Kings of Leon - A Coronation in Boston

Concert Date: 9/16/24

Venue: MGM Fenway, Boston

Genre:  Hard Rock

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In an ever-expanding landscape of sonic complexity, genres, sub-genres, and sub-sub-genres, it's comforting to return to where it all started: rock and roll. Kings of Leon embodies modern southern rock underscored by classic rock cool and indie rock indifference. Their current sound evolved from early garage rock and punk to a more refined, diverse, and complex alt-rock sensibility while remaining true to the core rock construct - three chords and the truth. Within this simplicity, KOL's songs are intricate masterworks. Delivered live, they simply explode.  

After a tepid opener, "Ballerina  Radio," from their latest album, "Can We Have Fun," KOL warmed up fast, ripping into "The Bucket," which set the tone for the night ahead. When the Followil brothers (and cousin) reached the chorus on On Call, "I'm on call..." they seemed surprised to hear the audience resoundingly respond, "to be there." Caleb remarked on the audience after the lights went up at the song's end. "I'll be honest, we didn't expect this on a Monday night in Boston."  

Not a single chair at the 5,000-seat MGM Fenway venue was empty, and everyone stood to share their appreciation for one of the best-kept secrets in rock music. The energy and sheer fanaticism were contagious across the intimate amphitheater. The connection between the band and the audience was palpable, and the power delivered onstage with musicianship and intensity was absorbed and reciprocated tenfold by the audience with wild cheers, singing, and... revelry. 

After the raucous "Razz" from their second album, Caleb paused once again to acknowledge the crowd. "Really. We were not expecting you guys to be this good." The fans erupted, demonstrating that the question "Can We Have Fun?" didn't need to be asked; they embodied the answer.

Throughout the 26-song set, fans of their raw early work or fully-baked later work were rewarded. Funky rhythms and delicious licks remain constant throughout. Highlights included "Manhattan," "Mustang," "Molly's Chambers," "Sex on Fire," and "Revelry." Heartfelt renditions of "Back Down South" and "Closer" completed the core set. The band returned for an impassioned trifecta of "Rainbow Ball," "Knocked Up," and "Use Somebody," the latter inspiring the band to open their arms to the crowd and sing, "...someone like you."

This tour only lasts a few more weeks, and if you missed this show in Boston, the good news is that they'll be back on October 7th. So don't miss your chance to see one of our time's most underappreciated rock bands deliver a tight, tireless, most unexpectedly outstanding show. 

Tour Dates

- Tom Endyke | Guitar & Pen

Cheap Trick Lights it up at MGM Fenway

Concert Date: August 3, 2024

Venue: MGM Concert Hall, Fenway Park, Boston

Genre: Hard Rock

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Blazing onto the punk rock scene in the mid-70s and rubbing elbows with arena rock legends, Cheap Trick mixes gritty guitar, quirky lyrics, and catchy sing-along hooks to forge an unwavering, uncompromising, and immersive live act.  Their signature sound combines pop elements of the '60s with rock and punk elements of the '70s and has evolved and matured while remaining true to their roots. 

Their live act has not only aged gracefully but has taken on an even snarlier predilection emphasized in full after the opening "Hello There"'s sonic blitz when, during a resounding ovation, Rick Nielsen turned his back to the crowd and threw his middle finger in the air.  This only served to amplify the admiration as his guitar tech ran out to swap his guitar out for their next number.  He closed his hands in prayer, bowed, and then ripped into the opening riff of "Big Eyes." In less than 3 minutes, the jam-packed crowd at MGM concert hall alongside historic Fenway Park in Boston was on their feet shouting and screaming, evoking the soul-soaring vibe of their landmark 1978 live album, Cheap Trick Live at Budokan. 

The acoustics in the MGM Concert Hall played well to the band's strengths.  It was loud, like a punch in the shoulder, forcing you up and on your feet.  Rick's son, drummer Daxx Nielsen's Bonham-esque style pounded and resounded through the venue, creating a solid foundation for the band to explore more creative renditions of their signature songs.  

