Category: news

The Twin Cities are an underrated hotbed of live music, featuring several world-class venues that host both music stars and a thriving local scene. That said, there is one venue that stands above all others as the titan of Minnesota music culture: First Ave.

701 First Avenue has hosted Minnesota legends like The Replacements, Soul Asylum, and Husker Du, and, most notably, was the recording place for Prince’s Purple Rain live music scene.

On Wednesday, February 25th, the hallowed First Ave played host to one of the premier live acts in punk rock, Gogol Bordello. The band is coming off the release of their new record, We Mean it Man! and is still bringing the raucous and chaotic live energy that put them on the map in the 2000s.

Boris and the Joy

While Gogol Bordello was the main event, the bill was filled out by two stellar acts, starting with Boris and the Joy. The band is a solo project by former Gogol Bordello guitarist Boris Pelekh, a songwriter from Nashville with Russian and Ukrainian Roots.

Boris and the Joy carry over the world-culture influence that made Pelekh such a good fit with Gogol Bordello. The material is electro indie-rock/pop, tinged with folk elements, which was popular with the crowd. Pelekh also spent time during the set addressing recent events in Minneapolis, preaching unity and loving your community. The message, mixed with Pelekh’s positive, unifying music, was a perfect opener for a night of bands defined by their wide-reaching (sonic and geographic) influences.

Puzzled Panther

Puzzled Panther took the stage next, continuing the night with their own brand of versatile music. For anyone who has never heard of Puzzled Panther, it is difficult to pin down exactly how you’d describe their genre. They blend influences from dance, Eastern Europe, dub, and post-punk. The band features a blend of talented musicians, both new and well-known to fans of the genre. Puzzled Panther is led by Victoria Espinoza (vocals) and Kay Bontempo (guitar), along with music industry veterans Eugene Hütz of Gogol Bordello, Brian Chase, formerly of Yeah Yeah Yeahs, on drums, and bassist Alex Ryaboy.

The band has been touring consistently since emerging in 2023, with their self-titled debut EP released shortly after in 2024. They often open for Gogol Bordello, given their connection to Hütz, who has also served as the band’s producer thus far. While they’ve always been a high-energy electric live band, they are consistently improving. As someone who was seeing them for the third time at this show, I can say I’ve enjoyed them more with each gig. They’ve turned into a band I would pay for a ticket to see headline a venue on their own.

---

Puzzled Panther ripped through their 45-minute set, playing a mix of originals, with Eugene Hütz joining the band on stage for the latter half of the show.

One of the highlights of the show came with the band’s final number, a cover of Sonic Youth’s Dirty Boots. Puzzled Panther carries the cover well, given their clear influence from the noisy, artsy New York Post Punk scene. The set was entertaining from front to back and left me wanting more. The band is certainly one to watch going forward.

Gogol Bordello

Gogol Bordello burst onto the scene in the early 2000s, playing their brand of punk, folk, Latin, dub, and Eastern European fusion music, informed by their members’ diverse backgrounds and heritage. The band called their almost entirely new sound which heavily featured the fiddle, accordion and traditional percussion mixed with hardcore structures “gypsy punk”. While the band has released several celebrated albums, it has always been incredibly notable for its live performances. The raucous, unifying energy of Gogol Bordello has taken frontman Eugene Hütz and co. all around the world and onto the stages of the biggest alternative music festivals. I’m happy to report that magic is still very much there.

Gogol Bordello began their set with a cut from their new album titled “Ignition” before erupting into a string of crowd-pleasing favorites. Floor-shaking renditions of Gogol Bordello classics like “Wonderlust King”, “Not A Crime,” and “My Companjera” reminded the audience of how deep the band’s catalog is, as they can rip through songs from their most-celebrated works while still having plenty left in the chamber. After running through the hits, Gogol Bordello invited Puzzled Panther back to the stage to perform two songs, one of which was Puzzled Panther’s song “From Boyarka to Boyaca”.

Members of the openers joining Gogol Bordello on stage provided a perfect opportunity to reflect on the band’s ethos. Gogol Bordello is a multicultural collective that celebrates the patchwork quilt of global traditions and cultures, and the community that forms from our commonalities and differences.

This was particularly powerful, given the timing of the concert, which came as Minneapolis is currently dealing with the occupation of federal agents. That moment wasn’t lost on the band, who spoke on the importance of supporting your neighbors and celebrating that Gogol Bordello is inherently a band of immigrants.

