REVIEW: 2007-02-08 – Toronto, ON

I’m done.

I knew that the day was coming, but I thought that I still had another year or two.

Twenty minutes in to last nights sold out show at The Air Canada Centre I knew I was done. Done with my undying support of The Hip; done with my addiction to hipbase, done with spending ridiculous amounts of money following them around, done with the countless hours I spend capturing, converting, and editing live recordings of their shows. Done.

Why am I done? Because I am. I’ve seen a lot of shows – some good, some great, and some really great. I’ve travelled with a bunch of like-minded fans to see shows in far-off locations – 5 countries, 2 continents; I’ve met the band, their management, support staff, etc; I’ve got pics, videos, memorabilia, everything a fan could want.

I count myself as very lucky for all of these things, but there comes a time when priorities change. And that time is now.

Leading up to the show I had joked with some friends that I was going to try and give it up, but they all laughed it off. But last night at the show, something happened that was just the push I needed. There we were standing three rows from the stage, surrounded by fans enjoying a concert by their (our) rock heroes and all I kept thinking about was how much I just wanted to be at home doing something else. I kept checking my watch, almost wanting time to speed up.

I think that it is because going to shows is no longer about just having a good time; it’s work. Bringing my recording gear, watching the show through a 3″ LCD screen, contemplating how a shot will look on the big screen, and how I can use it in editing sucks the energy from me like nothing else.

Anywhere but here….

So there it is. If you got this far, thanks for reading. Feel free to post your thoughts in the comments. Although this may be a bit self-indulgent, it’s my site, and this message was approved by me. 🙂

REVIEW: 2007-01-31 – Oshawa, ON

The sitting/standing debate continues… and it was funny to see people complain that others were standing and dancing!

The show was a good one, from start to finish – with only a few low spots for me.

  • Rink has closed in on Grace as my favourite opener.
  • I’ve always enjoyed hearing MMAW but tonight it just didn’t do it for me.
  • Grace never disappoints.
  • The twang of Rob’s guitar brought people to their feet as he kicked into Boots, even though he messed it up.
  • Family Band. All you have to do is stand!
  • ABAC. T”his one’s for the girls. And the boys who think like girls.”
  • The 1, 2, 3, 4 fingers couting with the phone rings were noticeably absent tonight. It’s a bit cheesy, but speaks to the catchy nature of the song.
  • Nautical before Bobcaygeon??? What the heck is this about?
  • As the final notes of Bobcaygeon rang out, Sinclair played the intro riff to Nautical. Must be out of habit.
  • WC = World Container for me. Water Closet for many others as there was an exodus from the stands at this point.
  • Springtime In Vienna lacked bite tonight – unless of course you are one of the girls in the box directly over Paul who danced harder than I thought possible.
  • I think we’re going to hear Walking On The Moon as a cover tune soon. They played a lot of it during this epic version of Meridian. And Gord’s imitation of Peter “Man that dude’s guitar is talking” Frampton is worth the price of admission alone. He even cracked himself up a few times…
  • Even though the video for the song was shot Oshawa, Good Life didn’t do much for the flow of the evening.
  • Kids Don’t Get It gets better everytime I see it.
  • At the end of the arena, opposite to the stage, there is a large car dealership ad that reads, “The Best Wheels Around Since That Kid Named Orr.” I thought that Gord would work that in at some point, but it was not to be.
  • LTR is a sing-a-long song. But it seemed as though the crowd only half knew the words – and Gord changed the timing of his singing slightly a few times and really threw the crowd off.
  • Early in its life, Yer Not The Ocean showed signs of being a lifer – keeping its position in the live set. Lately it’s lustre has faded, and I fear that it may be dropped.
  • I don’t wanna help? New Orleans Is Sinking. Just a straight ahead version that brought the fans of the old Hip to their feet.
  • Fire had an increadible fury that seemed lost on many. Or perhaps they were scared still by the freight train charging towards them!
  • – I still have no idea what song they were covering, despite the fact I’ve been told it was “Hang On To Yourself” by David Bowie.
    – Escape was perfect.
    – Blow got the fans of the old Hip back on their feet, and told them the night was over.

    Gord was much more appreciative of the crowd tonight than he was in Barrie. He even thanked most of us by name, pointing to people and saying a name… He closed the main set with, “You make this easy; thank you!”

