surfed the furniture to the back of the venue. Hopefully Nanowar of Steel can come back to the United States soon, as more people need to experience this kind of show.
Up next is band that was originally introduced to me by my buddy Brandon, that being Sweden’s own Amaranthe. I was fortunate to see them for the first time in 2017 and was excited to see them again in 2020 on before those plans were cancelled. Finally, after six years they are back, and I couldn’t be more excited. Opening their set with “Fearless,” co-lead singer Elize Ryd stepped onto the stage with a jewel studded top and flowing black skirt. She was here to make her presence known even before the first lyrics left her mouth. As she did let her voice ring out, the beauty of it is irresistible and nothing but enchanting. Something unique that Amaranthe does is have three vocalist, the other two being specifically a clean singer, Nils Molin, and an unclean singer, Mikael Sehlin. All three vocalists get their own unique time to shine throughout every song with Elize providing the operatic-esque powerhouse vocals, Nils layering his cleans with Elize to elevate the texture of the song, and then Mikael coming in with the harsh screams that jus make the crowd throw themselves into a frenzy. Though the focus can maintain on the singers, the instrumental section of the band are not ones to fade into the background. Guitarist Olof Mörck knows how to write his guitar tracks to shine on their own, but hold back to balance the band with bassist Johan Andreassen and drummer Morten Løwe Sørensen. Amaranthe gave a solid 45 minute set with songs like “Viral,” “Digital World,” “Damnation Flame,” “Hunger,” “Stronger,” “PvP,” “Amaranthine,” “The Nexus,” “Archangel,” “That Song,” and ending with “Drop Dead Cynical.” As the last notes rang out, all I wish is that I don’t have to wait another six years before Amaranthe comes back.
As a the Wiltern’s curtain draped over the stage to hide the set change, the crowd anxiously awaited our headliners. Once the curtain was finally raised, the venue was hit with rays of lights as Daft Punk’s “TRON Legacy (End Titles)” played over the speakers, helping to ramp up the excitement of the fans. As the opening notes of “Revolution Deathsquad” could be heard, the band came running out to thunderous applause and screams. Dual guitarist Herman Li and Sam Totman fingers were already lighting up the necks of their guitars with the rapid fire sounds of squiddly-doo’s that their guitars make. Vocalist Marc Hudson has the ability to sing and let his voice flow at the speed of the guitars. His high vocal range just enhances the energy of DragonForce’s music. Drummer Gee Anzalone must have the calves and thighs of a body builder as his double bass kicks don’t take a moment off during any song. Now official member, bassist Alicia Vigil plays her parts with ease. Keeping up with the boys with no problem and looking effortless the entire time. Something unique that DragonForce does is they like to bring in guest musicians during songs at shows. This show, we had the opportunity to see YouTuber and guitarist Billy Wilkins helping on third guitarist and backing vocals. Though I was not familiar with him, his talents shined alongside the rest of the band as he played in tandem with Herman & Sam with ease. DragonForce played songs like “Cry Thunder,” “Heroes of our Time,” “Power of the Triforce,” “Soldiers of the Wasteland,” “The Last Dragonborn,” “Fury of the Storm,” “Doomsday Party,” “Valley of the Damned,” and “Highway to Oblivion.”
With his being the Los Angeles show, the band had more friends come out during the encore. For their cover of Taylor Swift’s “Wildest Dreams”, Alissa White-Gluz of Arch Enemy joined them on stage. While during the cover of Céline Dion’s “My Heart Will Go On,” Elize Ryd came back out to sing. The final surprise guest was another YouTube guitarist Cole Roland, who came out for the final song “Through the Fire and Flames.” DragonForce are renowned for their technical mastery and their musicianship specifically with their guitars. Seing Herman Li, Sam Totman, Alicia Vigil, Billy Wilkins, and Cole Roland standing side by side at the foot of the stage all just gracefully walking through the hardest song on the first Guitar Hero video game was mind blowing.