The band ran off a string of deep cuts, including a nod to Jeff Lynne's first band, The Move, with a "California Man" cover.  After some masterful guitar riffing on "Southern Girls," Rick Neilsen gave the obligatory shoutout to Boston and a nod to Kirk Hammett, who was in the crowd and had played Gillette Stadium in Foxboro a few nights earlier.  Rather than bring Kirk on stage, the band called up Extreme frontman and Boston native Gary Charone, who borrowed the mike and the stage from Robin Zander for "Baby Loves to Rock."  

Amidst the barrage of the first ten songs was this writer's favorite song of the night, a profoundly rockified cover of Fats Domino's "Ain't That a Shame." With a thunderous rhythm providing the canvas, Rick Nielsen painted a masterpiece on guitar as he blazed through a solo that burned through the night like a fire through the soul.  The sudden stop, like a firehose flooding the flames, followed by Robin Zander's cryogenic crooning, sent a wave of euphoria through the crowd.  The song underscored the history of Rock and Roll.  A Rockford, Illinois band interpreting a Fats Dominos interpretation of Mississippi Delta Blues.  After hitting #1 in 1955, a new incarnation lights up a sold-out crowd almost 70 years later. 

The band saved their best for last, taking the audience to new heights through a string of incredible songs that underscored Cheap Trick's legendary status.  "The Flame" rolled into every rock fan's favorite opening stanza: "I want you to want me."  "Dream Police" finished the set with Rick Nielsen taking over the mike to belt out in his inimitable style:  

I try to sleep; they're wide awake, they won't let me alone

They don't get paid to take vacations or let me alone

They spy on me, I try to hide, they won't let me alone

THANK YOU, BOSTON, MASSACHUSETTES!!

Rick's guitar handed him what must have been the 10th guitar of the night.  Nielsen's playing was sharp and rife with attitude.  He strolled across the stage, stopping suddenly to lower himself toward the flow and lay down riffs, like exclamation points, accentuating and amplifying the moment. 

The encore became the crescendo of the evening with "Clock Strikes Ten," followed by "Surrender," a song that gave millions of teenagers in the late 1970s the best advice they may ever get in their entire lives: "Surrender, Surrender, but don't give yourself away." "Goodnight" with Nielsen sporting a 5-neck guitar
bookended a night I won't soon forget.  The crowd did not want the evening to end, and I sensed the band didn't either, and we all walked away feeling we had experienced something special.  If you've been on the fence about seeing these living legends, jump off and go.

- Tom Endyke | Guitar & Pen

Rockin' Radio City - Elvis Costello & Darryl Hall

Score: 84/100 

Concert Date: 7/17/24

Venue: Radio City Music Hall, NYC

Genre: Rock, Pop

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The unlikely pairing of Hall and Costello raised my reluctance as the show date drew near. I thought about driving my sister around town in the 1980s and fighting over which station to choose: my favorite alternative mainstay, WFNX, or my sister's pop pablum, KISS108. "Okay," I said. "FNX on the way there, KISS on the way back." And so became my attitude approaching this show.  

After walking fifteen blocks in 95-degree city heat, walking into Radio City Music Hall felt like walking into a refrigerator. I stared at the stoic God on the massive "Quest for the Fountain of Youth" mural standing on the mountaintop, staring into the clouds, and felt a similar sense of hope and wonder. Like Elvis and Daryl, perhaps I, too, was in search of that 80's atmosphere of boundless possibility when This Year's Model spun like a black hole of hope on the turntable in my bedroom when a bright light might have indeed cornered the market. 

