#Live Concert Review

[thejoyofviolentmovement]

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[silentium-mentis]

Trainwreck: Inside the Astroworld Tragedy and Its Devastating Fallout

Netflix recently released a documentary that dives into the tragic events surrounding the Astroworld Festival disaster that took place on November 5th, 2021.

If you’re not familiar with Astroworld, here’s a quick breakdown.

Astroworld is a music festival founded by rapper Travis Scott, first launched in 2018. It’s held in Houston, Texas, and was inspired by the now-defunct Six Flags Astroworld theme park, which closed its doors in 2005. That park was a major part of Scott’s childhood, so he brought it back to life—at least in spirit—through this annual festival.

The event ran in 2018 and 2019, took a pause in 2020 due to the COVID-19 pandemic, and returned in 2021—setting the stage for the tragedy that followed.

I didn’t exactly want to watch the documentary. I lost a friend at that festival—Franco Patino—and the idea of reliving any part of that night was difficult. But I also wanted to understand what really went wrong, who was responsible, and how a tragedy like this could have been prevented.

This post will walk you through some of the key moments from the documentary as I rewatch it, for anyone who doesn’t feel ready—or able—to watch it themselves.

I know there are likely already posts out there recounting the documentary but I wanted to make my own.

Content warning: the documentary includes graphic, real-time footage of concertgoers being trampled, struggling to breathe, and being pulled over barricades for emergency CPR. Please take care before deciding to view it.

Before we dive into the details, I want to take a moment to honor the lives that were lost during the Astroworld tragedy. These individuals attended a concert and never made it home. They deserve to be remembered, not just as names in headlines, but as people whose lives were cut far too short.

Danish Baig, 27 🕊️

Rodolfo (Rudy) Peña, 23 🕊️

Madison Dubiski, 23 🕊️

Franco Patino, 21 🕊️

Jacob Jurinek, 20 🕊️

John Hilgert, 14 🕊️

Axel Acosta Avila, 21 🕊️

Brianna Rodriguez, 16 🕊️

Bharti Shahani, 22 🕊️

Ezra Blount, 9 🕊️

Their stories matter. Their lives mattered. May they rest in peace.

Several key individuals share their experiences throughout the documentary, offering firsthand insight into the chaos of that night. I may be missing some individuals, and I will add them later if I find that.

Kirby Gladstein – Hired photographer for Live Nation

Scott Davidson – Crowd safety expert

Jackson & Samuel Bush – Hired security guards

Mark Lentini – Former commander of the Houston Police Department

Sophia Santana – Registered nurse, concertgoer, and survivor

Jose Villegas – Onsite paramedic

Ayden Cruz – Concertgoer, survivor, and friend of Brianna Rodriguez

Kaia Redus – Concertgoer and witness

Arturo Sanchez – Concertgoer and survivor

Raul, Marcial, and Manuel – Concertgoers and close friends of Rodolfo "Rudy" Peña

Mark Elibert - Journalist and concertgoer

The documentary opens with a montage of the Astroworld Festival—vibrant, fast-paced, and full of energy. But that initial excitement quickly shifts into something darker, setting a clear tone of amusement unraveling into chaos.

“Folks are coming out, complaining of difficulty breathing.”

We’re then introduced to some of the key voices featured throughout the film that I listed, including photographer Kirby, and security guards Jackson and Samuel—individuals who witnessed the disaster unfold from the inside.

From there, the narrative rewinds to November 4, 2021, painting Travis Scott in a positive light. It highlights his community involvement, particularly through his Cactus Jack Charity Softball game, framing him as a hometown hero in Houston before the events of the festival take center stage.

A major red flag surfaces when security guards reveal they were hired less than 24 hours before the festival began.

They state they were in communication until 1-2 am, and were told to be there by 5:30 AM.

Jackson admits they were given “zero security instructions,” and had to rely solely on guidance from other workers on-site—most of whom were just as unprepared.

This lack of training and organization becomes glaringly obvious in the next scene. Crowds surge past formal entrances, trampling fellow attendees and climbing over fences at unsecured checkpoints with little to no resistance.

Mark Lentini, former Houston Police Department (HPD) commander acknowledges the chaos and the crowd’s desperation—but also points out a critical issue: while the festival paid HPD to be present for law enforcement, the police had no role in the event’s planning or strategy.

“We were there for law enforcement. We had no control over how the event was structured or managed.”

We then hear from Scott Davidson, a crowd safety expert, who highlights Travis Scott’s long-standing reputation for inciting high-energy—and often dangerous—crowd behavior. He references several past incidents that raised red flags well before Astroworld: the 2015 Lollapalooza performance where Scott urged fans to jump barricades and rush the stage, leading to his arrest; the infamous Fraunfield clip from that same year where he encourages the crowd after someone steals his shoe; and the 2017 Birds Eye View tour moment where he persuaded a fan to leap from a balcony.

Davidson shares that he was brought in by Live Nation after the tragedy to assess what went wrong. His conclusion is chilling in its simplicity:

“This was a case of blaring warning sirens.”

As the documentary progresses to 4:30 PM on the day of the festival, we’re shown brief glimpses of fans enjoying themselves, capturing the excitement and anticipation in the air. It then shifts to explore the origins of Travis Scott’s vision for Astroworld—both the album and the festival—framing it as an immersive experience meant to reflect the nostalgia of the now-closed amusement park from his childhood, which I mentioned at the beginning of this post.

The timestamp jumps to 7:45 PM, just as SZA’s set wraps. Witnesses recall a noticeable—and alarming—change in the crowd’s energy. With Travis Scott’s performance approaching, the crowd begins surging forward en masse toward the main stage, packing in tighter by the minute.