This night was a glorious one with four bands that all had their own unique style and presentation, but there was a coming feeling to all the music that helped keep the energy high and engaged. Edge of Paradise started the night with a space metal vibe. While Nanowar of Steel made us all laugh and enjoy ourselves. Amaranthe brought three vocalists that all stand on their own but are the best when layered together. DragonForce closed the night with a tour de force of musical guest stars that could not be matched. It was a night where musicality and showmanship all came together in one of the best tour packages of the year.
About 10 years ago, Steven Zhu dropped the song titled “Faded.” After that song spread around the world in every club and every rave, his’s life changed forever. It was 2014 and we were near the peak of the EDM wave that encapsulated the planet. So many DJs rode the explosive wave of EDM into super stardom back in 2014. New talent was popping up everywhere with new DJs spinning in the trance, house, and techno genres and subgenres. It was a crazy time in the EDM scene. So many new eyeballs and ears to the scene allowed for more producers to grow in popularity. Fast forward nearly ten years: many of them have started to plateau. EDM isn’t going anywhere but it’s not all over the radio or as in-your-face as it was in 2014. I’m not saying DJs have fallen off, but I will say that it is indeed a little tricky to keep everyone’s attention for a decade solely with repetitive beats. Early on, ZHU has been pushing himself outside of the “box” that DJs often find themselves trapped in. He’s been pushing the bounds of his music, incorporating the piano and other instruments, and picking up the mic to offer his own vocals. The diversity of his talent has separated him from the pack. Four albums into his career, he recently sold out three nights at The Hollywood Palladium in November 2023. Let’s hop into it.
Up first was partywithray. As fans piled into the venue, they were greeted with syncopated bass lines and four-on-the-floor-beats. He got everyone hype with songs like “Came For The Low” and “Lil Mama”. The young DJ had everybody moving and teed it up well for the middle set. Up second was Hayden James. The “Something About You” producer rocked the dance floor from wall to wall for a little under an hour and half. Fans were singing the lyrics to songs like “Just Friends” and “NUMB” as the upbeat basslines thumped through the night.
Finally, at 9:30 PM, the lights in the venue dimmed to near blackness. In amazing speed, the production team assembled a structure that resembled a massive black steel cage. Fog machines filled the venue with smoke. Dark red lights illuminated from said cage throughout the venue. Five figures dressed in all black slowly walked in front of the cage and stood there facing away from the crowd. It felt like I was watching The Undertaker enter a Wrestlemania event during the WWF attitude era. Four of the figures entered the cage. The spotlights turned on, the beat dropped, and the remaining individual outside the cage introduced himself to the crowd. You guessed it: ZHU. The other four gentlemen were members of his live band. They rocked the drums, guitar, saxophone, and bass from within the cage throughout his set. Perched on top of the cage were ZHU’s boards where he dropped beat after beat until the night was through. The production was top notch and live elements proved why ZHU is a seriously good performer. It wasn’t just an EDM show but was full-on musical theater.
ZHU absolutely nailed his second night at The Hollywood Palladium on the Fall of Grace 2023 Tour. I can only imagine nights one and three went just as well. The addition of a live band to his EDM beats added a level of energy unmatched by any other EDM show I’ve been to. Check out this show when he comes by your local city. It’s a banger.
Barns Courtney Rocks the Roxy: A Night of Unforgettable Energy...
Barns Courtney's performance at the Roxy in Los Angeles, presented by Goldenvoice Alt 98.7, was nothing short of a triumph, proving that for him, “rock bottom” is a distant memory. The venue was sold out, with the atmosphere buzzing well beyond its 500-person capacity, a testament to Courtney's growing popularity and the anticipation surrounding his live shows.
Having embarked on his musical journey at the age of 15 with his band Sleeper Cell, Courtney faced contractual challenges but ultimately found success with his breakout single "Fire," featured in the Bradley Cooper movie Burnt. This show was a celebration of his resilience and the recognition his music has garnered, not only through tenacious grind but also with placements in various television and film projects.
