Items filtered by date: November 2007

Mary Zimmerman, an auteur-director with a career as epic as the myths she adapts, remounts her Tony Award-winning “Metamorphoses” as part of Lookingglass Theatre’s 25th season. Six Greek myths are performed by an ensemble of ten, wading through timeless themes of sex, love, and death. The stories - featuring famous mortals and gods like Midas, Eurydice, and Aphrodite - are staged in an iconic pool whose water adds weight to each step and gesture. Over the watery course of 90 minutes, the modernized myths effortlessly ebb and flow between tragedy (a deceased husband appears to his wife in a dream) and comedy (Sleep is rotund yawner with Zs floating around his head). While a few referential transitions will fly over the heads of those who didn’t study the Greeks, the bulk of Metamorphoses requires only an understanding of two great subjects of Western storytelling: sex and death. Water becomes the bed for both in “Metamorphoses.”

So why remount it? King Midas would touch on the financial gain (the production is already set to transfer to the Arena Stage in D.C.), while Narcissus would stare at the piece’s technical beauty. This critic is simply fortunate to experience a play originall conceived eight years after he was conceived; older now, he can take in the beauty, cleverness, and majesty of these staged dreams that soak you in their truth.

“Metamorphoses” is making a splash at Lookingglass through November 18. Tickets at http://lookingglasstheatre.org

My introduction to music started back in 1983. The 80’s were a phenomenal era, and rock music was everywhere, every artist was different, pop music and r&b music had the same sound, and Michael Jackson ruled world. And then Purple Rain happened….changing everything I thought about music. Prince wasn’t like anyone. He didn’t sound like anyone. He didn’t want to be like anyone…and this movie, this movie was just cool. Here was a guy who was bad ass, didn’t care what you thought about what he wore or how he looked and was going to sing and play his ass off. The more I heard from him the more I realized that I need more. This bad ass could do no wrong. His music, not perfect, but provided hit after hit after hit. You couldn’t copy Prince, he was just too original. He was so un-realistic to me, that he didn’t exist in real life, just in music, stories, and the occasional television appearance. He toured, playing in other states, countries, and even here but pushing new material, which may have been good but wasn’t quite up to that standards of the Prince I wanted to see. I wanted the hits. I wanted prince at his best, no restrictions. Finally I got my chance when Prince hit Chicago for a 3 day stint at the United Center.

From top to bottom most people who attended the first show on Monday will tell you it was a disaster.  That won’t change hear. Prince is anything but perfect, yet seemingly a perfectionist. Let’s go on to the last show on Wednesday, which was short on the encore yet had the strongest opening of any of the concerts so far. I’ve seen many shows from some of the greatest artist of my time; nevertheless the opening to Prince’s final show was easily the best I’ve ever experienced. From starting with “Controversy”, Let’s go crazy” Delirious” “1999” “Little Red Corvette”….hit after hit after hit. Prince gave Chicago the proper ending his “Welcome 2 Chicago” stint deserved. With an incredible horn section, including some incredible work done by the legendary Maceo Parker. Prince also has a serious appreciation of the work his cousin Morris Day has done, as he ended the Wednesday show partying it up with fans to “The Bird” and “Jungle Love”.

So with the bad start, and the properly-fitting ending, its Tuesday’s performance that makes Prince’s stay at the UC memorable.

From the get-go Prince was determined to make up for the rough start that was Monday. With the stage set up in the round in the form of his love symbol, prince stomped all over the stage wearing a pair of heels better than most of the women attending the concert. Big on fan participation, Prince often let the crowd do the singing, if not the three lovely (not so) background singers who performed almost every song with him. The show kept a steady rhythm of hits until falling flat when Prince turned over the stage to his latest protégé Andy Allo. While she wasn’t bad, the crowd came specifically to see prince, not Allo, so the energy fell flat.