From there, Gogol Bordello continued a set that featured fan favorites and several cuts from their new record, We Mean It, Man! For a band with as much material as Gogol Bordello, it’s natural to worry that their new music will be overshadowed by older material that fans have had many years to fall in love with. One of the standout aspects of this show was how seamlessly We Mean It, Man! material fit into the set. The album features more electronic and dub influences than the band has shown in some time, but it’s dripping with high-octane energy that had the crowd just as into the band’s new material. If you haven’t heard any of the new record, check out the self-titled track.

Gogol Bordello’s set ended with three crowd favorites: “Mishto!”, their iconic “Start Wearing Purple,” and the rocking “Pala Tute.” That trio ended their regular set before the band returned to the stage for an encore.

The most notable moment of the encore was a rendition of the band’s triumphant closer, “Undestructable”. Gogol Bordello often ends their show with that cut, but this time was different, with a cover of The Stooges’ “TV Eye” mixed in. Shannon Selberg of the legendary noise punk band The Cows also joined the band on stage for the final song of the night.

If there was anything to take from the show, it’s that Gogol Bordello is still one of the best of the business at putting on an electric live act. It’s a wonder how the band is able to keep up the level of energy they do on stage. The songs are strong, the music is unique and the band’s ethos is infectious. Catch them on this tour while you still can.

Check out some additional photos from the show below.

Very little is known about this mid-1960s British band who recorded a lone 45 for Pye Records – Peter Chester and Roger Kipling’s “Money Will Not Mean a Thing” c/w group composition “Girl Downtown”.

This article in Record Retailer from 12 August 1965, page 7 (see above), notes that the band backed singer Billie Davis and comprised the following musicians:

David Cripps – lead vocals

Ian Green – organ

Peter Bryant – bass

George Hall – flute/sax

Ken McClomb – tenor sax

Eddie Page – drums

Some sources list this outfit as a Reading, Berkshire band. Record Retailer reports that Platform Six worked at the Star Club in Hamburg.

It is quite possible that Ian Green is the same musician who subsequently led his own band, Ian Green’s Revelation and married former Orlons singer Rosetta Hightower.

Garage Hangover would welcome any further information below on this obscure group, particularly what its members did afterwards.

Universal Music Group [Release date 20.03.26] One of the USA’s rock bands, Aerosmith have released 15 studio albums, and sold 150 million records world-wide. And their blend of rock, blues, glam and pop has been very influential too. With roots … Continue reading →

The post Album review: AEROSMITH (Deluxe expanded edition) appeared first on Get Ready to ROCK!.

Very little is known about this Jamaican soul outfit that moved to London around 1964/1965 and worked as the house band at Count Suckle’s Cue Club on Praed Street in Paddington.

According to the Rhyl & Prestatyn Gazette’s 28 January 1966 issue, page 13, which features a picture of the seven-piece, The Links backed American soul legend Wilson Pickett on his debut British tour in November 1965.

Judging by adverts in Melody Maker, the band was still working on the London club circuit in the spring of 1967 (and most likely into 1968).

Dominica-born drummer Conrad Isidore who was a member of The Grenades, Joe E Young & The Tonicks and The Sundae Times in the 1960s told me he played with The Links but he is not featured in this picture.

Isidore told me he met John Maxwell who used to work for Ken Edwards, the owner of the New All-Star Club near Liverpool Street, while playing a gig in Kilburn with The Links. Maxwell, who was friends with The Links, recommended Isidore for The Tonicks, who he joined in late 1966. This would suggest he was with The Links during 1966.

It does look like the photo shows lead guitarist Tony Ellis (b. Tony Cornel Lloyd Ellis, 28 March 1950, Kingston, Jamaica), who currently works as Babatunde Tony Ellis in Stockholm, Sweden, together with bass player Ronald Simmonds and drummer Danny Evans. These three subsequently moved to Spain where they recorded two singles as The Explosion, one of which featured Carl Douglas on lead vocals.

Garage Hangover would welcome any further information on this band in the comments section below, including its history, personnel and any recordings.