The diverse audience, spanning from early to middle age and seemingly equal in gender representation, reflected the broad appeal of Barns Courtney's music. As he took the stage to a roar of screams and applause, the energy in the room mirrored a modern-day Rolling Stones swagger infused with a rock style reminiscent of The Killers.
Courtney, with his incredibly powerful voice, took the audience on a journey through a wide spectrum of human emotion and experience. Each song resonated personally with the crowd, and his rich tone, complemented by a sultry raspy edge, added depth to the performance. The chemistry among the band members was palpable, as they harmonized and played with high energy, providing the perfect support for Courtney as he sang from a deeply passionate place, leaving it all on the stage.
Despite the writer's admission that their writing days were in the rearview, the decision to cover Barns Courtney's show was a no-brainer. Their prediction of seeing Courtney at major festivals in the following year seems inevitable, given the electrifying performance witnessed that night.
The deeply intimate acoustic encore further showcased Courtney's versatility, and the night ended with a mic drop, leaving an indelible mark on the audience.
As attested by a fan who compared the show to seeing U2 and The Fugees, declaring it the "best show I've seen all year," Barns Courtney's performance at the Roxy was a triumph and solidified his place as a must-see act.
-Jessie Monville
Nahko Bear, or simply known as Nahko, wrapped up his Trenches Tour with Nattali Rize in Las Vegas. The venue in Area 15 is a small, intimate room called The Wall. Named for its large LED video wall set behind the raised stage, The Wall holds about 200 people and this show was sold out well in advance. Personally, I enjoy small intimate settings, and even more so, acoustic sessions. Reminiscent to MTV’s heyday of Unplugged, the songs take differently as if they are inviting the audience to experience the depth of emotion played with every chord and note.
Opening up the show, Nattali Rize provided a nine-song solo acoustic set that gave the audience an up close and personal experience during her hour-long performance. The stripped-down arrangements showcased her musical prowess, allowing the lyrics to resonate with the audience. Just her and an acoustic guitar.
Nattali opened up her set with “Warriors”, a song that’s really taken off on the Sugarshack Sessions with almost five million views. This song got the audience going as I watched everyone in the front row sing along and move to the rhythm. In between songs, she would thank the audience and share encouraging words of positivity. Not to the point of preaching, but just enough to get the crowd’s approval before starting another song.
Her setlist included some fan favorites like "Rebel Frequency", "Liberate", and "Indestructible". She closed her set with one of her biggest hits and my favorite, “One People”. The extended song included crowd participation with her pausing her guitar playing volleying back and forth with the audience finishing her lines. Like all of her songs, one can really get into the lyrics of this song and her songwriting skills really come out on this one. After her set, she joined the audience an danced with them as the house music played Bob Marley’s “Could You Be Loved”. This kind of interaction drives fan appreciation home for some people. It’s not often that one can sing and dance with one of their favorite artists.
A short break allowed the audience to absorb the vibes that come naturally with Nattali’s performances and prepare for the headliner. As the lights dimmed and a subtle haze filled the room, Nahko took the stage and was welcomed by the 200 screaming fans. His acoustic set consisted of him switching back and forth between an acoustic guitar and a keyboard. It’s always a welcome sight when you can see the audience singing along with the artist.
Nahko’s musical genre is a mixed bag consisting of folk, alternative, and R&B. His songwriting sends deep messages that are sometimes sprinkled with a few vulgarities but they seem to work well to drive the songs home. With songs like “Enough” and “Ok”, these songs are almost inspirational with messages of hope and self awareness. At times, you feel like you’re listening to a Sunday service with Nahko’s performance. Take the song “Creator’s Hands” as he delivers a heartfelt performance, one would expect the crowd to say Amen at the end.
In between songs, he would share one-liners to assist with his transitions. Although small stages and acoustic sets don’t allow much room for dynamic performances, he did not disappoint as he did not need any theatrics. The simplicity of the acoustic set is entertaining enough. Nahko’s music hits deep on many levels with motivational messages and hints of spirituality, advocacy, and activism. But behind these messages, there is genuinely good music. His musicianship and songwriting skills takes you on an emotional journey deep into your self-conscience leaving you inspired to be a better person.