As if on cue Prince returned and picked up steam quickly, albeit, with a few slow songs. All crowd pleasers, he brought down the house with “Sometimes it snows in April”, Shhh (a song written for Tevin Campbell), and a slowed down version of “I could never take the place of your man”. The biggest reaction of the night came next, with the performance of “Nothing compares 2 u”, as midway through the first verse Chicago’s own Jennifer Hudson took the stage. With a voice bigger than the arena holding her, she owned her part of the duet, bringing tears to eyes and fans out of their seats. It was very funny watching Jennifer (wearing heels) tower over prince (also wearing heels) like Andre the Giant staring down at Hulk Hogan at Wrestlemania III. Prince followed that performance with “Purple Rain”, a powerful and magical ending with included confetti and glitter and everything else you’d expect from a Prince performance of the song.

Prince had a lot to make up for on Monday, so four encores didn’t hurt. The fans weren’t leaving, and when they did it only made prince want to come out even more. Whether it was a one song encore, or a musical medley of over 10 songs, prince gave the crowd everything he got, even once screaming “you know how many hit’s I got? We’ll be here all night!”

The end of the night concluded much like Wednesday’s show with fans dancing on stage, with the houselights on (he did this frequently, wanting to see the crowd dance), jamming out to the Batman soundtrack rarity “Partyman”, a fitting song for a man who held the crowd in his hands since the rumors of a prince concert were mentioned. 

And just like that, Thursday morning it was over…like it had never happened, life was back to normal. But for the fans of Chicago who attended, whether the good, the bad, or the great, it was clear (using his own words) that “can’t nobody do it like Prince”.

The Tuesday Night Set-list:

(thunderstorm show intro)

Let's Go Crazy

Delirious

(with Let's Go Crazy)

1999

Shhh…

Let's Work

U Got The Look

Sometimes It Snows In April

People Pleaser

She's Always In My Hair

Dreamer

I Could Never Take The Place Of Your Man

Take Me With U

Raspberry Beret

Cream

Cool

(with Don't Stop 'Til You Get Enough)

Nothing Compares 2 UP

(with Jennifer Hudson)

Purple Rain

Encore 1:

Controversy

How Come U Don't Call Me Anymore

Encore 2

When Doves Cry

Nasty Girl (instrumental)

Sign O' The Times

Hot Thing

Alphabet St. (instrumental)

Forever In My Life

Darling Nikki (instrumental)

Mr. Goodnight

I Would Die 4 U

Kiss

Encore 3:

Little Red Corvette

Encore 4:

Act Of God

What Have You Done For Me Lately

(Janet Jackson cover)

Which Way Is Up?

Partyman

Saturday night was a night of mystery, intrigue and illusion as young master magician and mentalist, Luis Carreon, amazed with one mind boggling trick after another. Aptly named “Bending Minds and Bending Dreams”, The Amazing Luis uses a unique blend of original magic with fun scenarios to wow his audience and bring them to a world where the impossible is the norm.

Appearing in front of an intimate crowd at the Bughouse Theater (2054 W Irving Park Rd), Luis regularly used participants from the audience to assist in his feats of magic, making it an up close and personal experience to remember for a long time to come. Luis’s show flowed nicely with an element of humor incorporated into the act and each trick was more unexplainable than the last. The show also ends on a dramatic note when it appears Luis confronts death in the face by putting himself at the great risk of consuming a glass of Drain-O. Luis did survive to put on another show, but the trick was well-staged and evoked a good amount of anticipation from show-goers.

From card tricks and astonishing slight of hand to fascinating demonstrations of mentalism, Luis captured his audience from the show’s beginning and never let go. Winner of the Harlan Tarbell Close-Up Competition and 3^rd place finisher in the Chicago Magic Competition, Luis is a genuine talent that has a bright future in front of him. Luis can also be seen as the head demonstrator at the legendary Magic Inc at 5082 N Lincoln.