    The encore was closed with him blowing kisses to the crowd, wishing us a “Nightie, night!” and then he drove the microphone into the stage with a thud, and walked away.

    Review: Buffalo News on 1989-06-08 – Buffalo, NY

    Hipbaser “jay” just posted this interesting review from 1989.

    “Ran across this while trying to track down the “mystery” 1989 show at the Spectrum in Toronto.

    I’ve yet to see this show mentioned on any Hip-related site so it is interesting to point out that Wednesday, June 7, 1989, the Hip touched down in the US in good ole’ Buffalo, NY.

    248 Allen St
    Buffalo, NY 14201

    I paid $3 to get this and I’m sure it’s illegal to share but what the heck… Enjoy!

    News Library


    Published on June 8, 1989
    Author: LINE: By By JIM SANTELLA

    News Contributing Reviewer
    © The Buffalo News Inc.


    Watching a band perform for the very first time is both exciting and challenging. Wednesday night at Nietzsche’s, Toronto’s The Tragically Hip played the first American date on a tour that will last two months. Although they have a Canadian EP release and finished recording their American debut album in February of this year, few Americans have heard their music.

    Over in Great Britain, Melody Maker called them “a rare discovery” describing them as “preposterous, stroppy, ugly, damn near ecstatic” and imploring their British readers to “bring them over here and we’ll have a ball which won’t bounce straight.”

    There is no doubt that they are a quirky band exemplified by their material and the antics of their lead singer Gordon Downie. His stage demeanor falls between Joe Cocker’s spastic elbow flailing and Mick Jagger’s cock of the yard strutting. He talks directly and intimately to the audience — like a hoser sharing a couple of beers with his buddies.

    Before launching into “Highway Girl,” he jerked an explanation in the audience’s direction saying the song was “about a hitchhiker.” He had a story for every song and they all seemed to pop into his mind as he uttered them. Before playing “All-Canadian Surf Club,” he told about the band playing a rowdy gig in Edmonton the night the Oilers traded Wayne Gretzky to the L.A. Kings — both the music and the band had to take the abuse for the defection of the Edmonton franchise player.

    Unfortunately, for all the charm of Downie and the smoking good guitar playing of Robbie Baker, the band seemed to lack that certain undefinable spark that could launch them into stardom. Too frequently, they sound like a 1969 version of the Rolling Stones. They are a good bar band, but they need to play in large venues to get their act polished, honed and ready to roar up to an audience’s expectations.

    They have an affinity for ’60s sounding songs. Dale Hawkings’ “Suzie Q.” was a high-powered rocker that had the crowd dancing and gave guitarist Baker an excellent chance to rip off a jangling solo. Downie’s gyrating and jumping about had him dripping in perspiration within minutes of his entrance.

    Although most of their material is unfamiliar, their hard-driving sound isn’t. It is the kind of rock the Canadians have been enjoying in bars from Brantford to Mumford. They will be touring America until the end of July with the exception of one night in Toronto and several days in Canada to record their music video.

    All the indicators are in place for this band to make it if they can just overcome their barroom roots and develop their repertoire for a large auditorium performance. Their new album, recorded in Memphis and due for an American release later this year, should go far in familiarizing Americans to The Tragically Hip’s potential for success.

    Although I enjoyed the band very much, they need a long American tour to season them. Their music is very exciting but their overall performance style needs honing. Their original material is quirky enough to appeal to a wide spectrum of listeners and their high-energy stage act is bound to please live audiences.

    As a hard-working lead singer, the sweat-soaked Downie takes a backseat to no-one. The Tragically Hip’s recorded music is not as strong as their live concerts, which are ultimately high-powered and hard-rocking.

    The end of the year will be a good indicator whether the Toronto band will be able break into the American music market and stardom.”

    TLB’s Review: 2007-01-12 – Prince George, BC

    Well, even though it’s two days late, here’s my review:

    No matter what folks say, this was an amazing night for both myself and the city of Prince George. Sometimes I truly feel that people here don’t appreciate the bands that take a chance to come through our city. Being eight hours from Edmonton, Calgary, and Vancouver, they really should. This show marked The Hip’s return to PG in more than six years and for the diehards in the crowd, I’m positive they didn’t leave disappointed.