As the night drew to a close, Nahko took the stage, inviting Nattali Rize to join him for a few songs. With Nahko skillfully playing the guitar, Nattali complemented the performance with her captivating vocals, creating a remarkable synergy. The seamless collaboration left me wondering why these two artists haven't recorded a song together. Both Nahko and Nattali convey messages through their music that uplift and heal. The culmination of over two hours of music left the audience visibly satisfied and infused with a renewed sense of hope. While Sunday service may have concluded, the enduring impact of their message and music continues to resonate.
First Avenue was gifted a boon of bountiful metal tunes this past week - Baroness brought their Sweet Oblivion tour supporting their latest release, Stone, to Minneapolis on Tuesday, gracing the stage with the current segment’s tour buddies Spotlights and Chat Pile. The seasoned metal outfit - headed by the impossible-to-miss, towering John Baizley - brought a whole cavalcade of tunes, new and old, to the venue, with sincerely screamed vocals and jumping guitars aplenty.
Support band number one was Spotlights, a metal trio from Brooklyn that sounds like a dozen bands you’ve heard of while at the same time sound completely unique. When hearing them, one is bound to be reminded of a very wide ranging variety of bands, especially on their latest album Alchemy For The Dead. Deftones, 16volt, Katatonia, Torche - they seem to draw from these and more to create a sound wholly their own. Translating live, the band is an atom bomb going off - their short set was the first few songs off of Alchemy, but amplified tremendously, the opening notes of Beyond the Broken Sky sounding significantly larger, the vocals sounding even more mysterious and brooding, and the musical, groovy drumming of Chris Enriquez even more captivating.
Indie-ish darlings Chat Pile were up next. Chat Pile have, for those heavy music listeners living under a rock, taken the metal world by storm these past few years, blowing up seemingly out of nowhere with their release God’s Country in 2022, skyrocketing them directly into everyone’s attention. Their sincere mix of noise-come-sludge and drunken, rambling, heartfelt vocals seemed to connect a common vein of outrage and frustration at the perfect time. Live - this doesn’t work quite as well, as while the heavy songs like "Why" and "Tropical Beaches, Inc". are tailor-made to crush a live audience, the vocalist’s incoherent mumble-talk-scream and general disinterested demeanor has a place in performance art, but as a frontman he does as much harm as he does good, stripping away some of the energy of the solid musicianship and creating a conflict between band and vocalist.
Baroness came to the stage last, arms raised to the skies as the opening notes of "Embers" played over the house speakers, and then Stone’s first real track "Last Word" kicked in and we were off! Baizley’s vein-popping, full-energy style of delivering vocals is incomparably charming, a distinguishing feature of their performances. He has spoken often in the past about how much Baroness’ music is trying to strike at a connective tissue through music, and watching him give everything he’s got in everything song - it’s impossible not to be taken in. You combine this with impeccable supporting fare in Gina Gleason, who is fighting a battle to the death with standing still, and Nick Jost’s effortless groovy bass contributions, and how could you not fall in love? Baroness followed with a track off of 2007’s Blue - "A Horse Called Golgotha" - and then marched right into "A March to the Sea" from 2012’s Yellow/Green. They then sailed into tracks from all over, covering pretty much their entire discography, before returning to Blue and Yellow/Green for their encore with a rendition of "The Sweetest Curse" and "Takes My Bones Away". A stellar performance that took the crowds to sweet oblivion and back.
The music video for "Sweet Child" by John-Robert left me pleasantly surprised. The warmth and nostalgia it exudes, combined with John Roberts' velvety vocals, create a captivating experience. The attention to detail shines through, especially in the blend of laid-back guitar and groovy drums. The nostalgic vibe, inspired by "teletubbies and other oddball children's programming," adds a unique touch. "Sweet Child", the lead single from John-Robert's upcoming EP Garden Snake, beautifully merges his Appalachian roots with modern indie pop. It feels both authentic and cinematic, capturing the essence of a coming-of-age epic. Excited for the full release of John Robert’s fourth upcoming EP Garden Snake on December 8th via Nice Life.