Jose Villegas, an on-site paramedic, is introduced just as the countdown to Scott’s set begins. Tension builds. The crowd compresses so drastically that even before the music starts, one attendee, Ayden Cruz, describes struggling to breathe, his body forced forward with no control.

At 9:02 PM, Travis opens with ESCAPE PLAN. One witness likens the sensation to an earthquake—his body rising and falling with the swell of the crowd. Another, caught in what they describe as a human “wave,” says it felt like their body was being squeezed from all sides.

The focus then shifts to Sophia Santana, who recalls the moment panic set in—she couldn’t breathe. Her voice trembles as she describes the overwhelming fear and helplessness in the crowd.

Security guards stationed at center stage echo her account, confirming that signs of distress were immediate and widespread. People were visibly hyperventilating, their faces changing color, some crying out for help while others struggled to push their way out of the tightening mass. The crush was intensifying, and with every passing moment, it became harder to ignore that something was going terribly wrong.

Next, we hear from Kirby (Live Nation photographer), who shares a chilling detail: she was “told to lean into the chaos.” At first, she doesn’t grasp the full extent of what’s unfolding—until she sees people desperately trying to climb over the gate into the media area, a supposed safe zone. It’s in that moment that the severity of the crowd’s panic becomes clear to her.

Her account transitions into a 3D visual breakdown of the stage layout. Davidson points out a critical design flaw: while the T-shaped barricade system was intended to improve crowd flow and safety, it ultimately backfired. With only two entry and exit points—one on each side—the layout created a trap with no real escape route once the crowd packed in.

Witnesses describe the unbearable compression, saying there was no space to move, their bodies being shoved left and right with no control. The screen cuts between footage of the live show and clips of attendees visibly struggling to breathe—faces strained, arms raised, some barely staying upright in the crush.

We then hear from Cruz again as he recounts the terrifying moment a “wave” of people slammed into him and his friend, knocking them to the ground. He describes the feeling as being “underwater,” as more and more bodies collapsed on top of him. Panic set in as he realized he was wasting energy trying to fight it—there was no space, no air, no way out.

The documentary cuts to disturbing, real-time footage: people screaming for help, faces contorted in fear, some with arms raised in the crowd like flares. Overlaying this are audio clips of desperate 911 calls, the urgency in their voices impossible to ignore.

We then see Cruz in a moment of sheer desperation—climbing a ladder attached to the Apple Music live broadcast platform, waving his arms, pleading with the crew to “stop the show.” But the music blares on, and the crowd continues to surge.

The focus shifts back to paramedic Jose Villegas, who recalls performing CPR amid the chaos and urgently relaying updates to medical command—who, he says, sounded shocked by what was unfolding. The documentary overlays more distressing footage of the crowd and audio of EMTs communicating back and forth, voices strained as they call for backup and continue resuscitation efforts in the field.

Meanwhile, Santana, having managed to escape the dense crowd, spots an unconscious body lying on the ground. Acting quickly, she checks the person’s pulse and performs sternum rubs—a painful stimulus used to assess consciousness. Miraculously, the man regains consciousness.

That man, it turns out, is also one of the documentary’s witnesses, Arturo Sanchez. He later reveals that after receiving medical care, doctors confirmed he had suffered a heart attack during the crowd surge.

The film cuts to 9:42 PM. Travis Scott is mid-performance of 90210 when he briefly halts the music after noticing someone in the crowd passing out. He asks the audience to make way for emergency responders.

As EMTs carry the unconscious body through the crowd, Travis continues to harmonize softly to 90210, blending seamlessly into a few murmured lines from SKELETONS. Then, as if on autopilot, he finishes the song and begins doing a robotic dance—eerily detached from the urgency unfolding just feet away.

Mark Elibert who was near the front of the stage, reflects on the moment. He suggests Travis didn’t fully comprehend the severity of the situation, saying he looked like he was “trying to figure out what to do next” as the body was being removed.

Clips cut to the back of the crowd, where attendees are seen yelling and motioning with their arms to stop the show. Kaia Redus, another witness, questions why the performance continued. She recalls thinking Travis had to have heard the screams and seen the desperate signals from the crowd.

And yet, after the brief pause, he continues the set.

Davidson emphasizes that the show should have been stopped midway through the set—but reveals a crucial barrier: only two individuals had the delegated authority to make that call, and both were representatives from Live Nation.

Lentini follows up, stating that police were actively searching for one of those two key decision-makers—the Live Nation manager—but he was nowhere to be found during the critical moments.

The documentary then cuts to a chilling clip of the front crowd, arms raised, voices unified in desperation as they plead with Scott to “stop the show.” Instead, he continues, pausing only to speak briefly about Pop Smoke before launching into GATTI.

Kirby expresses disbelief. Having photographed countless shows, she’s seen artists stop mid-performance for far less. Given the severity of what she was witnessing firsthand, she couldn’t understand why no one had pulled the plug yet.

Back at the medical tent, Villegas recalls performing CPR on one individual and managing to regain a pulse. But as he looks up, he realizes the horror is far from over—other EMTs around him are also performing CPR, each on a different unresponsive person.

By 9:51 PM, the Live Nation manager finally approaches the audio engineer to initiate a show shutdown. Davidson then reads aloud a chilling transcript of the conversation that followed, beginning at 9:52 PM:

“We have four active CPRs going on. Two are most likely dead. It is very, very bad. There are more crush victims than I have ever seen in my 25-year career. We have to have a discussion in [Travis’] ears letting him know what’s going on. We need to shut this thing down in eight minutes at 10 o’clock.”

