Leprous frontman Einar Solberg has announced his second solo album, Vox Occulta, due for release on April 24, 2026. A bold, heavy, and symphonic statement, the LP was recorded in collaboration with the much-sought-after Norwegian Radio Orchestra.

To celebrate the announcement, Einar has launched the second track from the album, titled “Medulla”, and you can watch the video — directed by Leo Liberti — below.

Einar comments: “‘Medulla‘ started with a riff. I had just picked up an eight-string plugin, and it immediately led me to that main idea. As soon as it came together, I knew it had weight. It felt physical — like something you feel in your bones rather than just hear. That’s where the idea of marrow came in.”

“The song is about the part of me that stayed strong through everything I’ve been through. No matter what happened around it, the core held. “There’s no full orchestra on this track, but it still has a cinematic edge. Chris Baum added real strings, and Keli, Pierre Danel, and Jed Lingat bring the song to life on drums, guitar, and bass,” he added.

As well as the beautiful orchestration, Einar is joined by drummer Keli Guðjónsson, violinist Chris Baum, guitarist Pierre Danel, and bassist Jed Lingat, as well as guitarists Ben Levin and John Browne. The album was mixed by Adam Noble and co-produced with David Castillo.

Vox Occulta sees Solberg taking a deeply personal approach, having been an avid fan of classical music and soundtracks for more than 20 years. The lyrics are personal as well, and they make “Vox Occulta” something of a thematic follow-up to 16. Where Solberg‘s solo debut revisited the death of his father and his past struggles with anxiety, this set is a warts-and-all portrait of himself and how he views the world in 2026.

Vox Occulta will be released as a limited CD digipak, gatefold white/black 2LP, and a very limited gatefold transparent red 2LP, as well as digitally.

Pre-order it here.

The first live dates in support of his upcoming second solo album have also been announced, and 2026 will see him playing the following headline dates across Europe:

09/18 – UK London, The Garage
09/19 – FR Paris, Café de la Danse
09/20 – FR Toulouse, Le Rex
09/21 – FR Biarritz, La Rhapsodie
09/22 – PT Porto, Mouco
09/23 – PT Lisbon, Republica da Musica
09/25-26 – ES Barcelona, Be Prog! My Friend
09/26 – FR Grenoble, L’amperage
09/29 – PL Krakow, Hype Park
09/30 – DE Berlin, Lido
10/01 – DE Neunkirchen, Gebläsehalle
10/02 – CH Baden, Werkk Kulturlokal

The post LEPROUS Frontman EINAR SOLBERG Announces Second Solo Album “Vox Occulta”; Shares Music Video For New Single ‘Medulla’ appeared first on Sonic Perspectives.

Good Day Noir Family,
Live Oak Sunburst opens “Lurleen” like a door to another century.

Lurleen is Live Oak Sunburst’s Single Out Now

The song places you in a wooden barn somewhere in rural America, where stories travel by voice rather than headlines.

Immediately, the atmosphere feels grounded and human. However, what truly defines the track is not nostalgia, but intention.

The arrangement stays minimal, and that choice matters. A lone guitar carries the weight at first, steady and unadorned. The rhythm breathes naturally, and therefore every pause feels deliberate. When the drums finally appear, they do not take control. Instead, they reinforce the narrative, adding gravity rather than volume. As a result, the focus never drifts away from the words.

Vocally, Live Oak Sunburst delivers a low, slightly rough performance that feels lived-in. His tone sits somewhere between country, folk, and blues. Moreover, it carries the kind of restraint that suits a historical story. The phrasing remains direct, yet it avoids melodrama. Because of that, the emotional pull comes from honesty rather than force.

Lyrically, “Lurleen” stands on sharp, clear writing that echoes the tradition of American storytelling. The reference to Johnny Cash feels natural, not imitative. Furthermore, the song centers on a real and complex figure. Lurleen Wallace’s life unfolds through suggestion rather than exposition. For years, she lived in the shadow of her husband’s political ambition. Then, when he could no longer run, she was pushed forward. She became Alabama’s first female governor, yet many viewed her as a stand-in rather than a leader.

At the same time, the song does not reduce her to a symbol. Instead, it highlights the quiet cost of that role. Behind the public image, Lurleen was gravely ill with cancer. This detail deepens the narrative, because it reframes power as something imposed rather than chosen. The song becomes less about politics and more about endurance.

Musically, the restraint strengthens the message. The melody stays simple, but it lingers. Meanwhile, the guitar lines avoid ornamentation, which keeps the focus on the story. Even when the song grows slightly in intensity, it never abandons its reflective core. The listener remains close to the subject rather than swept away by arrangement.