Meet 19MIL, the authentic rising star from Miami, a true force in the music scene. As a singer, songwriter, and producer, she unveils a multi-faceted talent with a dark yet beautiful voice that evokes a euphoric feeling of sadness, shaping the unique genre of dark-pop. Anticipate conversations in the upcoming months surrounding her distinctive style.
In her latest single, "Deep End," 19MIL offers a profound emotional journey, using metaphors to convey her resilience in seeing herself beyond the negativity—an exploration of beauty emerging from overcoming adversity.
Whenever I’m shooting a show at the House of Blues, and now MGM, I like to get down to Boston for a little pre-show ritual. I park over on Newbury St. and walk past the “Cathedral of Boston” (aka Fenway Park) over to the Tasty Burger on Van Ness. I order a Spicy Jalapeno burger (add +1 patty), and a large fry before heading over to the venue. I don’t know why it’s become the routine, but nonetheless, it has.
This was my first rap show since high school, so I forgot what they were like to be honest – that was until I started walking over to the box office. After I paid my tab and started walking over that night, I couldn’t believe it: BOTH sides of Fenway were completely wrapped around the block with people waiting in line. I had never seen Uzi live before, so as I passed hundreds and hundreds of people on such a bitterly cold night, I thought they were crazy. But then I got through security and walked into the GA pit and saw the unbelievable stage design that it hit me – they weren’t crazy, this is going to be a really rad show. And Lil Uzi Vert put on just that.
Lil Uzi Vert's concert last night was an absolute rollercoaster of energy and vibes. The atmosphere was electric from the moment he hit the stage. The crowd, a sea of fans ready to lose themselves in the music, erupted into cheers as the first beats of his hit songs reverberated through the venue.
Uzi's stage presence was undeniable. He moved with an effortless swagger, engaging the audience with every word and every move. The light show was mesmerizing, syncing perfectly with the beats and adding a visual spectacle to the auditory feast. The combination of pulsating lights, fog machines, and Uzi's dynamic performance created an immersive experience that had the crowd on their feet throughout the night.
The setlist was a perfect blend of his chart-toppers and fan favorites, showcasing his versatility as an artist. From the high-energy bangers like "XO TOUR Llif3" and "Money Longer" to the more melodic tracks like "The Way Life Goes", Lil Uzi Vert kept the audience captivated from start to finish. His ability to seamlessly transition between different moods and styles demonstrated why he's at the forefront of the rap game and was the perfect “welcome back” to rap shows.
Lil Uzi Vert's concert was not just a performance; it was an experience. It was a celebration of music, a communal expression of joy, and a testament to the power of an artist who knows how to connect with his audience. As the final notes echoed through the venue, and the lights dimmed, there was a collective sense of satisfaction in the air—a feeling that this was more than just a concert; it was a night to remember.
As the clock struck 7pm on Halloween at The Factory at Deep Ellum, Dallas, Texas, the Hollywood & N9ne Tour 2023 transformed the night into an electrifying fusion of rap and rock, featuring the powerhouse acts of Tech N9ne, Hollywood Undead, and KING ISO. The stage was set for a unique and unforgettable experience on this spooky night, marking a coheadliner showcase that transcended musical boundaries.
My anticipation was heightened by the fact that the last time I witnessed the explosive energy of Tech N9ne was back in 2019. The prospect of seeing him once again, alongside the dynamic performances of Hollywood Undead and KING ISO, created an air of excitement that permeated the Halloween atmosphere.
KING ISO kicked off the night with a performance that set an intense and captivating tone. His rapid-fire delivery and magnetic stage presence immediately engaged the crowd, drawing everyone into his lyrical world. As the beats resonated through The Factory, KING ISO showcased tracks from his latest album, delivering a performance that demonstrated both skill and passion. The audience, clad in Halloween costumes, responded with enthusiasm, setting the stage for a night of musical exploration.