Davidson notes that it’s unclear what—if anything—was communicated directly to Travis after that point. However, a separate conversation reportedly takes place between Live Nation and the Houston Police Department, ultimately allowing the concert to continue for several more minutes.

Despite this urgent plea, the show continues—and then Drake appears. Davidson explains that once Drake took the stage, police and organizers were reluctant to pull the plug out of fear of triggering mass panic within the already chaotic crowd.

And so, the music continued… even as people were dying.

Davidson after that, sits for a moment and says:

"The idea of a performance continuing while even one CPR in progress is underway is insane. Unprecedented. Not to mention, multiple." [...] "Of all the things that trouble me about this case...That's one thing I can't get past. How could they make that decision?"

By 10:13 PM, the show finally ends—marking the conclusion of day one of the festival. But for many, the nightmare is just beginning. Marcial recalls the surreal aftermath: flashing lights from a flood of medical vehicles—ambulances, EMT vans, even air units—surrounding the venue in a grim, chaotic scene.

All of the witnesses interviewed in the documentary had either friends or family members who were hospitalized that night—some of whom would later be confirmed among the eight victims who tragically lost their lives.

The first witness, Manuel, describes it as “the worst day of his life.”

In the aftermath, Day 2 of Astroworld 2021 is officially canceled. The Houston Police Department declares the venue an active crime scene, as Lentini recounts the scope of the investigation beginning to unfold.

Meanwhile, Live Nation holds a private meeting with the contracted media. Photographer Kirby recalls that the tone of the meeting was unsettling.

“They didn’t touch on what happened,” she says. Instead, she was instructed “not to post, not to make any sort of public comment on [the festival].”

It’s clear that silence—not accountability—was the priority in the hours following the tragedy.

As media coverage intensifies, rumors begin to circulate—claims that festivalgoers were being injected with drugs, a narrative that quickly gains traction online and in news reports.

But Kaia shuts that down immediately.

“That’s not why what happened happened.”

She criticizes the media for chasing sensational headlines instead of actually listening to the firsthand accounts of those who were there—those who lived it.

The scene then shifts to the now-infamous greyscale Instagram story—Travis Scott’s public apology. Shot in dim lighting with his hands pressed to his forehead, the video feels hollow to many.

Arturo calls the apology “a slap to the face,” saying it looked like something he only posted because he “had to.”

The documentary then moves into an emotional gut-punch: audio recordings confirming the deaths of two more victims that night—including the youngest of them all, 9-year-old Ezra Blount.

The documentary then cuts to a rapid montage of online reactions—screenshots of tweets, commentary from critics, and clips from popular YouTube personalities like Anthony Fantano. Many directly criticize and blame Travis Scott, holding him accountable for the role he played in the tragedy.

The timestamp then shifts to Travis’s sit-down interview with Charlamagne tha God. The energy is tense as Charlamagne asks the crucial question: Was he ever told to stop the show?

Travis responds:

“After the guests [get] off the stage, we’re gonna end the show. And that’s what we did. No other communication.”

His words offer little closure—only raising more questions about accountability, awareness, and what could have—and should have—been done differently.

The scene shifts to Jackson, one of the security guards, offering a sobering perspective.

“Whoever had any part in organizing and putting [the festival] together should be accountable."

Another witness echoes that sentiment in the next scene, pointing directly at Live Nation, stating simply: “Live Nation was in charge.” The question then hangs in the air—where did the failure begin?

The documentary cuts to footage from the courtroom, where we learn that 49 lawsuits have been filed against Live Nation. On top of that, a $750 million lawsuit names not only Travis Scott, but also Epic Records and Apple Music.

Davidson states plainly that the Astroworld tragedy “wasn’t an accident,” but rather “an inevitability due to the lack of foresight.”

Throughout the documentary, several scenes highlight the severe lack of oversight—starting with the fact that only two individuals had the authority to stop the show as stated before.

At the 1:05:45 mark, Davidson takes a closer look at accountability, placing significant blame on Live Nation. He outlines a number of critical failures—most notably, that the plan accounted for only 35,000 attendees at Travis Scott’s set, while the actual number swelled to over 50,000.

Live Nation began selling tickets before the final venue design was even completed—which is where the initial estimate of 35,000 attendees originated. It quickly became clear that profit took priority over safety. Tickets were oversold, the crowd size ballooned beyond the original plan, and the final layout—despite being marketed as safe—proved dangerously inadequate for the volume of people it was meant to contain.

Add to that the complete breakdown of entry point control and the glaring gaps in security across the festival grounds, and the scale of negligence becomes undeniable. But even then, it’s hard to direct anger at the security guards themselves—many of whom were hired the day of the event and received no formal training, learning how to manage the chaos through secondhand guidance from other workers.

Davidson goes on to reference text messages exchanged between event organizers and concert producers—messages that make it clear people knew the venue couldn't safely accommodate the crowd size. One message even reads, chillingly:

“Someone is going to end up dead.”

I am going to include screenshots of these messages that are shown in the documentary.

This second one, being sent right as Travis Scott was getting onto stage.

As this last text message is shown, Davidson goes on to say:

"But they failed to act before it was too late."

The documentary closes with a series of emotional scenes—witnesses quietly honoring the friends and family members they lost that night. Each reflection is heavy, filled with grief and the weight of lives that should still be here.

We see the lead attorney addressing the media, directly calling out Live Nation for their failure to prevent a tragedy that so many now believe was avoidable. Davidson takes a moment to acknowledge the bravery of those in the crowd who tried to stop the show, calling their efforts “heroic.”