    I arrived just as The Sadies finished their opening set and from what I heard, they have quite a unique sound. Hopefully the crowd was appreciative. After checking out the merchandise stand, I made my way down to my seat on the floor in Row 5 – and for that I have Kincher to thank. Not only did he sell me my seat, but also four more in Row 13 for some friends of mine. Along with some fellow DBA’s in Row 10 and a couple family friends in the stands directly to our left, I was overjoyed at the prospect of sharing the night with people that mean so much to me. As Gord always points out, this particular night was special – it only happened that night with those people and those songs, and that was never lost on me throughout the entire show.

    “…. I looked up into yer big dark eyes above and said ‘hey PG, thanks’ ….”

    The Lonely End Of The Rink – Usually when the lights go down to signal the show has begun, The Boys come right out and break into their opener. On this night, they waited more than a half minute to do so, thus allowing the crowd to stomp and chant and pretty much get ‘up’ for The Boys to take the stage. Rink’s been getting a ton of airplay on the local radio stations and makes their nightly ‘most requested songs of the day’ features.

    My Music At Work – I was really surprised to hear this one and it hasn’t lost any of the edge it has when played live. As usual, Robby made his way over to Johnny to finish this song off.

    Grace, Too – I had noticed recently this staple being left off a few setlists, which boggles my mind as this is always a tune I expect to hear at any Hip show and never tire of hearing live. Gord’s animation really took off here, with him smashing the microphone stand into the stage. Later, he hopped up onto the speaker stack at stage left, laid down across them, put his hands under his head and ‘went to bed’. He stayed that way for at least 10 or 15 seconds before jumping down and finishing up with the ‘him, here, now, no’ lines. As usual, the light show during Grace was to die for – no repetitive strobing lights, just a constant plethora of white beams in all directions at a nice slow speed.

    Lake Fever – This one caught me off-guard and sounded as spot-on as ever. I swear that was the longest intro to Lake Fever I’ve ever seen them do – it was a good 60 to 90 seconds of Langois, Sinclair, Baker and Fay looping the opening chords with some different touches here and there while Gord and the tech’s fixed both his hearing device and his acoustic guitar. Paul always nails his backing vocals in this one.

    The Drop-Off – On this night, The Drop-Off sounded more like the album cut than the live cut I’ve learned to love. Where the live version plays a beat faster and conveys more energy, this version more resembled the album version – they played it a beat slower and as such, the energy just wasn’t there for me.

    Bobcaygeon – With this one, the crowd was back into it and for myself, the song has taken on a whole new feeling ever since the October show at The Horseshoe Tavern. This is now the ‘checkered-board floor song’ and The Tavern is the ‘checkered-board floor place’. Since we weren’t in Toronto on this night, there was no loud reception for the ‘that night in Toronto’ line – the line immediately after that is the one I now directly identify with.

    In View – Always love the riffs Robby pounds out in lieu of the keyboards, What is it about this song that makes people lock arms and dance in circles like they’re at Oktoberfest? Is it the alcohol? The ‘pop’ sound of the song? It isn’t a PG thing because I saw folks doing the exact same thing in Calgary.

    Poets – Sounded great as always. Gord rehashed his Poets rant to finish the song off (‘swim, not to me, not to him, there’s a six-foot dorsal fin closing in, I want to feed you lunch, breakfast, and your dinner too in a 15-foot canoe with a pole of bamboo because I don’t want to disqualify you). Gord has recited this rant so often over the last few years during Poets that for me, it is now part-and-parcel of the song. Heck, I was singing along with every word of the rant just like I would sing along with every word of the song.

    Flamenco & World Container – So far this arena tour, the #9 & #10 setlist slots have been occupied by two slow songs, something I don’t think I’ve ever seen Sinclair do before with such regularity. I remember thinking during these two songs that it was intentionally that way to accomodate a beer break for the fans. It sounds a bit ridiculous but I’m still thinking the same thing a couple days after the fact. Where in the past the pattern would be ‘slow-song’, ‘fast-song’, ‘slow-song’, etc, this time around these two slots have been pretty much set and conveniently arranged for a beer/bathroom break. At one point during Flamenco Gord leaned his back on the microphone stand, grabbed the top with his right hand, let his left arm hang low and ever-so-slowly slid down it into a sitting position – resembling a stripper sliding down her stage-pole at yer local peeler bar.

    Fireworks – I remember thinking during World Container that since they played two slow songs, an ideal comeback would be to wake everyone up with At The Hundredth Meridian (they actually played that after Fireworks). I was really enjoying the screens up to this point and hoped that some hockey clips would fly by during the first verse of this song. Unfortunately, right at that point something happened with the intended video for the screens (whatever it was to be) and all the screens went black or snowy. This didn’t change for the rest of the song.

