Delicate Steve was a band a little bit closer to what Cults fans prefer, but they still seemed like an off beat choice for this particular show. The tribal-esque jam band warned everyone, “It’s going to be a jungle in here!” Guitar screeching, bottle tapping, and keyboard soloing commenced from there to make quite the bouncy jungle. After people got over the unusual nature, most of the crowd let their guards down to enjoy unique instrumental experience.

The unexpected choice of openers made the wait for Cults that much more anxious. Eerie projections layered the background with static, and black and white images to rile up the mood to a new level. When band members, Madeline Follin and Brian Oblivion started their set with the resounding “Abducted,” the room filled with dance. The lyrics of each song played off everyone’s lips as if every song on the debut album ‘Cults’ was a single. The mic was a little funky that night, muffling Follin’s sultry voice, but the crowd did not seemed to be bothered either way.

It was refreshing to see such enthusiasm for a relatively new band, but Follin was not going to lend a smile that easy. She soared through a song rocking shoulders back and forth as Oblivion rocked right beside her. Every song was followed by Follin’s stare into the crowd, a pause, and a brief, “Thank you”. When it got to the point where she looked to the side with a blushed smile, you really felt as though you were earning something as a crowd.

Brian Oblivion is not one to be generous with his interaction either, but from the beginning Oblivion would inject some conversation in the pauses. “We’ve got some loud Boston people in here, huh?” he stopped to observe with a smile, “Wouldn’t want to mess with you.” The keyboard stopped playing around, a pause, and then a crack into “Bumper.” The band continued to keep everyone satisfied, playing the entirety of their album, but the crowd undoubtedly hit their high when the first sign of that xylophone introduction to “Go Outside” was in grasp. Cults provided quite the night from their opener choices to the end.

The Swedish sensation, Tim Bergling, has been at the forefront of the most recent movement of electronic/house music.  With singles such as “Levels” and “Fade into Darkness” the 22 year old is effortlessly leading Americans to the lights of this addicting music genre.

The 133,000 square foot Manhattan venue, Pier 94, sits massively on the West Side Highway with the capability of holding over 11,000 people.  Naturally, with such space the line to enter took a good forty minutes in weather a little too cold with attire too few.  Even with Avicii’s start time of 1:30 am the atmosphere was electric with a cast of characters ranging from casual NYC club goers to the tutu-clad, topless ravers.  Despite the anticipation of such a headliner, openers Arty, Glenn Morrisson and Cazzette kept the attention of the energetic crowd playing both original songs and those of favorites such as Swedish House Mafia, Tiesto and Afrojack.

With the ball dropping even before Avicii took the stage it seemed as if the highlight of the night was inaccurately placed.  However, only 5 seconds into the 3-hour set it became clear that the biggest events had yet to occur.  Opening with the worldwide hit, “Levels,” was bold, but resulted in the explosion of the crowd.  As Etta James’ soulful voice bellowed throughout the pier from the sampled track “Something’s Got a Hold On Me,” the audience of thousands transformed into a sea of movement.  With multi-colored lights, smoke machines and a rain of balloons signaling the DJ’s entrance, it was impossible to dismiss such a perfect moment.

The crowd would not hear the full track until 19 songs later however as the Old School Intro faded into “Spectrum,” a collaboration between Avicii and David Guetta with Florence + the Machines’ track of the same name.  A combination of energetic dance music and powerhouse vocals, I couldn’t imagine a better song to lead into the set.

Over the course of three hours Avicii played a total of 40 songs going until 4:30 in the morning.  From fan favorites like “Bromance” and “ID,” to Tiesto’s “Escape Me” and Swedish House Mafia’s “Calling,” all ends of the spectrum were covered.  Although it is challenging to achieve variety in a genre such as electronic music, the opportunity to combine different musical styles offers a general appeal across audiences.  Some of the most memorable moments during Avicii’s set was  The Killer’s “Mr. Brightside” as well as “Otherside” by The Red Hot Chili Peppers revamped to the speed and style of today’s dance music.

Logistics aside, the most incredible thing about this New Years Eve concert was the atmosphere it radiated.  From the over the top detail of lasers, smoke and confetti to a bliss soaked crowd dancing to a theme of a fresh start I truly cannot imagine a better way to ring in 2012.  As we left the pier at the bright morning hour of 6:30 am and I stood there, freezing, hailing a cab that would never come I couldn’t help but to have a smile on my face thanks to a DJ, good friends, and excitement for the year ahead.  Cheers to 2012.