Finally, the documentary cuts to a summary of the legal aftermath. We see Live Nation’s official response to the lawsuits, essentially claiming that “everything was approved and checked out.” They insist the number of attendees “did not exceed the approved capacity,” and that both the Houston Police and Fire Departments were informed of the safety protocols and event plans. They also maintain that “an early show stop was executed in proper fashion.”

But as the final scenes fade, it’s clear the damage was already done—and that no statement can rewrite the reality of what unfolded that night.

It’s revealed that all ten wrongful death lawsuits filed against Live Nation, Travis Scott, and other named defendants have been quietly settled out of court—for undisclosed amounts.

And yet, just three years after the Astroworld tragedy, Travis Scott made headlines once again—this time for breaking records with the highest-grossing solo rap concert tour in history, generating over $210 million in revenue.

The tour was produced by none other than Live Nation.

I know there's still so much more to cover—much of the documentary focuses on the emotional testimonies of witnesses recounting what they felt and who they lost that night. Trainwreck: The Astroworld Tragedy is currently streaming on Netflix and runs for 1 hour and 20 minutes.

Special thanks to director Yemi Bamiro for creating a documentary that gives space to the voices that mattered most.

Does the documentary place 100% of the blame on Travis Scott? No. But it absolutely sheds light on the role he played and the choices he made.

Thank you for taking the time to read this. The loss of Franco has stayed with me—deeply. The details of this event still haunt me, even now. I remember being at work when tweets started flooding in about what was happening at the festival. I hadn’t heard from Franco, but I figured that was normal—he was at a concert, after all.

But as the night went on, and reports started confirming fatalities, I felt it in my gut. Something wasn’t right. And when I saw Franco’s name among the list of those who had passed… I can't even put that moment into words. That night changed everything for me. I promised myself I would never attend a festival this large, this unregulated, no matter who was performing.

I do not support Travis Scott. I understand that stage lighting makes it hard to see, and I get that in-ear monitors can drown out a lot—but there were multiple points where he paused. He could have done more. He should have done more.

Given his long history of encouraging reckless behavior at past shows, it’s hard for me to believe he truly cared about what was happening right in front of him. Maybe that’s my emotional heart speaking—but it’s how I feel, and I stand by it.

[doomedandstoned]

THOU

Live 'n' Loud

Photographs by Johnny Hubbard

Doomed & Stoned has pure ferocity on display this week, as Baton Rogue sludge pummelers THOU (now in their 20th year) take on Kentucky audiences at the Portal venue in Louisville. Bryan Funck (vocals), Andy Gibbs (guitar), Matthew Thudium (guitar), Mitch Wells (bass), and Tyler Coburn (drums) were snapped earlier this month by the lens of longtime contributor Johnny Hubbard. The doomers have been touring in support of their sixth original full-length album, 'Umbilical' (2024).

"This record is for the radicals, the crackpots, the exiles who have escaped the wasteland of capitulation," says the band. "This record is for the militants and zealots refusing to surrender to comforts, to practicalities, to thirty pieces of silver. And this record is most especially for the weaklings and malingerers, burdened by capricious indulgence, hunched by the deep wounds of compromise, shuffling in limp approximation, desperately reaching back towards integrity and conviction."

At last, as we plunge into the abscess, blighted spirits so bereft. Shameful weeping, voices echo from the bottom of a well. Can you hear the cries of worn out phrases from listless gazes, pretentious lingering in childish phases, the heartless hand and empty gestures, the pitiful searching for hollow pleasures. Lost in a palace of mirrors, staring at infinite reflections gazing back, too near to see the mark of shame. Lost in empty dialectics, the art of building up and tearing down, of discussing all things and accomplishing nothing. Of compromised ideals, friendships abandoned, our works substandard, principles meandering. So speak our names as a warning, as a curse, as a failure. At last, it's time to die. So die.

Umbilical by Thou

Everything you've ever done, everything you've ever said, everything you've ever felt is a dagger on my belt. And I'm going to stab it till you're dead to me. Everything I've ever done, everything I've ever said, everything I've ever felt is a chain around my neck. And you're going to drag it till I'm dead to me. I thought nothing could come between us, two dreamers. But our mistakes are etched in stone till the end of our lives, till the end of time. And we're being crushed beneath the weight.

Umbilical by Thou

When the shrieking eye turns inward to the prison without locks, weakness laid bare. The artifice peeled back. The true face is revealed. To see the walls of limitation, grey skinned and impure, that righteous incoherence. When the shrieking eye turns inward, weakness is laid bare.

Umbilical by Thou

Unclench those fists and release that white knuckled grip, a resolution to fruitless searching, a renouncement of sentimental frailty. Farewell, age’ed stalwarts. Farewell, stagnant corruption. Arise from our deathbed. Return to life and walk away. Life used to be so hard, now everything is easy. Turn back the page with my friend, with my friend from so far away. We've seen how love can grow, now we see how it dies. Peace has finally come upon me, and it leaves me weak. Farewell, age’ed stalwarts. Farewell, ancient corruption. Arise from our deathbed. Return to life and walk away. And I’m not coming back.

Umbilical by Thou

Shot at the Portal in Louisville, Kentucky on February 2nd, 2025 by Johnny Hubbard (FB | IG)

[marasmusicnotes]

Alcest

Oct 7, 2023 - Stromwerk (Dresden)

Erm, maybe I should read event details better for once, as I had no idea there would be 4 bands on this show. Of course, the evening also started earlier than stated on tickets (my pet peeve by now), so we missed some of them. I remember only The Devil's Trade. But anyway, we came for something else.

 ...ocean waves. Deep breath. So it starts.