    At The Hundredth Meridian – Wake up time! What else can you say about this song that isn’t already known? Pure power, extended jam mid-song, get the crowd pumped and come back into it to finish the song off. Afterwards a hearty reception and extended whistling.

    38 Years Old – If someone was deaf and walked in to the arena during this one, they’d have thought the band was playing Blow At High Dough. The crowd went absolutely nuts during the whole song. I remember looking around and thinking “what the heck….”

    The Kids Don’t Get It – Gord really seemed to be straining on this one. He mixed up a couple lines and it just didn’t have the ‘oomph’ that it had during the club tour. Maybe the song just translates better in a smaller venue.

    Gift Shop – After the crowd figured out which song this was, they grew a little louder. Still a mellow reaction but it got some loud cheers afterwards.

    Ahead By A Century – (see 38 Years Old). Once again, for one reason or another the crowd went crazy. During the extended outro, Gord spent almost all of it directly behind Johnny and his drum kit, strumming like crazy while the rest of The Boys found a groove and rode it.

    Yer Not The Ocean – I like this song alot, but as with most small town crowds, any new material generally calls for a beer/bathroom break. I mentioned to my fellow DBA’s after the show that all seven WC songs played really sounded flat to me, like they were all missing a little something. In View sounded decent, but the rest went right over my head. Maybe it was because since I was in Row 5, I was in front of the speaker stacks hanging from the rafters and missed all the high sounds or something. Regardless, I knew that once Ocean was played, we were nearing the end of the main set.

    New Orleans Is Sinking – Once again it was wake up time! At the top of this review, I included a line from this song – originally I thought Gord was thanking someone named ‘Peachy’ but quickly realized he had said ‘hey PG, thanks’.

    On The Verge – The biggest surprise of the night for me! I love this song but since it’s not one of their radio singles, I think it was lost on alot of people. They ended their very first PG show in 1999 with this one and I’m glad they pulled it out here again. This marked the end of the main set.

    “…. happy hour, happy hour, happy hour is here ….”

    It Makes No Difference – After On The Verge, Gord told the crowd ‘please stay, don’t go yet, stay in yer seats, we’ll be back’ which was nice because most small town crowds leave before the encore to get out of the parking lot quickly and avoid the traffic jams. Usually the encore break is at least a minute but The Boys came back in less than 30 seconds and played this cover. I remember Billy Ray taping something to the floor beside Gord’s microphone stand. During the song, Gord forgot a couple lines and messed them up, then stared at the floor to get back on track and I realized that those were the lyrics to this cover tune. I didn’t know this song but I do recall Hipbasers clamouring for this one and how they might be happy it was finally covered.

    Family Band – Once again, a great song but was missing a little something. I remember Robby was a couple notes behind after the mid-song six-second break leading back in to his mini-solo.

    Little Bones – Even though I’m sick of this song live and really wanted Blow At High Dough to close out the night, I knew in the back of my mind they would end with this. Included was an extended outro to put an exclamation point on the whole night. The thing I really liked was when Gord sang the ‘happy hour is here’ line, he pointed to his heart, circled it on his chest a couple times and continued to point at it, as if he was saying ‘happy hour is here, here in your heart’.

    Afterwards, I grabbed the setlist from the new sound guy Mark. I also told him that the shows were sounding awesome, including the ten shows I saw in three weeks on the club tour. The lighting guy Brent filled us in on the story with the fifth stage screen (the top one). Suffice it to say, it will be back soon for you folks in the Prairies. Lastly, I was able talk to my HOB guy after all that and update him on where I am now and why.

    All in all, I really enjoyed the show and the fact that it was my hometown. I was a babbling bafoon before and after simply because they were playing Prince George for the first time in six years and for only the third time ever. While I wish for them to come back in the future many more times, somehow I think they won’t. People braved -30 degree temperatures to wait overnight in line for tickets in 1999. In 2000, the show sold out in under six minutes. In both instances, tickets went for over $100 in the local papers, the town was buzzing for days prior and you couldn’t find a Hip ticket if your life depended on it. It was quite the opposite for this show – the radio stations were giving away tons of tickets in the week leading up, you could get two tickets in the first 10 rows for the price of one on Ebay, and it wasn’t close to sold out after that was all said and done (probably about 85% or 90% full).