“Lurleen” feels like a song meant to be shared around a fire, late at night, when listening matters. It honors a life shaped by forces beyond control, while allowing dignity to exist in the telling. Live Oak Sunburst proves that folk music still has the power to preserve history through voice, restraint, and truth.

Lurleen is Live Oak Sunburst’s Single Out Now!

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Real!

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Lurleen is Live Oak Sunburst’s Single Out Now

In 1943, 24 year old George Wallace, narcissist, demagogue and future governor of the state of Alabama, took a child bride. Her name was Lurleen, and this is her story.

Live Oak Sunburst makes music in Atlanta, Georgia.

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The post Lurleen is Live Oak Sunburst’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Good Day Noir Family,
Ava Valianti introduces “Deep Fuchsia” with a guitar figure that immediately signals control and intention. The riff does not rush.

Deep Fuchsia is Ava Valianti’s Single Out Now

It locks into a groove built on subtle rhythmic interlocks. The opening already suggests compositional care rather than impulse. The pacing invites attention instead of demanding it.

When the vocal enters, the track shifts focus without losing balance. Ava’s voice occupies the center with confidence, yet it remains flexible and nuanced. Although she is young, her delivery carries surprising authority. At the same time, she avoids excess. Because of that restraint, every inflection feels chosen rather than accidental. The phrasing shows an understanding of space that many artists develop much later.

What stands out most, however, is the sense of vision. “Deep Fuchsia” does not chase reference points or trends. Instead, it feels like a step forward in a personal direction. The song comes across as self-defined. The groove continues to pulse underneath, while the arrangement stays focused on mood and movement rather than density.

As the track unfolds, a hypnotic quality emerges. The nocturnal atmosphere grows stronger, yet it never becomes heavy. Meanwhile, subtle gospel-leaning harmonies appear in moments that feel almost spiritual. These sections create the sensation of standing inside a translucent bubble, where reality looks familiar but slightly altered. The listening experience becomes immersive without being overwhelming.

The melodic structure benefits from layered vocal lines and carefully placed harmonies. Ava uses vocalizations not as decoration, but as part of the emotional architecture. In addition, the backing voices expand the chorus without flattening the dynamics. This approach keeps the song fluid and alive.

There is also a clear narrative arc in the arrangement. Midway through, tension builds gently rather than explosively. Then, near the end, the tempo drops. This slowdown feels intentional and reflective. Instead of pushing toward a loud finish, the song turns inward. The ending leaves a lingering impression rather than a sharp cutoff.

Creative instincts like these bring to mind the artistic confidence of Florence Welch of Florence + The Machine, especially in how emotion and structure coexist. She sounds like an artist shaping her own language.

“Deep Fuchsia” confirms that Ava Valianti is not experimenting blindly. She is building something with clarity, patience, and identity. The result feels mature, thoughtful, and forward-looking.

Deep Fuchsia is Ava Valianti’s Single Out Now!

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Vision!

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Deep Fuchsia is Ava Valianti’s Single Out Now

v

Ava Valianti is a 16 year-old singer-songwriter from Newbury, Massachusetts, blending pop and indie influences into emotionally charged, unforgettable songs. After building international momentum with her debut EP “petunias,” she enters a bold new era with “Deep Fuchsia,” the first single from her next project. Whether performing to sold-out rooms or writing songs in her bedroom, Ava continues to establish herself as one of pop’s most promising young voices.

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The post Deep Fuchsia is Ava Valianti’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

Anagnorisis, the latest in Dwiki Dharmawan’s series of widely varied and impeccably crafted albums for MoonJune Records, might well be the most fully realized expression yet of his expansive musical vision. While deeply grounded in the sophisticated melodic and rhythmic intricacies of his land of origin, where he’s long been celebrated for his work bridging serious and popular realms, Dharmawan also looks beyond his native traditions for inspiration, joining with players from disparate cultures to blend the best of their respective worlds into a meta-music of depth, beauty, and vitality that transcends mere collage.

Anagnorisis – “recognition” in Greek – is a superb case in point, and indeed is emblematic of the governing MoonJune ethos, bringing the Indonesian master together with eminent Israeli-born saxophonist and writer Gilad Atzmon (The Orient Hosue Ensemble, Robert Wyatt, Pink Floyd) and a quartet of simpatico Greek musicians (Kimon Karoutzos, Harris Lambrakis, Vironas Ntolas, and Nikos Sidirokastritis) on a program of Dharmawan originals and improvisations, with production assistance from a German, an Italian, and a Dane, overseen by the globetrotting Mr. MoonJune aka Leonardo Pavkovic himself. Yet for all the diversity of its participants’ backgrounds, the resulting union never feels forced, instead reflecting an inherent mutual trust and deep respect for one another as both people and musicians.