Alcest's ethereal soundscapes began with “Écailles de lune”. The guys gradually made their way onto the stage, easing into the performance. This time, their setlist had a special focus on celebrating the anniversary of the “Écailles de lune” album. The stage had a cute, white half-moon ornament that perfectly complemented the atmosphere.

Later on, Alcest also included songs from other albums. “Protection” and “Sapphire” aso found their way to us.

They closed their set with Délivrance, which was the only song from Shelter. I wished they played that album more nowadays. But I guess it makes sense, they are growing and have much more material to choose from now. I left happy regardless.

Rating: 9/10 Very soothing

P.S. Dresden was in full-Baustelle-mode in many central areas. Still, a ridiculously beautiful city.

[essential-music]

In the hushed glow of a concert hall, Menahem Pressler, at almost 90 years old, sits before a grand piano, his trembling hands poised above the keys. As he begins Claude Debussy’s Clair de Lune, a profound stillness settles over the space, as if time itself pauses to listen.

This performance, a delicate dance of sound and soul, weaves a tapestry of musical excellence that transcends the ordinary, revealing the timeless beauty of both the composition and the artist.

The opening notes shimmer like moonlight on a tranquil lake, each one struck with a tenderness that belies the physical frailty of Pressler’s hands. His touch is soft, almost reverent, coaxing a crystalline tone from the piano that seems to float rather than resound. This is no mere technical feat; it is an act of communion with the music, where every pianissimo breathes with life and every phrase unfurls like a whispered secret. The dynamics ebb and flow with a natural grace, capturing the impressionistic essence of Debussy’s vision—a sonic painting of moonlight’s fleeting glow.

Pressler’s mastery lies in his ability to balance precision with passion. Despite the visible tremors of age, his fingers navigate the score with flawless accuracy, each note placed with the care of a jeweler setting a precious stone. The triplets and duplets retain their rhythmic integrity, honoring Debussy’s subtle architecture while allowing room for personal flourishes that enrich the melody. These gentle embellishments, born of decades of musical intimacy, transform the familiar into something extraordinary, as if Pressler is sharing a private conversation with the composer across a century.

The tone of the performance, amplified by the rich resonance of a Hamburg Steinway, is warm and luminous, with a clarity that makes each note sing. Pressler’s phrasing is fluid, almost vocal, giving the music a sense of breath and movement. The piece feels alive, its melodies rippling like waves, its harmonies shimmering with an ethereal quality that evokes the night sky. This is not just a performance; it is a translation of moonlight into sound, a delicate balance of strength and fragility that mirrors the human condition.

What elevates this rendition beyond technical brilliance is its emotional depth. Pressler plays not only with his hands but with his heart, infusing each note with a lifetime of experience—joy, sorrow, resilience, and love. His face, etched with the weight of years, reflects the music’s shifting moods, from serene contemplation to poignant longing. This is the artistry of a man who has lived through history’s tempests, including the Holocaust, and emerged with a spirit that finds solace in beauty. His performance becomes a testament to the enduring power of music to heal, uplift, and connect.

The universality of this Clair de Lune is undeniable. It speaks in a language that transcends borders, resonating with listeners across cultures and generations. The music’s haunting beauty, amplified by Pressler’s soulful interpretation, evokes a shared sense of wonder and tranquility. It is a reminder of humanity’s capacity for creation, a fleeting moment of perfection in a world often marked by chaos. The delayed applause that follows, as if the audience is reluctant to break the spell, underscores the performance’s mesmerizing impact.

In comparison to other renditions, Pressler’s stands apart for its restraint and authenticity. Where some interpretations lean toward theatrical flourish or heavy-handed drama, his is a study in subtlety, respecting the delicate framework of Debussy’s composition. It avoids the pitfalls of modern virtuosity, offering instead a performance that feels timeless, as though it could belong to any era yet exists beyond them all. This is the Clair de Lune that Debussy might have dreamed of—a rendition that captures the ineffable, transforming notes on a page into a luminous expression of the human spirit.

Menahem Pressler’s performance of Clair de Lune is a gift, a rare convergence of technical mastery, emotional truth, and artistic wisdom. It is a reminder that true artistry does not fade with age but deepens, like a river carving its path through time. As the final note fades, leaving a silence that feels sacred, one cannot help but feel changed—lifted, if only for a moment, into a realm where beauty reigns supreme. This is music at its purest, a beacon of light in the darkness, played by a maestro whose hands, though weathered, still touch the divine.

Year (Performance): 2012

Year: 1905

Composition: Claude Debussy

[internet-girl-friend]

Do You Believe In Masochism?

12:45pm

In November 2023 I flew down to Los Angeles to meet an internet friend irl for the first time. The plan was that he'd pick me up from the airport and we'd drive directly to Pioneertown together.

"Hey so can I borrow your phone to let my family know I arrived?" "You got into a stranger's car and drove out to the desert with no service?"

I did. But my trust wasn't misplaced, and anyway, how else was I going to see the elusive, cult pop sensation Sky Ferreira?

She played Pappy and Harriet's and came on an hour late in a cloud of weed smoke, and the show was perfect... despite that and the fact that a veggie burger I'd had at the venue before made me throw up during her set.

While nothing could ever really compare to seeing her with my long-distance friend in a small desert dive, tonight I will see her again and I won't have to listen to I Blame Myself from my knees in a bathroom stall (at least not because I'm sick).

1:44am

I just got home and my ratio of Food I've Eaten to Beers I've Had is not in favour of me waking up feeling ready to move on Saturday (the Uhaul is booked).