For more information on The Amazing Luis, visit www.facebook.com/BendingMindsandBendingDreams         

“Godspell” is a musical for everyone. Now that that has been stated, everyone should see this particular production by the Brown Paper Box Company. Creatively directed by M. William Panek, “Godspell” is fun, lively and has the audience captured from the first number “Prepare Ye the Way of the Lord”.

Originated in 1970 by director/writer Michael Tebelak for his master’s thesis project, “Godspell” is the Jesus story based on the Gospel according to Saint Matthew, though it takes place in a modern, urban environment and has dance-craved, colorfully-dressed kids taking on the roles of the apostles. In this adaptation, Panek superbly captures the youthfulness and energy of the original with well cast roles and is also able to successfully convey meaningful messages throughout by way of parables in the midst of humorous punch lines and physical comedy.

Doubling as “John the Baptist” and “Judas Iscariot”, Jake Mahler excels in both roles thanks in part to a strong vocal performance and finessed guitar playing. While Andrew Lund was aptly cast as “Jesus” and performs the role wonderfully with heart, passion and vocal prowess, the ensemble as a whole really brings the show to life. An all-around outstanding performance by Stephanie Rohr epitomizes the essential of “Godspell”, blending earnest fervor with joy, bliss, eagerness and curiosity. Rohr strengthens an already strong cast, but is not the only star to shine in this production as each member in the ensemble has something to offer and does so when given the chance during their own numbers.

From the classic “Day by Day” to such songs as “O Bless the Lord” and “Save the People” the live instrumentation is every bit as impressive as the cast.

“Godspell” is playing at Collaboraction Studio 300 (in the historic Flat Irons Building - 1579 N. Milwaukee Ave) through October 7th. Parking can be challenging in the heart of Wicker Park so public transportation is a great option. For more information or tickets, visit www.brownpaperbox.org.

*top photo - Andrew Lund and Jake Mahler

*right side photo - Stephanie Rohr with ensemble

1970’s magic is in the air as the highly entertaining musical, XANADU, makes a stop at Drury Lane Theatre. Based on the film starring Olivia Newton John, Gene Kelly and Michael Beck, the show parodies the original every chance it gets from Newton John’s Australian accent to its cheesy love story.

Beginning September 13^th, the show will run through October 28th. XANADU opened at Broadway’s Helen Hayes Theatre to critical acclaim on July 10, 2007 as the first new musical of the 2007/2008 season. Since the 2007 opening, the award-winning musical garnered the best reviews of the season, with critics and audiences celebrating its cheeky humor and far out music. Winner of Best Musical (Outer Critics Circle Award) and Best Book (Drama Desk Award), The New York Times raves XANADU is “heaven on wheels,” and the Washington Post says this musical is “a triumph!” I would tend to agree. This production is especially wonderful thanks to its amazingly talented cast, especially Gina Milo who sings eerily like Olivia Newton John in the role of Kira.

This wildly funny musical delivers a surprisingly touching story about the nine magical muse-daughters of Zeus, who come to earth in 1980 (disguised in roller skates, leg warmers and Australian accents) to inspire humans to create truly great work and discover the meaning of the universe's greatest secret: the Gift of XANADU. Zeus' most important decree is they can’t fall in love with any mortals! But all that changes when the young Kira (Gina Milo) meets the handsome artist Sonny (Chris Critelli), who needs her help in achieving his greatest dream. It is only when Sonny teaches Kira the true meaning of inspiration, that the secret of XANADU is divulged.

XANADU stars Christine Sherrill and Nancy Voigts as the evil Muses Melpomene and Calliope and Gene Weygandt as Danny (played in the film version by Gene Kelly). The cast also includes Stephanie Binetti, Gary Carlson, Tammy Mader, and Sean Blake – all outstanding in their support roles for leads Critelli, Weygandt and Milo, who are each as funny as they are vocally talented.