Dwiki Dharmawan is one the most accomplished pianists, keyboardists, arrangers, producers, cultural workers in his native Indonesia, and he has performed in over 60 countries on all continents. Anagnorisis is his 5^th international release on MoonJune Records after Hari Ketiga (2020), Rumah Batu (2018), Pasar Klewer (2016), So Far So Close (2015). He has recorded and performed among others, with Jimmy Haslip, Chad Wackerman, Dewa Budjana, Walfredo Reyes, Steve Thornton, Carles Benavent, Nguyen Le, Gilad Atzmon, Asaf Sirkis, Nicolas Meier, Yaron Stavi, Boris Savoldelli, Markus Reuter, Jerry Goodman and many others. He is co-leading one of the commercially most successful bands in Indonesia, Krakatau, since 1984.

TRACK LISTING – CD

1. Gambang Ney (12:37)

2. Ya Kita Bisa (05:21)

3. Pacu Javi (05:59)

4. Perjuangan (06:26)

5. Kereta Keren (03:36)

6. Jazz For Freeport (05:50)

7. Timun Mas (07:16)

8. Lima Dadakan (07:05)

9. Toledo Train (06:42)

10. Anagnorisis (08:32)

TRACK LISTING – 2LP

A1. Gambang Ney (12:37)

A2. Ya Kita Bisa (05:21)

B1. Pacu Javi (05:59)

B2. Perjuangan (06:26)

B3. Kereta Keren (03:36)

C1. Jazz For Freeport (05:50)

C2. Timun Mas (07:16)

C3. Lima Dadakan (07:05)

D1. Toledo Train (06:42)

D2. Anagnorisis (08:32)

The Band
Dwiki Dharmawan – piano 

Gilad Atzmon – clarinet, sax

Kimon Karoutzos upright bass 

Harris Lambrakis – ney flute

Vironas Ntolas – electric guitar

Nikos Sidirokastritis – drums

Recorded in Athens, Greece, December 2024
Mixed by Fabio Trentini. Mastered by Emil Eskilden with the postproduction supervision of Markus Reuter. Produced by Leonardo Pavkovic and Dwiki Dharamawan.

CD / 2LP / Bandcamp
https://dwikidharmawan-moonjune.bandcamp.com/album/anagnorisis

Good Day Noir Family,
Bright, restless guitar lines set the scene for “Justice on the Country Road,” a track that signals movement and rhythm.

Justice on The Country Road is Grey & Purple Songbook’s Single Out Now

 The groove feels light on its feet, and yet there is intention behind every note.

Grey & Purple Songbook once again proves how dance-driven music can coexist with thoughtful themes without losing momentum.

At first, the song invites the listener to move. The guitars sparkle with fast, rhythmic figures, while the beat pushes forward with confidence. However, as the track unfolds, a deeper layer emerges. The upbeat nature of the music contrasts sharply with the subject at its core. Integrity, moral responsibility, and the idea of justice slipping away in modern society sit quietly beneath the surface. Because of this contrast, the song feels playful and reflective at the same time.

Moreover, this duality is one of the defining traits of the Grey & Purple Songbook project. The band often draws from funk and 1980s rhythmic language, and here that influence feels natural rather than nostalgic. The bass moves with precision, while the rhythmic structure stays tight and inviting. The production keeps everything clean and contemporary. The track exists in a space that feels familiar yet hard to categorize.

Lyrically, the song avoids preaching. It poses questions and allows the listener to sit with them. Meanwhile, the upbeat arrangement prevents the message from feeling heavy-handed. This balance works well, because the listener can dance first and reflect later. The melodic phrasing stays memorable, which reinforces the song’s staying power beyond the first listen.

The chorus plays a crucial role in this process. It opens up with a sense of release, and yet it never abandons the underlying tension. The rhythmic drive remains constant, which keeps the energy high throughout. Small instrumental details, such as subtle guitar accents and tight rhythmic breaks, help maintain interest without distracting from the song’s core identity.

In the broader context of Grey & Purple Songbook’s catalog, “Justice on the Country Road” captures the essence of the project while pushing its themes forward with clarity. The track succeeds because it respects the listener’s intelligence while still delivering a strong sense of fun.