We all met at Fringe Café right across from the venue -- me, Braydon, Grace, Brandon, and Allison. I had a hot dog served in a Bahn Mi bun and it gave me fear that I might meet the same fate as I did during I Blame Myself (it didn't).

People were lined up at 6:00pm, all of them no older than 19. I laughed to Allison "she's going to be late, they don't need to be waiting." Doors were at 7.

We arrived in the venue around 8 hoping to catch the opening act; once again, too early. The opener simply did not exist and we waited until 9:45 for her to get on stage, paying $8 for a goddamn PBR.

Before she came on, I heard two girls in the bathroom say "my 12 year old self is quaking," and another girl one-upped by saying that her 11 year old self was quaking. I was quaking as I was and I felt as though I might not be changing as much as I should be, and if I have been, I might be changing so much I was comin' back around.

I don't want all of these posts to seem as though I am complaining about being old when in reality I am quite young, but it just seems like being 20 is in trend right now or something. I don't think that I am caring for my inner child by liking music for over a decade; I think it is just good music.

Last time I saw Sky she played an encore -- Red Lips. This time she did not no matter how badly we begged. Both times she seemed decidedly shy. She wore huge sun glasses and a reflective jacket probably meant to keep people like me from getting the shots they wanted -- fair. Her vocals get better and better; she hit every note and has adapted the melodies so beautifully since she released Night Time My Time in 2013. I imagine that for me, seeing Sky is what Swifties feel like. She is such a significant part of my music and identity development and NTMT is an album I simply have not and will not outgrow.

I danced the entire time -- too enthusiastically to really see what the crowd was all about but I could sense from the space that I had to dance that the show wasn't close to sold out. They actually downsized the venue. It was supposed to be at Vogue which has about a 1200 person cap to Hollywood which has about a 700 person cap. To me, this is insane. Seeing her live is like seeing an ethereal cryptid.

I always want her to play the Ghost EP but it's wishful thinking in the same way that truly believing Masochism will ever actually come out is. Brandon and I joked that if we spent the $80 she was asking on her long sleeve that one day it will sell for $2000, which won't matter because we didn't buy it anyway, and if we did, we'd never part with it. Masochism was slated to come out this year. She's got three months and I am waited with bated breath. I fear I might suffocate.

COST OF THE NIGHT:

We got guest list for the show so it was free.

Food & beer: $15.00

Beer x 2 @ venue: $17.00

Beer @ tertiary venue which I didn't even write about: $9.00

Money sent to me by a Mystery Man <3: +$10.00

Total spent: $31.00

I will tell you right now, I cannot afford to be doing any of this, but I sure am having fun.

Must pack. Until next time (Saturday when I have another show).

[heartsleevemag]

mk.gee brings an "emotional link" to durham's motorco music hall

Photo by Nicole Busch

Written by Liesl Miranda

As the lights dimmed in Durham’s Motorco Music Hall on a mid-May Friday night, the final line from Kate Bush’s “Pull Out the Pin” echoed its impassioned scream through the venue’s speakers - “I love life! I love life! I love life!” piercing through each member of the sold out crowd. Suddenly, the music cut off and Michael Gordon, also known as Mk.gee, took to the stage, accompanied by musicians Andrew Aged and Zack Sekoffand. They were eagerly welcomed by the audience whose excitement for the experience to come was palpable. Mk.gee opened up the show with “Dream Police,” the final song from his most recent album, Two Star and the Dream Police. Within the first few moments concert goers immediately recognized the piece, some audibly cheering while the whole room swayed along.

Although this was Mk.gee’s first solo tour, there was no sense of nervousness in his performance. Mk.gee performed his first two songs without saying a word to the audience, instead allowing his music to blanket the crowd with its own greeting.

After he finished his second song, Mk.gee addressed the crowd for the first time with a question – “How are y’all feeling?” In previous interviews, Gordon has stated that he’s just “looking to heal people” through his music. He tries to allow people to accept their own complexities and contradictions in the same way that creating music has allowed him to do for himself, granting a sense of inner peace and confidence. Within each song Gordon could shift from soft, melodic presentation of one lyrical line accompanied by glassy guitar plucking to frustrated chesty vocals in the next, paired with equally gritty and distorted guitar riffs. Scattered screams and feral instrumental releases were echoed or cheered on by the crowd. As the night went on, heads began to thrust back and forth towards the stage in unison and lyrics were fervently shouted as Mk.gee encouraged the crowd to “come on!” and keep the shared emotional link growing.

Truthfully, it’s hard to translate the sonic experience of Mk.gee’s concert into words. In previous interviews, Gordon himself noted that he doesn’t fit perfectly into a specific “lane” of music, and that most of his initial musical inspirations were people shifting musical trends, referencing the likes of Jimi Hendrix. Whether you listen to him live or through his records, it is evident that Gordon is on his own track to shake up the music scene. Mk.gee’s sold-out tour has since wrapped, but there will undoubtedly be more incredible music and concert experiences to come from this pioneering artist.

[bluevelvetcat]

John Grant @ Elisabeth Murdoch Hall

This stripped down show was a perfect opportunity to bask in John Grant’s smooth, velvety baritone and emotionally raw storytelling. Continue reading John Grant @ Elisabeth Murdoch Hall

[kaleidoskop-magazin]

Unser Konzertbericht über das Tokio Hotel Konzert in Frankfurt ist online.