    I have to admit that for the first time in years, I more often than not forgot my self-imposed duties at the show and simply zoned out, in awe of the band. I reflected on all the shows I’ve seen and all the cities I’ve been to, and somehow I was so captivated by this single show in my hometown. Heck, I even caught myself welling up a couple times during the show at that simple fact.

    I am happy that some fellow DBA’s finally came to my hometown for a Hip show – I showed them as much of the town as I could but would’ve liked to have had another day or two with them here. A special thanks goes out to Kincher and all of his support with tickets for my friends. His wife and little brother were cool. He knows I’ll be contacting him soon enough and staying in touch going forward.

    Of the 38 shows I’ve been to, I think I’ve written a review for 4 or 5 of them, with this one being by far the longest of the lot. Thanks for reading and I hope you got as much out of the review as I did writing it.

    Hip-notic performance, without hype

    Hip-notic performance, without hype
    Tragically Hip delivers, as always, with oddball antics, diverse playlist

    Sandra Sperounes, The Edmonton Journal
    Published: Monday, January 15, 2007
    Gord Downie and The Tragically Hip perform Sunday at Rexall Place.
    Where: Rexall Place
    Opening act: The Sadies

    They’re not the flashiest performers. Nor do they rely on costly gimmicks such as pyrotechnics or elaborate stage sets.Yet, after more than two decades, watching Gord Downie and The Tragically Hip rip through their repertoire of Canadian classics never seems to get old.For starters, even with the advent of the Internet, you never quite know which of their 100-plus songs they’re going to pull out of their pockets.New Orleans Is Sinking? Ahead By A Century? Poets? Fiddler’s Green?Yup, The Hip played all four nuggets — each accompanied by the smell of weed wafting through Rexall Place on Sunday night.(You could sort of judge the crowd’s faves by when they lit up their joints. Sadly, none of the group’s newest batch of songs, from 2006’s World Container, seemed to, uh, ignite such passion. At least not in section 101.)Photograph by : Greg Southam, The JournalThen, there’s good ol’ Downie, the nerdiest — and least self-conscious — of frontmen.Not only does he shake, shimmy, jump and pirouette like one of the unco-ordinated dancers in Fatboy Slim’s Praise You video, he rants and screeches like a mad man trying to purge his demons.”Where do you think you’re going? Who do you think you’re talking to?” he demanded after kicking and hip-checking his microphone stand during a fast, frenetic rendition of another oldie, At the Hundredth Meredian.No wonder the Hip don’t need to resort to using flashpots or dancers. (They only used lights and a few white backdrops, which doubled as video screens for their blurry images of trees, cars and water.)No wonder guitarists Rob Baker, Paul Langlois and bassist Gord Sinclair don’t really need to do much more than play their instruments and bob their heads.Downie’s endearing antics are enough for all of them.He seemed even more animated than usual on Sunday — perhaps rejuvenated by World Container, the group’s best album in years.The Kingston five started off their set with The Lonely End of The Rink — an appropriate choice for a hockey arena — featuring dance-rock rhythms and a crazy reggae beat.”You and me,” Downie bellowed, as 11,500 yous jumped to their feet.New Orleans Is Sinking was next — including a few tacit barbs leveled at George W. Bush’s reaction to Hurricane Katrina — followed by Grace, Too, a sombre, muted U2-ish number with an extended extro. Then came another downbeat song, It’s A Good Life If You Don’t Weaken, and another new track, The Drop Off, with a wave of moody guitars and Downie pretending to swim.While water is obviously one of his favourite themes — most of his lyrics seem to reference skating, swimming, sailing or sinking — The Hip’s choice of opening act is never as transparent.Downie and his pals prefer to pick offbeat artists rather than the latest up ‘n’ coming act on Universal.A few years ago, Chris Brown and Kate Fenner opened for the Kingston rockers. This time, The Hip brought The Sadies on tour with them.The Toronto foursome usually play smaller venues such as New City or The Sidetrack, but they’re such impeccable musicians, they made the leap to Rexall with great ease.Think of them as Hawaii Five-O meets the Wild West, fronted by two brothers who look like undertakers from the 1800s.Dallas Good even sounded like one at times, using his deep, sinister, son-of-Johnny Cash voice to rattle our little