With a book ingeniously adapted (New York Times) by Douglas Carter Beane, and a score by Jeff Lynne (writer and producer for the Electric Light Orchestra (E.L.O.) and John Farrar (responsible for most of the hits performed by Olivia Newton-John in the 1970’s), XANADU features the top 20 Billboard hits, “Magic”, “Xanadu”, “All Over the World” and “Alive.”

XANADU ticket prices range from $35 to $45 and may be purchased at the Drury Lane Theatre Box Office at 630-530-011, Ticketmaster at 800-745-300 or by visiting wwwdrurylaneoakbrook.com. 

44 years after their inception in 1968, Rush returned to Chicago, amazingly still in top form. The United Center was host over the weekend as the great Canadian trio rocked the crowd for just over three hours. Starting the show with “Subdivisions” the band took immediate charge of the stadium and never let go.

Geddy Lee’s precision with the bass was as good as it gets while his vocals held true to most songs, only straining a bit on an occasional song where his high octave range of yesteryear has become tough to duplicate – even for himself. But lets give Geddy a well-deserved break. The 59 year-old vocalist held his own, and beyond, performing at an optimum level throughout the entire show. At the same time, Alex Lifeson, made the intricate guitar work required in each and every Rush song look so easy, it will be sure to frustrate the up and coming guitarists in attendance, but inspire them simultaneously.

Of course, one of the highlights in every Rush show is watching drummer Neil Peart do his thing. Breaking from songs on three separate occasions to break into a drum solo, Peart showed everyone why he is one of the most revered and influential drummers in the history of rock and roll.

After a ten minute break, the band continued this time with a 9-piece string section for set two, adding a whole new – and awesome – element to Rush music. The good mix of songs brought the band to “Spirit of the Radio” just before kicking off a high-powered encore with “Tom Sawyer” followed by “2112 Part I: Overture”, “2112 Part II: The Temples of Syrinx” and “2112 Part VII: Grand Finale”.

Bottom line – Rush kicked ass with a phenomenal live show that will hopefully continue to stop by Chicago for years to come.  

Set List United Center September 15^th, 2012

1. 1.Set One

1. Subdivisions 
2. The Big Money 
3. Force Ten 
4. Grand Designs 
5. The Body Electric 
6. Territories 
7. The Analog Kid 
8. Bravado 
9. Where's My Thing? 

(with Drum Solo)

10. Far Cry 

1. 11.Set Two, with string section

11. Caravan 
12. Clockwork Angels 
13. The Anarchist 
14. Carnies 
15. The Wreckers 
16. Headlong Flight 

(with Drum Solo)

17. Halo Effect 
18. Seven Cities of Gold 
19. The Garden 
20. Manhattan Project 
21. Drum Solo 

(The Percussor)

22. Red Sector A 
23. YYZ 
24. The Spirit of Radio 

(no strings)

Encore:

25. Tom Sawyer 
26. 2112 Part I: Overture 
27. 2112 Part II: The Temples of Syrinx 

28.2112 Part VII: Grand Finale 

I have to admit, when I saw “The Beatles Love” at the Mirage, I wasn’t in the mood for love. I was alone in Vegas on a “working” vacation and although I appreciate the Beatles music and their irreplaceable contribution to music and politics, I was afraid to see and hear what would happen when their incredible songs were translated into a full length Vegas production. Well, with Cirque Du Soleil’s Dominic Champagne, Gilles Ste-Croix and Chantal Tremblay at the helm, I needn’t have worried.

The most difficult task of all, re-orchestrating and re-mixing their music was done with such abundant love and creativity by Sir George Martin and his son Giles and then broadcast to the audience with the most incredibly powerful sound system with such force and precision that I can honestly say you will never hear their music sound as dynamic or as fresh as it does here in the “Love” theater.

Although this Cirque production has it’s share of exciting acrobatics and feats of daring like the synchronized in line skaters effortlessly navigating half pipes, or the performers on trampolines who gracefully defy gravity, the main focus of this Cirque show falls squarely on the shoulders of the beauty and strength of it’s dancers and dance itself, as it should.