[johnnymartyr]

One Night with Anya Marina, Matt Pond PA & Bathtub Cig

Words & Photography by Johnny Martyr The Ballad of the Natural Lines is the latest record by indie rock veterans Matt Pond PA. The band toured the Mid Atlantic this winter with Bathtub Cig and Anya Marina, who both contributed to the new album and recently released their own new albums too. Before doors opened at Hamilton Live in Washington DC, I took a walk with Matt Pond PA and Bathtub Cig to…

[lserver362reviews]

I fell in love with Kacey Musgraves and dubbed her my queen in 2014 after I saw her do Follow Her Arrow on the Grammys that year. I finally saw her live on this tour in Boston (Sept 7th 2024) and it was astounding. I have never seen such immaculate arena production. I went as far as to purchase tickets to go see her again with my sister in Texas, I even got plane tickets, and then realized I have a gig to sing at that eve! But Kacey really is that good. I was gooped and gagged at the show. I cannot believe she did Family is Family (an absolute anthem in my household) in this set! Before playing that song, watching this could not live up to my experience of seeing her live. I truly laughed, cried, my mouth was agape, and when it wasn't on the floor it was singing along to this angel. The way that this show only solidified how much I love Deeper Well. Jade Green was a highlight for me (a song that hadn't grabbed me when I listened to it just off the record), but honestly Cardinal blew my mind so entirely, I was hooked from the opening. The lift!! Having Kermit during Lonely Weekend made me laugh so much. Then all of the B Stage material just had my soul ascending. I had thought The Architect was going to wreck me but it was Follow Your Arrow. I was surprised by how much Golden Hour material there was and only Justified from star-crossed. Her songs throughout her career have always meant so much to me. Also huge shout-out to Julia for being my friend and being down to go to this! I love you, Julia! We had bonded over how Deeper Well, the song, had stirred our souls. Right song, right time. This song gave me the strength to leave my band of 10+ years because I was no longer getting anything out of it. I have harkened it to a John Prine song and that's what I've always loved about Kacey, her ability to build on the past and the tradition of country music. What a special weekend. I regret not seeing Kacey sooner. Forever, My Queen. I ended this viewing like I ended that show, sobbing over Rainbow, and the belief that it will all be alright.

[catherineparrish]

Foo Fighters @ Mt. Smart Stadium, Auckland, New Zealand 20/01/2024

Photo by Danny Clinch.

Cussing and cigarettes, Jack Black, and 35,000 people’s love for rock and roll—Foo Fighters return to Auckland, New Zealand after six long years.

Riding the success of their 10th studio album, Foo Fighters were forced to delay their late 2022 tour to Australia and New Zealand when drummer Taylor Hawkins suddenly passed earlier in the year. There was some speculation that the band might retire after 25 years, but after a year of grieving (particularly for frontman Dave Grohl, whose mother also died in 2022) Foo Fighters announced that step-in drummer Josh Freese (The Vandals, Devo) would permanently be joining the band.

In what was their first show of 2024, Foo Fighters return exclusively to New Zealand and delight fans with one of their most dynamic performances to date. Although the set was evenly paced, sprinkled with new songs from last year’s studio album Here We Are (2023) and old classics to get everyone out of their seats, an almost 3 hour set was bound to have more than just a couple of highlights.

“Who came out and saw us when we played at that old speedway? That show was so loud it caused a seismic event,” said Grohl, referring to the volcanic-like tremor caused by the stamping feet of thousands of fans at Western Springs in 2011. “When I think about New Zealand, I think about an audience that can trigger an earthquake.”

It wasn’t the only time Grohl expressed his fondness for New Zealand, noting that he always has a great time whenever the band tours. Whilst Grohl shared stories with the crowd, the band teased snippets of songs from multiple artists (Metallica, The Ramones, Beastie Boys, Nine Inch Nails) throughout the set, and even surprised everyone with a special appearance from actor and singer Jack Black for a cover of AC/DC’s Big Balls.

But in amongst the party, there were sombre moments too, like an acoustic stripped back version of My Hero and a tribute for Hawkins that the band perform every night. “This was the first song we wrote together and his favourite,” Grohl told the crowd before performing Aurora. A few times the lights were dimmed and the stadium lit up like stars as the audience held their torches to the sky, providing the perfect atmosphere for the warm summer’s evening soundtrack.

When the crowd weren't swinging their arms in unison over their heads, they were screaming and thrashing their heads at the peak of all the fan favourites, from The Pretender, to Monkey Wrench, to Best of You and their faithful encore Everlong. It's hard not to admire such a resilient act as this band who can seemingly overcome any obstacle thrown their way. Welcome back, legends.

Review by Catherine Parrish.

[thomshall]

Last week, I got the chance to photograph Hail the Sun / Sweet Pill / Kaonashi / Glasslands at Asbury Lanes in Asbury Park, NJ. It was probably one of the best shows I’ve seen this year.

[marasmusicnotes]

Opeth, Alcest

Oct 30, 2014 - Arena (Vienna)

This was the first time we would see Opeth live. Pale Communion came out that year, and it was a perfect album. It was paramount that we go see them. We had no idea what kind of treat we’d be in for.

We did not stay long in Vienna that time so there was not much time for sightseeing other than visiting the beautiful Albertina. Before the show, we managed to meet D’s friend A, who took us to some nice cake place.

With our bellies full, the s.o. and I headed to the venue. We were determined not to miss a moment of Opeth’s performance, so we got there early and secured spots somewhere at the front.

Alcest took the stage - we had no idea who they were or what their music was like at the time. As soon as “Opale” started, though, we got blown away! Such beautiful, ethereal sounds, coming from two guys who seemed to constantly look at their shoes. They continued to enchant us with “L'éveil des muses”, and shortly after closed their set with “Délivrance”—same as they do nowadays.