London based Sleaze seem to capture a lot of peoples attention whenever they pop their heads above the parapet. Daffodils was a 6-music favourite back in 2023 and Keith Goldhanger came away from Glastonbury 2024 proclaiming them one of his weekend’s highlights. Now they’re back with a new recording to remind us of their existence […]

The post Sleaze : The People Have The Strength (To Turn The Tide) – Single Review appeared first on Louder Than War.

The guitarist says the upcoming documentary and recent official visual history book give fans “priceless” insights into the band’s five-decade journey.

The post ADRIAN SMITH Says IRON MAIDEN's Upcoming Documentary Will Reveal Some Secrets appeared first on Metal Injection.

DEAN BIRKHEIMER | Go Venue Magazine

Since its opening, The Steelhouse has quickly become a cultural hub in Omaha’s downtown, hosting major concerts (its first was The Killers), community programming, and local artist showcases. It not only enriches the city’s arts scene but also contributes to downtown revitalization and draws fans from across the region.

Friday the 13th has a reputation for broken mirrors, black cats, and ladders you shouldn’t walk under, but on Friday the 13th at The Steelhouse in Omaha Nebraska, the only bad luck in the room was for the ones who missed out on a night of punk rock mischief.  The co-headlining tour with the Descendents and Frank Turner and The Sleeping Souls slashed its way into Omaha like a Friday the 13th nightmare.  Instead of terror, the crowd found loud, sweaty redemption.

The evening kicked off with NOBRO, who burst onto the stage like someone knocking over a salt shaker and daring fate to do something about it. Their set was raw, chaotic, and joyfully reckless, exactly the kind of energy you want to start a show. With snarling guitars and punchy hooks, they whipped the early crowd into motion fast. If anyone had walked into Steelhouse believing in bad omens, NOBRO stomped them flat before the first set was over.  

Frank Turner with show 3132 followed, bringing the kind of heart-on-his-sleeve cleansing that feels like the musical equivalent of finding a four-leaf clover. Backed by his band, The Sleeping Souls, Turner turned the Steelhouse into a singalong sanctuary. Songs bounced between fist-pumping punk and reflective folk-punk admissions. The crowd responded like they’d been granted immunity from the night’s supposed voodoo. When Turner asked the audience to jump, the floor moved like the whole building had stepped on a crack and decided to break gravity instead of anyone’s mother’s back. His mix of humor, storytelling, and full-throttle energy felt like a good luck charm hanging over the room. At one point he asked the crowd to sing lyrics and during a practice run, he comically ridiculed the fans effort. This got everyone fired up and during the actual song, the audience blew the roof off the building. A wonderful moment occurred when the band left the stage and Frank was alone with an acoustic guitar, he was accompanied by a single spotlight and hit the crowd with “Be More Kind” and “The Ballad”. He and the Souls finished with “Four Simple Words”.  My Four words….A Masterclass of Showmanship

By the time the Descendents took the stage, any lingering superstition had long since been exorcised. The band ripped into their set with the efficiency of a lightning strike. They were fast, sharp, and impossible to ignore. Milo Aukerman’s unmistakable voice echoed through the room while the band blasted through decades of punk staples with zero sign of slowing down. The pit moved like a possessed roulette wheel that seemed to never stop spinning, conjuring thoughts of Alfred Hitchcocks movie “Vertigo”. Frontman Milo Aukerman still exudes that signature mix of geeky charm and punk defiance, effortlessly commanding the audience while singing classics like “Suburban Home” and “Hope.”   The rhythm section was tight and relentless. Bill Stevenson drove the songs with precision, while Karl Alvarez kept the groove punchy and energetic, giving each song a propulsive backbone. Guitarist Stephen Egerton shredded with that raw, melodic edge the band is known for, blending speed with clarity in a way that only veteran musicians can pull off. There was a moment when the bands technician, Rhino was brought out so the crowd could sing happy birthday to him.

The Steelhouse felt like a gathering of people who had decided to tempt fate together, and won. Ladders might have been avoided on the way in, but inside the venue the only thing people were climbing was the surge of energy from the stage. Black cats could have crossed every street outside and it wouldn’t have mattered. Friday the 13th may be famous for misfortune, but in Omaha it turned out to be the perfect night for musical chaos and proof that sometimes the best way to deal with bad luck is to turn the amps up loud enough that fate can’t hear itself think. After the bands encore the throngs of fans left all smiles and feeling lucky to have seen such a great show.