Three opening acts supported the headliner: Title Fight, White Wives, and Blacktop Kids. But The Bouncing Souls really stole the show. Lead singer Greg Attonito belted out song after song without so much as pausing for a drink. Highlights included “The Gold Song,” “Blind Date,” “The Pizza Song” and “Anchors Aweigh.” The band really delivered live, which wasn’t much of a surprise considering the members have nearly 25 years of experience together under their belts.

The Bouncing Souls’ witty lyrics were even more comical in a concert atmosphere, especially songs like “East Coast Fuck You” and the short but sweet, “I Like Your Mom.” Attonito dedicated this one to his own mother, who sat at a table in the back. The crowd sang along to the clever lyrics of the fan-favorite “Hopeless Romantic,” chanting “I’m a hopeless romantic; you’re just hopeless.”

Two things specifically made this concert stand out for me. First was the way the songs were selected. Rather than preparing a set list, the band came equipped with Ping-Pong balls. With a different title on every one, the songs were drawn like numbers in a game of bingo, keeping both the fans and the band on their toes. It was a treat to hear a different song from the band’s upcoming album every time a new song ball was picked.

The second standout was the energy from the crowd. I’ve been to my share of rowdy shows; but the size of the mosh pit and the number of crowd-surfers led me to believe that all of New Jersey’s punk rock fans had congregated inside The Stone Pony that night. What was particularly impressive was Attonito’s ability to stir the crowd with such a composed demeanor.

If you dislike punk rock, well frankly, you would have hated this show. But for a fan like me,  it was truly fantastic.  The set was compiled of a number of punk anthems, some of which were hardly even a minute long. The band definitely kept the crowd dancing from the opening number, “The Gold Song,” all the way through the encore.

This show was the first of four sold-out nights for The Bouncing Souls at The Stone Pony during the week of December 25th. The band is set to start a European tour with Dropkick Murphys at the end of January.

With the support of their fans in their home state of New Jersey, I think it’s safe to say that The Bouncing Souls will be back for round six next December.

I’m fairly certain the first time I heard “The Funeral” was during an episode of One Tree Hill back in 2006. The song captured my attention, so I memorized some of the lyrics, looked up the song and consequently discovered Band of Horses. I immediately added them to my list of bands that I must see live after hearing their other songs. I’ve been patiently waiting for them to stop in Boston and I’m happy to report that day finally came a couple weeks ago.

Band of Horses played a sold-out Monday night show at The Paradise, a small venue for such a big sound. They were very thankful though that they could still sell out small venues, given that they have been playing arena shows for most of their tour in support of 2010’s release of Infinite Arms.

The night started off with Band of Horses’ own Tyler Ramsey as the opener. This was the first time I’ve seen a band member open for their own band. It worked very well because Ramsey’s acoustic songs complimented the music that was to come later from Band of Horses. Ramsey had some technical difficulties and had to restart some of his songs, but he kept his cool and the crowd didn’t seem to mind at all. Ramsey concluded his set with “1000 Black Birds,” an ethereal composition that highlighted Ramsey’s beautiful harmonies and his capability to write poetic lyrics.

Band of Horses took the stage about 30 minutes after Ramsey departed, which had the crowd getting a little too antsy. Once they finally emerged from backstage though, Band of Horses did not disappoint. They opened with “NW Apt.” and powered straight through six songs, with maybe one or two very brief breaks to mention something to the crowd. They played an equal variety from their three albums, including “Is There a Ghost,” “The Great Salt Lake” and “Compliments.” The band also played songs that individually showcased each of the five members’ talents. They were all smiles and joked with each other on stage while playing, which made the entire audience want to join in.

After playing fifteen songs, Band of Horses left the stage for a short while, leaving the crowd pleading for more. We did get more for the encore—two songs more. The encore began with the cute slow ballad “Part One” and concluded with the ever powerful, always painstaking beautiful “The Funeral.” As soon as the crowd heard the first few chords, cheers erupted throughout the venue and singing along ensued. The encore proved a bit disappointing because many people, myself included, were expecting to hear “Blue Beard,” but we never did. Once the encore finished and the band bid everyone a goodnight, I left The Paradise in a very happy mood because a) Band of Horses sounded even better live than on their amazing albums and b) Band of Horses was my 50^th concert and ended up being my all-time favorite.