You don’t often get to see pure modern dance and ballet flowing in this way without the interruption of stunts or spectacles to overshadow the mind-blowing poetry of the trained human body in all its glory. Two great examples of this are in the overwhelmingly sexy, romantic dance numbers of “Something” and “Come Together.” Instead of casting the tall, lanky showgirl type dancers, or an abundance of overly athletic acrobats, “Love” has wisely been cast with genuine petite, youthful Balanchine style dancers, and ballerinas, delicate and full of expression with strong American thighs that perfectly convey eternal youth in motion and the true spirit of sixties freedom and rebellion.

I dislike when reviewers try to describe the amazing special effects and light and set changes that occur in any Cirque show, simply because when you anticipate them as an audience member, it lessens the impact. I will just say that there are so many wonderful eye popping effects going on visually, so rich in color, detail and light, so many fantastic costumes in every number, that you can not possibly take it all in and will say to yourself, I have to see this again, even as the show is unfolding.

My favorite music from the Beatles has to be the songs they created when in the period of experimenting with psychedelic drugs like marijuana and LSD. I feared that this production would “clean up” or “family friendly” the songs too much and lose that spectacular feeling of psychedelic mind expansion and transcendence of the boundaries time and space in music that the Beatles pioneered. Again, I needn’t have worried. At the opening, in a discrete nod to this fact about the Beatles, a few dancers quietly walk the stage as the lead dancer swings a smoking lamp past their faces, like the ones used in churches and the show begins… taking the audience on a magnificent spiritually musical, and visually psychedelic journey that is naturally intoxicating.

Everything about this production shines with the same great humor, lightness of heart

and unique genius that the Beatles themselves conveyed throughout their careers.

It doesn’t matter if you are in the mood for love when you enter the theater because by the time you leave it you will be filled with the joyful feeling that “Love” is truly, all you need.

For more information on “Love” visit www.mirage.com.

Well, this is really exciting. It's not often I get to be surprised by and discover new talent. The American entertainment scene is so over processed and over exposed there is little left to actually discover. I generally just end up reminding my readers of old favorites of mine that still deserve attention.

However, this gifted performer, Matt Goss, is from England and very few Americans including myself have ever heard his name before, which seems implausible given that he and his twin brother, action adventure film star Luke Goss (Hellboy, Death Race 2&3, Diary of a Hitman) were part of a pop/rock group in the UK which sold over 16 million records.

The group named Bros achieved a total of 11 top 40 singles and 3 Top 20 albums in the United Kingdom, making them one of the biggest acts in British music between 1988 and 1991 and at one time were outselling U2. They reached number one when "I Owe You Nothing" was reissued in 1988.

They weren't just one hit wonders either, singing other peoples songs. Often, boy bands were assembled by managers or record producers with an eye toward the predilections of preteen girls. Normally, the boys didn’t play instruments, but they sang in harmony and had some swoon-worthy moves.

Although Bros were managed by former Pet Shop Boys manager Tom Watkins,  Matt and Luke wrote their own songs, played all their own instruments and continued having hits throughout the late 1980s, including "Cat Among the Pigeons" and "Too Much", both which made UK #2 during 1988 and 1989. After taking huge losses financially due to early contract signings and a true savaging at the pens of their own once adoring British press as backlash to their overwhelming early success, you can flash forward twenty five years and both Bros have landed on their feet with solid and lucrative entertainment gigs. Luke Goss with a burgeoning acting career and Matt Goss with a solo songwriting career and a sweet weekend gig headlining at Caesars Palace Friday and Saturday nights and always to a sold out house.