The lights dimmed, and The Imposters with Charlie Sexton took the stage. In the key of B, a thumping bass and drum line began. Elvis rushed out, adjusted his microphone, and pumped out the intro to the suggestive This Year's Model anthem, "Pump it Up." Elvis approached the mic like it had stolen his lunch and sang, "I've been out on the tenderhooks. Ending in dirtly looks." reminding me that a lyricist as gifted as Dylan made me look words and phrases up to understand their meetings, thus filling in the cracks of my suburban Boston education.  

The vibe chilled as the band led us into the highlight of the evening, a reimagined "Watching the Detectives," which felt less like pop shop crafting and more like a soundtrack to a forgotten noir film from the 50s. Bruce Thomas'  stretched-out bass line and Pete Thomas' delayed staccato drum beat allowed Sexton to fill in the gaps with sublime outcries from his pedal steel guitar. All the while, Steve Nieve's hauntingly mysterious keyboard underscored the sonic atmosphere with attitude and amplitude.  

As the evening wore on, Elvis masterfully blended his well-known songs such as "Green Shirt," "Every Day I Write the Book," "Mystery Dance," and "Alison" with the more obscure "No Flags," "Indoor Fireworks," and "Everybody's Cryin' Mercy." The show came to a resounding crescendo with his two closing numbers, "I Don't Wanna Go to Chelsea" and "What's so Funny 'bout Peace, Love and Understanding," the latter striking a nerve given today's volatile political climate.  

After a brief intermission, came the ride home, and my sister got to change the station. Elvis' low-lit, dark, and dusty stage setting had been replaced by bright blue and white lights illuminating a stage full of shiny, candied instruments. As the pop priest in a pompadour and shades laid out some velvet vocals over a chill, yacht rock vibe, I felt overcome with a taste so sugary, I could barely swallow. "Maneater" set the tone for what was to come. A string of songs most pleasing to a Hall & Oates fan base, I'm sure, but my palette just needed to be cleansed. 

Settling in, I realized Hall's songs have more hooks than a strip of Velcro. There are few variations with Hall. "Rich Girl" came across as vibrant a pop masterpiece as it was in 1976. Hall's voice, the range at once so incredibly broad and daring, has aged quite gracefully and now takes on a different identity, which, despite the lack of variation, gives the songs a fresh sound. Never the more evident on this night than when he transitioned from "Every Time You Go Away" into "Sara Smile", two songs brilliant in their simplicity. 

In this reviewer's humble opinion, Elvis Costello should have headlined this tour, but record sales dictate the billing, not the depth of lyrics and musicianship. Understanding this, Darryl Hall delivered his form of the goods, and like my drives with my sister back in the day, I thoroughly enjoyed myself.  

- Tom Endyke | Guitar & Pen

Banging in Bangor - Greta Van Fleet Rocks the Cross Insurance Center

Score: 91/100 

Release Date: 8/2/23

Venue: Cross Insurance Center

Genre: Rock

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On a cool October evening in Bangor, Maine, the Cross Insurance Center buzzed with the vibrant sounds of the soulful Greta Van Fleet. 

First up was Robert Finley, a blues and soul artist, who wowed the audience with his powerful vocals and impressive guitar skills. His music transported everyone to the classic blues era, leaving a lasting impact.

Following Finley, Houndmouth brought indie rock vibes to the stage, getting the crowd dancing and singing along. Their harmonies were tight, and they seamlessly switched between upbeat tunes and heartfelt ballads, showcasing their versatility and infectious enthusiasm.

Finally, the much-anticipated moment arrived as Greta Van Fleet hit the stage, delivering explosive rock anthems. The audience was immediately captivated by frontman Josh Kiszka's soaring vocals and the band's exceptional musicianship. 

Greta Van Fleet’s performance cannot simply be classified as classic rock. It is a testament to their own unique talent, which infuses a fresh, modern edge while paying homage to their blazing hard rock influences. 

From the rootsy blues of Robert Finley to the high energy of Houndmouth, the night reached its crescendo with the explosive rock of Greta Van Fleet. It was a concert experience that exceeded all the audience's expectations.  

- Tom Endyke | Guitar & Pen