Before Chadwick Stokes and The Pintos began their set at the Paradise Rock Club, two opening acts proved that they could get the crowd moving for a good cause. The Parkington Sisters, a four-girl family band from Massachusetts, started off the night with a lovely mix of violins, acoustic guitar, piano, and exquisite harmonies. Their versatility was impressive, switching  instruments and the role of lead vocalist often.

Next came out The White Buffalo, a musician who was more familiar to the crowd. He took the stage with just his acoustic guitar and a bottle of beer. With fans shouting “Buffalo!” constantly through the set, he rocked so hard that he broke two strings in the length of one song.

Then came time for the act that everyone paid for. Chad ran out first in his button-down shirt, tie, and vest. He opened with “Calling All Crows,” an appropriate tune from State Radio’s most recent album, followed by “Flying Horses,” a Dispatch fan-favorite.

The Pintos joined Stokes on stage, starting with the third song of the set. In addition to the front man, the band is made up of five members who play everything from electric guitar to the flute and trombone. The new voices complimented Chad’s very well, especially those of Chad’s brother, Willy, keyboardist Sedgie Ogilvy, and special guest Darren Buck, an old friend of Chad’s. With The Pintos, Chadwick performed the first four tracks, in order, off of Simmerkane II.

Catching everyone by surprise, everybody but Chad and Willy Urmston left the stage. The two brothers sang an unreleased song, “Josephine,” based on a true story from their train-hopping journeys. After a couple of acoustic State Radio songs, and two more songs with The Pintos, The White Buffalo returned from his place in the crowd to sing harmoniously alongside Chad and his band during “Black Bottle.”

The final song of the set was “All My Possessions,” dedicated to Troy Davis who was recently put to death by the state of Georgia after more than twenty years on death row, and to Troy’s sister, who passed away not more than a week before the concert. The band really put their hearts and souls into this one.

Shocking none of the concert-goers, Stokes returned to the cheering crowd for an encore. What was a surprise, though, was the song choice: “The Story of Benjamin Darling, Part One,” a rarely performed State Radio song. Chad picked a perfect occasion to play the song; supported by the Parkington Sisters on violin and vocals, it couldn’t have sounded any better. After “Coffee and Wine,” the night ended with the ever-popular Dispatch song, “Elias,” which successfully finished out the evening with a bang.

So, to say the least, no matter how many times I see Chad Stokes perform, I am always in for a treat. Chadwick’s stage presence and versatility are truly incredible. Whether you are a die-hard fan or not, it is indisputable that his experience as a performer, which dates back to over fifteen years ago, is very apparent. Stokes kept the crowd’s interest by alternating between solo acoustic songs, songs with his band, and ones accompanied by special guests. It was very different to see and hear Chad play acoustic guitar for an entire set, but he rocked just as hard as he does when he shreds on his electric. Despite the fact that The Pintos were formed recently, they sounded better together than many longtime bands I have seen live. And of course, being a charity event, fans went home happy knowing that 100% of the concert’s proceeds went to two shelters in Afghanistan. Thanks to the hard work of Chadwick Stokes and Sybil Gallagher, over $28,000 was raised.

Good Old War played Brighton Music Hall on December 10^th to a sold-out house and, as expected, they brought it down. The opener, Val Emmich (better known as Jamie the coffee guy from 30 Rock – “I’m totally gay for Jamie!”), was a last minute addition to the tour, and played with only his own acoustic guitar and a second guitarist instead of his band, The Veeries. His songs were good, but I have the sneaking suspicion that he would go from good to Nickelback with a full band.

After setting up, Good Old War took the stage and everything was good. They played a solid mixture of their first two albums along with three new songs from Come Back as Rain, due out March 6^th of next year. “Calling Me Names” was the most notable new track, with some experimentation with new harmonies and vocal overlaying, along with a ukulele. Their sound translates well from album to stage, but often depends on the house PA system. Brighton Music Hall tends to be bass-heavy and with Keith Goodwin’s bass-via-Micro Korg set up, it so much bass that the speakers were crackling. Thankfully it was fixed quickly enough. Toward the end of their set, while Dan was tuning a guitar, Tim and Keith broke into Montell Jordan’s 90s classic “This is How We Do it.” Keith though he could get away with only the first line of the song, but he was mistaken when the crowd encouraged him to continue and he, surprisingly knew the whole first verse.