    Setlist: 2007-07-08 – Victoria, BC

    1. LOTR
    2. Courage
    3. Twist My Arm
    4. Gus
    5. Luv Sic
    6. Weaken
    7. In View
    8. Nautical Disaster
    9. Long Time Running
    10. Pretend
    11. Fireworks
    12. Hundredth Meridian
    13. 38 Years Old
    14. Kids Don’t Get it
    15. Gift Shop
    16. Scared
    17. Yer Not the Ocean
    18. Three Pistols
    19. NOIS

    20. C’Mon Everybody
    21. Family Band
    22. Locked

    Two shows in a row that they’ve played a cover tune…

    REVIEW: 2006-12-13 – Holiday Jam at The Phoenix

    Last night was the 3rd Annual Holiday Jam for Sick Kids Hospital, and as in previous years, the performers did not disappoint!

    Buck 65 kicked off the evening with some of his trademark spoken-word/rapping followed by his interpretation of “‘Twas The Night Before Christmas”. Many in the crowd were unsure about Buck 65, but warmed to him as his short set progressed.

    Matt Mays took the stage second and played a classic “Matt Mays Hliday Jam Set” that put some in the crowd to sleep… but as he admitted, that’s what always happens.

    Without any introduction, Kathleen Edwards and her band of friends took the stage and set up their gear. I’ve seen Kathleen before and only recognized Colin (her husband/guitarist). After her first song, she said, “Holiday Jam is like a letter to Playgirl for me as I get to invite up whoever I want to play.” Colin Cripps, Luc Doucette, Jim Bryson and Justin Rutledge made up her all-star team. The played a few KE songs, and Justin sang a song. I was hoping that Jim would take a turn on the guitar & mic, but it was not to be. (Kathleen also introduced the crowd to the “F” word…)
    After Kathleen, Sam Roberts’ band mates took the stage and set-up their gear. Sam was no where to be seen. Eventually he came out and the band ripped through a few tracks before inviting tour mates Jason Collett and band on stage for a cover of The Band’s “Christmas Must Be Tonight” – which they nailed. Sam said that they have been playing it for more than a month now… way before the Christmas season arrived.

    In keeping with Holiday Jam tradition, Matt Mays joined a solo sam Roberts for a tune. Apparently the “rivalry” between the two bands has reached a fevered pitch – dead fish in the van, crickets, and Matt accusing Sam of putting shit on the microphone.
    After the awesomeness that is SRB subsided, the always amazing Sarah Harmer took the stage. She opened with a Christmas tune, followed by a few of her songs. Doing her best Phil Collins impersonation, Sarah started a song singing with her guitar before deflty moving to the drums, where she contined to sing, while pounding out a driving beat.

    As soon as Sarah Harmer and her playing partners left the stage, the fans who had remained orderly and near the side/back of the room decided to rush the stage and crowd out all of the fans who arrived early enough to get seats. I could go on a rant abot this, but I won’t; you get the point. Thankfully chants of “Hip, Hip, Hip” were reserved until after all of the other artists had completed their sets.

    The Hip took the stage to a loud ovation and broke into “A Night Like This” which really threw the hardcore Hipfans for a loop… however the biggest shock for me was “C’Mon Everybody”

    Here’s their setlist:

    A Night Like This – Bob Dylan
    In View – The Hip
    C’Mon Everybody – Eddie Cochrane
    Makes No Difference – The Band
    Bobcaygeon – The Hip
    Pretend – The Hip
    Queen – David Bowie
    Family Band – The Hip
    Fireworks – The Hip

    Summerside Of Life – Gordon Lightfoot (All of the evening’s performers came out for this one.)

    This show was recorded – audio and video – in its entirety and will be torrented through The Hip Tracker.

    SETLIST: 2006-09-11 – Montreal, PQ

    Setlist – in order
    In View
    Drop Off
    Fiddler’s Green
    World Container
    Luv (Sic)
    100th Meridian
    Good Life
    Kids Don’t Get It
    Grace, Too
    Wheat Kings
    Yer Not The Ocean
    Locked in the Truck Of A Car
    Family band

    Escape Is At Hand…
    On The Verge

    Just in from another great show. The Metropolis is an awesome venue, and the crowd seemed into it from the get go. We’re really looking forward to tonight as we plan to arrive earlier to get better positions for taping – specifically from the balcony. We recorded three video angles, and four or 5 audio sources last night. The first reviews of the video look good. The audio sounds really good. Look for these on the tracker in due time.