Now I'm just going to tell you flat out that you will enjoy Matt's concert, whether you are a seasoned Vegas traveler like myself who has seen all the big shows, or a new Vegas vacationer looking for a real, old school Vegas entertainment experience. I love a big Cirque show, yes, but after a few days of these mammoth thousand seat auditoriums, I really do love the idea of relaxing in a darkened booth, in a cozy, little theatre with a drink on the table right in front of me and the performer himself within eye shot. Matt Goss' concert in the ambient venue The Gossy Room located in Cleopatra's Barge at Caesar's Palace is cozy, intimate, ambient and dynamic at the same time.

Matt Goss does a combination of classic romantic standards mixed with his hits from the UK and brand new solo music. Even if you don't recognize all the songs, there is no denying that you are hearing a world class vocalist with tremendous vocal range and intricate phrasing on a par with young contemporary song stylists like Maroon 5's Adam Levine,  Michael Buble' and Harry Conick Jr. as well as old blue eyes, Sinatra himself.  Funnily enough I was most impressed by a short burst of brilliant, Jazz/ska scat singing which briefly turned the room into a full on island party!  It was marvelously energetic and very impressively performed. I'd love to hear an entire  EP  with more of that youthful, bouncy, ska rhythm.

Goss's show in the aptly named Gossy Room really does try to provide a little bit of the old school glamor and charm we imagine was present during the Rat Pack days. Matt Goss pumps up the sun burnt Vegas crowd and celebrities in the house with a dynamite 7 piece band, two sexy back up singers and  half a dozen, hot, leggy showgirls who have been cast and choreographed by Pussy Cat Dolls creator Robin Antin.

I loved Cleopatra's Barge, the cozy venue which reminded me of sailing in a plush Disney Pirate ship like Pirates of the Caribbean, and I wouldn't trade the experience of seeing Matt sing in a small venue. I would love now to hear Matt Goss rich vocal styling in a larger auditorium. As he performs and jokes with the audience and his band on the intimate stage, Matt gives off an energy like a large caged panther, pacing restlessly, longing to stretch his legs, dance and move more and burst out vocally as he has in the not so distant past at the Royal Albert Hall. I could easily see Goss' show being just as successful in a larger more elaborate Vegas showroom/set , or in a classy New York night club of the same size.

I lived in Manhattan for several years and It's ironic I ate at a restaurant in the New York casino across the street from my hotel ,the MGM Grand, before seeing Matt's show because when I walked in I felt a very  strong NY swagger  about the place  and a bit of NY attitude.  I also sensed a strong NY/ European vibe which proved to be correct as Matt asks at one point in the show how many here are Americans and only a few of us raised our hands. Then Goss asks how many are Brits and the room swells with the applause of at least 50 per cent of the audience. I just think that's extraordinary, that we have kind of an English superstar performing right here in Vegas and yet very few people here in the US know about his fantastic voice.

Truly there is something for everyone in Goss' concert, the super sexy dancing “Dirty Virgins” for the men, for the ladies, Matt Goss - a smokin' hot performer with the most piercing, actually smoldering blue eyes you've ever seen and a nice, tight, talented band for fellow musicians and real music lovers like myself.

I got to experience something really special as well before the show which really sums up the glamorous, “eye of the tiger” energy Matt Goss brings to the Gossy room each night.

I was in Matt's suite before the show, when time and energy allows he hosts a small, mellow gathering of friends and assorted guests in his lofted 4bed 4 bath Penthouse suite at Caesars'. I got a chance to make "the walk" with him and his security personnel through the vast Caesar's Palace casino floor to the stage

I could barely keep up with him in my heels with a bum knee as well, but I won't soon forget the sweeping rush of being swept back in time, almost as if I was in a movie watching Sinatra or Dean make this same power walk through Caesar's Palace with such terrific magnetism, greeting the guests and waving as the fans parted to let this stunning gentleman sweep through the crowd.

I used to go to Vegas several times a year, and there are a few shows like “O” and my old friends Louie Anderson and Frank Marino that I must see over and over again to really get back into the swing of Vegas spirit and humor.