Descendents

Frank Turner

NOBRO

[See image gallery at www.govenuemagazine.com] All images © Dean Birkheimer

Follow our socials, only take a second and is free by finding us on:
Facebook | Twitter | Instagram | BlueSky

The post Milo Goes to Omaha: Friday the 13th was not unlucky as The Descendents and Frank Turner and The Sleeping Souls with NOBRO Crashed into The Steelhouse appeared first on Go Venue Magazine.

Album Review: Exodus – Goliath

Reviewed by Gareth Pugh

Let’s face facts, Exodus is as metal as it comes, co-founders of the thrash scene, together with Metallica, Dave Mustaine and over on the East Coast Overkill and Anthrax, and it’s extraordinary to think that over forty years have passed since ‘Bonded by Blood’ was released. Now they are about to release album number thirteen, with a new, yet familiar face up front, the return of Rob Dukes to the role of vocalist after the second and what looks to be the final departure of Steve “Zetro” Souza.

Now, I can’t say with any conviction, I’ve ever been the biggest fan of Rob Dukes’ vocals, and I consider him to be the least effective of the three vocalists they have had, with less charisma than either of his predecessors: Baloff or Zetro. However, I am pleased to say his performance on ‘Goliath’ is easily his best on an Exodus album so far, his usual aggression is tempered with more melody and even subtlety to give a more varied, nuanced and powerful performance.

Starting with a minute long ominous skin crawling intro ‘3111’ then plunges into all out thrash barrage with what could only be an archetypal Exodus riff, while Dukes spits out the uncomfortable lyrics, the song is about the narco killings in Juarez, and the title is the estimated number of murders for 2010 alone, bleak stuff! “Hostis Humani Generis” (enemy of mankind) is no shrinking violet either, riffs spewing left and right with no let-up in pace.

Buy on Vinyl

Buy on CD

Buy Digitally

The first two tracks could easily have come from any Exodus album and ease you into the fray with no shocks in earshot, but for the next three tracks the band mix things up somewhat, ‘The Changing Me’ is more mid-paced, but it’s the chorus with Peter Tägtgren’s clean vocals mixing with Rob’s more vicious delivery that catches you off guard with its jarring ‘against the grain’ timing. ‘Promise You This’ has a bit of a southern rock groove to it, but with a contemporary feel, and the chorus is extremely catchy, honestly it will be stuck in your head for days.

The title-track is another more experimental song, the band has dabbled with slower tempos previously, for example ‘Prescribing Horror’ from the last album, but this slows things down to a menacing crawl, with Jack Gibsons bass providing a pulverising low end, and the guitars a doom like sludge, the chorus lifts the despair with some serpentine leads before an astonishing mid-section with guest strings from Katie Jacoby, a surprise all around and a real grower. ‘Beyond The Event Horizon’ brings things back to normal as it picks up the pace with a more conventional structure, while ‘2 Minute Hate’ is another one with a bluesy swagger to it with plenty of groove, yet still has plenty of attack.

‘Summon of the God Unknown’ is an 8-minute epic full of crushing chords and fiddly melodies, it takes the listener on a roller-coaster journey and gradually builds pace from brooding menace to a sudden adrenaline rush of pummelling frenzied riffage. Finishing the album on a real thrash high note is ‘The Dirtiest Of The Dozen’ which reminds me of ‘Tempo of the Damned’ title track with a punchy chorus and more piledriving riffs.

This is easily the most varied Exodus album to date and hats off to them for their bravery at this stage of their career. Is it perfect, hell no some of the songs still could do with some trimming of the fat shall we say, but on the whole, this is a damn fine album, and possibly their most consistent for a decade or more. On this evidence there’s still plenty of ‘good friendly violent fun’ for everyone for many more years to come.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

The post Album Review: Exodus – Goliath appeared first on The Razor's Edge.

Born Ronald Wycherley in April 1940, Billy Fury studied piano before his teenage years and had his first guitar by age 14. In 1955, he fronted his own group while also working full-time on a tugboat and later as a docker. A talent contest victory helped push him further toward music, and by 1958, he was writing his own songs. That same year, he went to the Essoldo Theatre in Birkenhead, hoping manager Larry Parnes might pass along some of his compositions to Marty Wilde, but the meeting changed his life when Parnes put him onstage instead, signed him, added

The post Top 10 Billy Fury Songs appeared first on ClassicRockHistory.com.