Opeth opened with “Eternal Rains Will Come” which flowed elegantly into “Cusp of Eternity”. Then, they took us back with the stronger “Bleak” and “The Moor” only to calm down again later with “Windowpane”. The soft and heavy waves alternated a few more times before they concluded the show with their own “Deliverance”—same as they do nowadays. Funny.

At that show, I got the best merch ever (right after the Ziltoid socks, of course)—a shirt featuring a shiny gold print of the Opeth logo. I still wish they would reprint those! After the show, we met Neige and Winterhalter and got our copy of “Shelter” signed. Yay!

Rating: 11/10 Pure bliss.

[essential-music]

In the summer of 2014, on June 7th, Linkin Park took the stage at Germany’s iconic Nürburgring for Rock am Ring, delivering a performance that would etch itself into the annals of live music history.

The air crackled with anticipation as the band launched into a 30-song setlist, a masterful tapestry of their discography woven with relentless energy and precision. From the opening mash-up of "The Catalyst" and "The Requiem" to the final, sing-along strains of "Bleed It Out," the concert unfolded as a sonic juggernaut, each track bleeding into the next without a moment’s pause.

Chester Bennington’s voice was a force of nature, soaring and snarling through tracks like "Guilty All The Same" and "Given Up" with a control that seemed almost superhuman. His performance, often cited as a vocal peak, carried the raw power of 2013’s Osaka show. Yet, his ability to command the stage, filling every second with unyielding intensity, left no doubt of his prowess. Beside him, Mike Shinoda’s rapped verses, like the seamless "Wastelands" transition in "Runaway," added a dynamic edge, while Joe Hahn’s solo medley—a whirlwind of "Wretches and Kings" and "Cure for The Itch"—showcased the band’s inventive spirit. Brad Delson’s guitar, particularly the extended solo in "What I’ve Done," cut through the night, though his energy was tempered by back issues, a minor footnote in an otherwise flawless display.

The setlist was a triumph of curation, balancing juggernauts like "Numb" and "In The End" with the underrated grit of The Hunting Party tracks. Medleys, such as the haunting LOATR/SOTD/Iridescent blend, and transitions like "Remember The Name" into "Hands Held High," were executed with surgical precision, each shift amplifying the emotional weight. The German crowd, a roaring sea of energy, fueled the atmosphere, their chants of “Rock am Ring” during “Bleed It Out” reverberating like a heartbeat. Chester’s leap to the barricade to shake hands and the display of a fan-made flag on Mike’s keyboard forged a visceral connection, making the global broadcast feel intimate.

This was no ordinary concert—it was a cultural milestone, one of the final headlining performances at Nürburgring before Rock am Ring’s departure. Minor stumbles, like Chester’s lyrical slip in "In The End" or Mike’s mistaken “Berlin” shout, only humanized the spectacle. The encore, described as “unmatched perfection,” capped a night where every element—sound, stagecraft, and soul—aligned. Moments like the "Waiting for the End" outro and the ballad medley stirred profound emotion, their resonance lingering long after the final note.

Linkin Park’s 2014 Rock am Ring performance was a testament to their artistry, a night where music transcended performance to become a shared, seismic experience. It stands as a towering benchmark, its legacy undimmed by time, a reminder of what happens when a band pours every ounce of itself into the stage.

Year: 2014

[popentertainmentconcertreviews]

Ricky Montgomery – Jannus Live – St. Petersburg, FL – October 26, 2024

Ricky Montgomery made his return to Florida, continuing his electric “One Rick to Rule Them All” Tour at the wonderful outdoor venue Jannus Live in St. Pete. Florida fans were thrilled for such a special night of live music. Judging by the long and energetic line to get into the show, I knew I was in for such a spectacular show. Eager to sing the night away, fans filled up Jannus Live for Montgomery’s arrival. While enjoying a cool fall night in Florida, fans laughed and smiled amongst each other waiting for this wonderful night to begin.

This special Saturday night was heating up as Ricky took the stage. Opening his set with “A Line Without a Hook,” a song from his first album Montgomery Ricky, he instantly captivated the crowd. At one point, coming into the crowd jumping on the barricade, he got up close and personal with his fans. Smiling from ear to ear they all danced and sang until they couldn’t anymore. The fans went wild and sang their hearts out, especially to Ricky’s hits like “My Heart Is Buried In Venice,” “Snow,” and “Mr. Loverman.”

With just Ricky himself appearing on stage at the beginning, he eventually unveiled his amazing band, sharing the stage together. His presence onstage was electrifying and magnetic. There wasn’t a quiet moment from the second he came out on stage until the close of the show. So many people gravitate towards his music, leaving the show in complete awe and on a high.

Talking to many fans before the show, they told me just how amazing Ricky was live. A few fans told me they have been to seven to eight shows this tour alone. That truly shows just how dedicated his fans are. Ricky is a natural superstar, his wonderful stage presence captivating the crowd and showing you just how much he loves doing this. There’s no doubt that Ricky’s fans are the best out there. Singing every song word for word, they passionately sang and danced the night away. I am very thrilled to see how he continues to grow as an artist, as well as watching his fanbase continue to grow.

Ricky himself attracts many humans who love life and good music. He brought an energy that was so vibrant and full of life, while also creating a safe space where everyone could laugh, cry, sing, and be whoever they wanted to be at that moment. Based on my first impression, this tour is not one you want to miss. With only three shows left in his tour across North America, he continues to make his shows a night people will never forget. If you can catch him at a show, I highly recommend it. Make sure to give him a follow on all social media platforms @rickymontgomery and give his discography a listen. I promise you won’t regret it!

Hayley Mathis

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: October 27, 2024.

Photos by Hayley Mathis © 2024. All rights reserved.