Now we go to the strip just once a year  for our Buzz Vegas Feature but I will definitely add my new friend, Matt Goss, and his concert at Caesar's Palace  to my personal Buzz list of “must see” entertainment each time I return. You and all your crew are invited, too!

Showtime is 9:30PM Friday and Saturday nights.

You can buy tickets for Matt’s show in person at the Coliseum Box Office in Caesars Palace or from the Ticketmaster website.

Stay tuned for my interview with Matt next week and also check out Matt Goss's website for news and updates at www.MattGoss.LA.  

*Middle photo by Ken Payne

*Bottom photo - Matt Goss in Las Vegas with Kimberly Katz

Affinity filled the room at the Bottom Lounge on August 12^th as Loud Loud entered the stage. I was unable to account for the reactions in the crowd when they opened the show with my personal favorite “Mirrors” and it’s introduction song “Reflections”. Loud Loud had gained my complete attention and based on the hush silence I felt around me I could only assume that the audience was just as settled into the rhythm as I was.

At the close, the members of the band began vacating the stage. The audience members looked to and fro in anticipation as Joey Fernandez (vocals, guitar) emerged carrying an acoustic guitar absent the other members of the band and informed the crowd that he would be performing an exclusive acoustic version of “First Stages of Ending Phases”. I resisted the temptation to raise my lighter in the air as he began to play. The crowd roared when Fernandez had finished then the rest of the band reassembled to the stage.

They continued performing through their set with a more upbeat spirit. I specifically recall the audience raising their fists and singing along at the open of “Burst and Bloom” a definite fan favorite. The band took the opportunity to treat the audience with an extra few minutes of stage time when they ultimately closed with an extended live adaptation of their album (Solace)’s closing track “You Had No Reason”. To say the least, I was impressed.

The interactions that I observed between the band members of Loud Loud and their devoted fans as they shared drinks and celebrated a successful show performed can only be described with complete empathy. They expressed a love and gratitude that could only rival that of an ineffable kinship observed between them and their adoring fans. The band’s passion and devotion to their music and their fans is nothing short of the distance their fans and I see Loud Loud continuing it’s lifespan. I look forward to their next performance and hope for many more to come.

A special thanks to the band members of Loud Loud for their dedication…

Joey Fernandez (lead vocals, guitar)

Jacob Vidovich (guitar)

Paolo Lanzisero (basist, backup vocals)

Nicky Lanzisero (drummer)

I caught up with guitarist Jacob Vidovich just after the show who was kind enough to answer a few questions.

Q; How long have you been playing the guitar/music?

A; Well, I started playing bass when I was 10, so 13 years all together with music, but I didn't start playing guitar until I was 13. 

Q; How would you describe your bands music?

A; I would say it's ambient with a pop structure. I can't really pinpoint a genre we totally fit into but we keep it pretty dynamic. I think of music like a mountain range, a good song should take you up the mountains and down into valleys. 

Q; How long has Loud Loud been together?

A; We started in October of 2011 so that would be 10 months I believe. 

Q; How would you describe your personal relationships within the band?

A; I hate all of them, hahahaha. No but seriously I love all of them as brothers. I'd take a bullet for any of these guys. I've known them for years and we've always been best friends playing in and out of different musical projects together, but Loud Loud definitely feels like a family; it feels like home and I think its because we are so close not only musically but as friends. That makes this band something special, at least for me. 

Q; Who/What are some of your musical/non-musical influences?

A; Musically I would say a lot of my style comes from Post rock/ambient bands like “Explosions In The Sky” or “This Will Destroy You”, or other bands like “The Early November”, “Third Eye Blind”, and “Brand New”. 

Non-musical influences would honestly be my parents. They taught me to work hard for the things you love and I really love this band and the music we are putting out. My parents taught me that no matter how hard it gets to just keep on going. They always had a smile on there face even when times were tough and I couldn't respect and love them anymore than I do. 

Q; Where do you find your inspiration?