Following KING ISO, Hollywood Undead took command of the stage, and the atmosphere shifted into a chaotic yet harmonious spectacle. The Los Angeles-based band seamlessly blended rap, rock, and electronic elements, creating a sonic tapestry that defied easy categorization. Hits like "Undead" and "Bullet" were met with a sea of Halloween-clad fans singing along, their energy adding to the band's already electrifying presence. The stage came alive with a visually stunning display of lights and pyrotechnics, further enhancing the immersive experience.
As the clock neared midnight, the anticipation for Tech N9ne's return to the stage reached its peak. The coheadliner format of the tour allowed each artist to shine independently, and Tech N9ne did not disappoint. Tech N9ne delivered a career-spanning set that blended his signature rapid-fire delivery with intricate lyricism. The Halloween night added an extra layer of mystique to the performance, as the crowd reveled in the eerie ambiance of the venue. He played all the hits but the standout tracks had to be “Einstein”, “Red Kingdom”, and “Caribou Lou”. We even got “Face Off” with KING ISO entering the stage again to run it back with Tech.
As the night came to a close, marking the end of Halloween and the conclusion of the Hollywood & N9ne Tour 2023 in Dallas, the crowd erupted into applause. The coheadliner showcase had exceeded expectations, offering a night of musical diversity, unity, and unforgettable performances. The Factory at Deep Ellum became a temporary haven for music enthusiasts, where the boundaries between rap and rock blurred, and the spirit of Halloween infused an extra layer of magic into the experience.
In the summer of last year, there was one artist who absolutely stole the show at the Canadian Juno Awards. After taking the Canadian pop industry by storm with her debut studio album Phoenix, Charlotte Cardin went on to be nominated for six different awards: Album of the Year, Video of the Year, Single of the Year, Pop Album of the Year, Fan Choice Award, and Artist of the Year. She brought home the trophy for three of them: Single of the Year, Pop Album of the Year, and Artist of the Year. In addition to her big nominations and even bigger wins, she put on a hell of a show performing “Meaningless,” the song she also won Single of the Year for. After seeing her crush it across the board last year at the Junos, Charlotte was high on my list to see live when she made her way down to Southern California. On November 7th, her 99 Nights Tour finally stopped in Los Angeles, California. Let’s hop into it.
Up first was the band New West. The Toronto-based band took to the stage and performed many singles from their debut album “Based On A True Story…”. Charlotte Cardin fans are open minded and positive, and they were very receptive to New West. New West rocked the crowd with singles like “Those Eyes,” “IYKYK,” and “Cold Tea”. By the time New West wrapped up their set, the crowd was warmed up and ready for the main draw.
At 9 PM sharp, the classic red curtains at the El Rey parted and the spotlight found Charlotte Cardin as she strut across in the stage in an all-white outfit. Almost immediately, it was clear why she was nominated for all those Juno’s the year before. From her soulful powerful voice, emotive song-writing and performance, and musical elements of pop, jazz, and electronic music, she had it all. There’s a level of talent that multi-instrumentalist artists have, that other artists cannot even compete with. Cardin strut on beat around the stage with her mic for the majority of her set, but she picked up the guitar and made her way over to the keyboards for a good amount of songs. The most memorable moment for me was when her band took a break, and she sat down at the grand piano on stage for gave us performances for “Meaningless” and “Next To You”. Oh man. The notes she hit in those songs had people in the venue yelling “wooo!” like they just heard the hardest screw-face-inducing house beat “drop” ever. Other notable moments of her set were “Next To You”, “Looping”, and when she got everyone singing along to “Jim Carrey”.
All in all, the multi-talented Charlotte Cardin crushed it at her Los Angeles show. I can’t imagine what her shows are like in places like Istanbul and Munich on this global tour. This is a 40-date tour so she may still be on the way to your hometown market. If tickets aren’t already sold out, cop a few for you and your friends. It’ll be a great time.