In homage to a recent Boston show where the PA failed and they had to play from the floor in the middle of the crowd, they played their last two songs, “Loud Love” and “While I’m Away” with just Dan on guitar, from the floor. Luckily their voices are strong enough to carry over the crowd and end the show on a really high note.

Look for Issue 27 for an interview with Dan about the new album!

The curtain opened to a clear stage as Keenan himself wheeled out a little air streamer trailer. A somewhat jovial din filled the auditorium as we watched Keenan spend a few minutes positioning the trailer, listening to nothing but the sound of his breathing. Backup singer and opening act Carina Round stepped out of the trailer and began assisting Keenan in setting up the rest of the redneck scene with picnic tables, chairs and a barbecue. Keenan gave a somewhat odd lecture on fire, the desert and human invention followed by Keenan and Round humming a song as they went.

The band formed slowly as the drums and keyboard were rolled out on what looked like farm wagon platforms. This act was very reminiscent of Talking Head’s film, Stop Making Sense, and perhaps David Byrne is a good comparison for Keenan’s controlling aspect.

Never before had I seen the staff at the Orpheum so aggressively enforce the no-camera rule. Concertgoers were being told “no photography” left and right. Keenan himself, or Keenan as a General Patton type character, even came on the screen before the opening act to warn us once more against taking photos.

The man seemed so against capturing the performance, that even with an approved photo pass I could barely get a decent photo. Later in the night, I was texting on my phone and a security guard warned me to put it away because of the photo policy. “If he [Keenan] sees it, he’ll walk off stage,” claimed the guard.  That baffled me. Whether this is the truth or just a scare tactic, I do have to say the show felt a little totalitarian for my tastes.

State control aside, it was a great show. Between acts the crowd was shown short films about Billy D and Hildy, a dysfunctional, performing couple from the world of Puscifer. Keenan is one of the most powerful and beautiful singers out there and it was a pleasure hearing him playing his own material live. The band played through all of the new album, Conditions of My Parole, as well a healthy dose of “V” is for Vagina and the track “Polar Bear” off of the C is for… EP. I know those last two album names seem out of left field, but Puscifer is proof that a band can have a sense of humor while still taking itself seriously and making real music. Conditions of My Parole is out now through AmazonMP3, iTunes, and Puscifer.com.

Logistics aside, it’s hard to not be impressed by the elaborate and detailed performance capable at MSG.  Accompanied by contextual glitter, fireworks, aerialists and, I think, seven costume changes, the show could easily be compared to the acts that grace the Broadway stages just next door. Fans of all ages, dressed in flashing lights and DIY outfits, waited in anticipation as the two opening bands successfully ripped off Kings of Leon.  When this stalling was completed, we were finally given the girl we were asking for.

Opening with one of her current singles “Sparks Fly”, Swift controlled the stage, running from one end to the other, with an energy that only matched the crowd screaming her lyrics.  Performing 12 of the 14 tracks off her newest album, Speak Now, little was left desired from the adoring fans out of Taylor’s two-hour set. Each song was marked by unique and creative visuals from choreography and scenes mimicking each song’s story line to the accompaniment of ten violinists and at one point, a harp.  Instrumentally, the concert was stacked with talent that highlighted Swift’s own vocals, which, in the past, could have certainly used the help.

Now, don’t get me wrong.  I’m a T-swift supporter through and through but she certainly has not been blessed with the greatest track record of live performances.  From singing completely off key with legend Stevie Nicks during the 2010 Grammys to questionable acts during past CMAs, Swift has been under the scrutiny of critics from early on in her career.  However, whether due to a lack of nerves or just simple improvement, I never once found myself questioning Swift’s talent during her sold-out performance.  Not only was I impressed by her execution of her own songs but also of The Goo Goo Doll’s “Iris” which leader singer, John Rzeznik, joined her for.  I’d be lying to you if I said this wasn’t the best thing that could have happened.  As I screamed along, almost to tears, the duo effortlessly increased the arena’s energy to unimaginable heights.