A; I find inspiration everywhere. Sometimes, this sounds crazy, but I'll just hear music in my head be it the ambience of the room I'm in or a certain sound coming from machines at work. Inspiration can really strike at any time anywhere or in any situation I'm in at the time. It's really random. 

Q; Tell me about your record. Favorite track? Fan fav? What was put into it? 

A; The record is called “Solace”. It has 6 tracks on it and we recorded it at Melody Lane Studios with our good friend Erik Schillerstrom. We called it “Solace” because that is exactly what music is for us, our solace. It's the way we cope with things in our personal lives and express ourselves. My favorite track on the record would probably be "You Had No Reason". Just every time we play it, it sounds different and I really feel that song live. I especially can connect with the lyrics of the tune and the melody Joey sings and the chorus is just really powerful. I love it!

The fan fav is tricky… I get a mix between 3 songs. Usually “Solace”, “Mirrors” or “Burst And Bloom”. 

As far as what was put into the album, it was us. Not me, Not Joey, Not Nick, Not Paolo, it was us. We all had a lot to do with this album. If one of us didn't like a song, without question, we would scrap it. We are honestly 100% collaborative on everything we do as a band and that's why I think it works and why one song doesn't sound exactly the same as the others but is still very cohesive.  

Q; When can we expect to see a full length album? 

A; As far as full lengths go, I don't think we will be doing that unless we are signed. I think for an independent band, trying to make it wasting all that money by spending too much time in the studio is too costly, when you should be playing shows and getting your name out there. I think its more quality of work than quantity at this point in our career. 

Q; What do you hope to see in your bands future?

A; For the band at this point in the stage I would just like to see our fan base grow. Get the word out more and play shows. The first 6 months of the band was just us rehearsing writing material and recording and now I think since we got a record and we feel tight as a band, it’s all about just showing people what we have to offer. 

Q; Is there anything you want to say to the fans or those of them who are listening to you for the first time?

A; I would like to say F.B.G.L. If you don't know what that means come out to a show and we will tell you. 

Q; Any plans for your next live event?

A; We have a few events lined up but in the preliminary stages. What we plan on for the next live event, is to have a couple more tunes to throw in the rotation. We want to give people a variety of different set lists so it's a different experience every show. 

Listen to Loud Loud at www.facebook.com/loudloud and come see them play at Tiger O’Stylies August 29^th. Hope to see you there!

ONLY $8

21+ W/ ID 

6300 W. OGDEN AVE. BERWYN, IL. 60402

In this re-staging of their first production from 2001, the House Theatre of
Chicago beautifully incorporates classically authentic magic tricks into the
story of Harry Houdini, the world famous magician of the early 1900s. Having
witnessed his father die when Houdini (performed by Denis Watkins, a real
life magician) was a teenager, he became forever fascinated with death, and
in his attempts to trick and, ultimately escape it, he creates some of his most
memorable illusions.

From the beginning of the play, the audience is magically transported back
to the early 20th century. We then watch the personal life of Houdini unfold,
dominated by two women: his much worshiped crazy mother (wonderfully
played by Marika Mashburn) and his sweet wife Bess (great performance by
Carolyn Defrin). His brother Theo (dynamically played by Shawn Pfautsch)
becomes the engineer who crafted the equipment used in Houdini's act.
Professionally, Houdini is driven by the thrill of escape from the most
dangerous situations, culminating in the impressive Water Torture Cell escape.

The costumes, the music, the dancing all add up to the magical experience of
going back in time, but the ultimate reward after each effortlessly executed
trick is the wonder: “How in the world did he do that?”

Written and directed by Nathan Allen, “Death and Houdini” is compelling as it
is haunting. “Death and Houdini” is playing at The Chopin Theatre Downstairs
Theatre at 1543 W. Division and has now been extended through August 17th.
Tickets are $40 and show-goers should note that there is no late seating for any
performance.

For more information visit www.thehousetheatre.com.