But what sets Taylor Swift apart from other female singers is not her vocals, but her songwriting and the natural intimacy it creates among her fans.  Like any good songwriter, she utilizes her own experiences to share stories and paint emotions that pluck the heartstrings of more people than who’d probably care to admit.  She doesn’t need to dance, or be this powerhouse vocalist because frankly, she’s not. Her vulnerability and confidence in herself fuels her music and in turn, her success.  As long as she continues to embrace the overemotional, hopeless romantic she is Swift will forever create music her audience will want to hear.

This show was strategically scheduled for parents weekend because only old people still appreciate jazz.  This tragedy is a complex issue to dissect another time.  Regardless, my posse, surrounded by a few hundred proud Husky parents sat comfortably in the newly renovated Blackman Auditorium to see the show.

The 34^th annual John Coltrane Memorial opened with John Coltrane’s most recognizable track, “Giant Steps.”  This rendition followed the all too banal path of other genres, remixing a classic for minimal effect.  The John Coltrane Memorial Group decided to infuse an Afro-Cuban style on the arrangement, foreshadowing a set rife with Latinized renditions of old tunes.  The overall concept of “Latinizing” jazz can be exciting, however it has already been done – since the 1950s by greats like Dizzy Gillespie and Tito Puente. So, trying to add what jazz great Jelly Roll Morton called “The Spanish Tinge” was a bit forced,  especially considering John Coltrane was never involved in the Afro-Cuban Jazz movement.

The band did find their groove on the Latin styled “Mr. P.C.”, which featured the shining part of the concert, the self-proclaimed “Bosses of Brass,” the horn section made up of gentlemen from all walks of life.  After the “head” (what hip jazz cats call melody), the trombones started off the group solo section.  The ‘bones played well off each other, countering punchy, zesty riffs with sassy, seductive overtones.  It was a sound reminiscent of fine scotch whiskey (Glenlivet, 12 years aged) with a blend of bite and silky sophistication.

Next, was Carl Atkins, a finely dressed individual who played his soprano sax with the same style: fresh, but smooth.  In contrast, two trumpeters who seemed to be dragged out of the New England Conservatory’s practice rooms followed with back-to-back solos that were great technically, but lacked a certain flair.  The song climaxed with Ricardo Monzon making President Aoun nervous by nearly burning down the newly renovated Blackman Auditorium with his fiery percussion solo.  The parents had to remind themselves not to start dancing the salsa because they know that their kids, who were busy throwing up in a basement at a party on the hill, may have found them embarrassing.

Unfortunately, the intensity of “Mr. P.C.” went unmatched through the remainder of the set.  It was apparent that the band was academically driven, focusing on dynamics and nailing every hit to their complex arrangements.  Perhaps they could have carried on the Trane’s legacy by dabbling in the waters of free jazz.  Perhaps they could have carried on the Trane’s legacy by disregarding what the audience wanted to hear and simply playing what they were feeling.  Maybe their goals were in the wrong place, like Syd Smart’s electric drum pad being showcased throughout the set to advertise the university’s cutting edge technology.

Alas, it looks like I may have to sip on some fine scotch whiskey and smoke a Cuban at home on Saturday nights and listen to Miles, Trane, and Dizzy streaming from the Internet the next time I want to hear true classic jazz.  Although I am grateful that JCM is alive and kicking, and that the Berklee kids are persistent at trying to make a quality Jazz Fest, I will continue to rely on the classic recordings to keep my passion alive.

One of the drawbacks to their performance, and really a flaw to most of their sound, is that their songs generally follow a formula, and that formula grew repetitive.  The Kooks must have known this, because they soon introduced some songs off their new album. These had the addition of some synthesized arrangements, but it did little in changing what ultimately sounded like more of the same Kooks. Basically, if you want to hear a band sing about loving a troubled girl for 19 songs, then The Kooks are definitely the band for you.

Arriving late for midsection seating at the House of Blues is an experience fraught with frustration.  The mid-level is an open area where concertgoers must fight to claim key vantage points of the main stage along a rail.  There really is no polite or easy way to bully your way to the edge, so it proved hard to see much of anything on the stage.  My recommendation is to definitely get there a half an hour before if you buy mid-section tickets.

The Kooks put on a great show with high energy that proved how well they could reproduce their recorded sound live.  Their songs, however, began to grow repetitive as it was clear that they had a formula for producing singles.