Justice on The Country Road is Grey & Purple Songbook’s Single Out Now!

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Ambiguous!

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Justice on The Country Road is Grey & Purple Songbook’s Single Out Now

Grey & Purple Songbook, hailing from Oslo, Norway, is a musical project under the label Grey & Purple Inc., known for producing harmonious and thought-provoking text-based music stories across various genres. With a blend of captivating melodies and heartfelt lyrics, Grey & Purple Songbook’s music resonates with both the mind and the heart, promising a soulful experience that transcends boundaries.

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The post Justice on The Country Road is Grey & Purple Songbook’s Single Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

A new sound is emerging from the heart of Kansas, one rooted in history, shaped by land and legacy, and carried forward by three highly respected musicians who work internationally, but whose paths converge in the capital city. QUIVIRA is a progressive rock project rooted in a deep musical lineage and a shared commitment to storytelling through sound.

Who Is QUIVIRA?

Lisa LaRue
(2KX, Federico Fantacone), composer, keyboards, and computer programming

Jake Livgren
(Emerald City Council, Proto-Kaw) vocals and multi-instrumentalist

John Baker
(Forever Twelve, Mars Hollow, Little Girls), guitars, bass, and vocals

Together, they are crafting a bold, modern interpretation of progressive rock that honors the past while forging something unmistakably their own.

For more than half a century, Topeka has stood as one of America’s most unexpected yet influential centers of progressive rock. Long before the genre even had a name, the musical curiosity of Northeast Kansas listeners helped cultivate a scene that would ultimately give rise to Kansas, the nation’s first commercially successful progressive rock band. Since then, Topeka has remained a quiet but powerful engine of progressive innovation, a place where the genre did not simply arrive but took root, evolved, and continues to inspire new generations. The city has also produced numerous other respected musicians and fostered vibrant creative communities that continue to shape the genre’s legacy.

QUIVIRA stands firmly within that lineage, carrying it forward with intention and respect.

QUIVIRA’s debut single, “Quivira Bound,” draws its visual identity from a defining piece of Kansas history: “The Coming of the Spaniards,” the monumental mural inside the Kansas State Capitol. The artwork depicts the moment Spanish explorers entered the region that would become Kansas, a moment of cultural collision, consequence, and transformation.

QUIVIRA approaches this imagery with honesty and perspective. Rather than romanticizing the past, the band uses it as a lens to explore the stories, tensions, and legacies that shaped the Plains. Their music becomes both a reclamation and a confrontation, giving voice to histories and perspectives long overshadowed.

The introductory single “Quivira Bound” is available on Bandcamp and all popular Digital Streaming Services

QUIVIRA ONLINE
Facebook: https://www.facebook.com/profile.php?id=61583312171993
MRR Artist Profile: https://mrrmusic.com/project/quivira/

Stream & Purchase Links
Amazon Digital: https://www.amazon.com/music/player/albums/B0GHC8YMDX?
Apple Music: https://music.apple.com/us/album/quivira-bound/1869804574?i=1869804575
Bandcamp: https://quivira.bandcamp.com/
Spotify: https://open.spotify.com/track/7gA0JAjkQ5rlct250huANi?si=5e72868f5a5f4bbf

International AOR supergroup Transatlantic Radio released today their new single and official video, “City Of Angels”, the second one taken from the upcoming debut album Midnight Transmission, out on February 20, 2026, via Frontiers Music Srl.

Basist Victor Brodén stated: “City Of Angels” was the last song written for the album. It is a tribute to all the great songs, throughout history, about going west to try to make your dreams come true and live your best life. In our case, it is also a tribute to the diverse city of Los Angeles, but it could be wherever the city of your dreams is. The song delivers the quintessential Transatlantic Radio sound, a huge chorus, big sweeping melodies and lots of attitude. This is a song to roll down your windows and sing at the top of your lunges on the way to a party or on a long road trip!”

Brodén continued: “The completion of this album is a love letter to the music that shaped my life, musically and otherwise. The guys in this band took what was a casual idea and turned it into something beyond my wildest dreams. Mattias Osbäck is truly one of the greatest rock voices of this generation with a rough edge that brings our big, sweeping melodies to life and gives them attitude”.

“RJ Ronquillo, on lead guitar, is a legend in his own right and a role model for guitarists around the world as well as one of the world’s most watched six-string heroes with his YouTube channel”, he continued. “His work on this album makes me grin ear to ear. Chris Reeve on drums is one of the most sought-after touring drummers in the world right now, and a bass player’s dream come true. Him agreeing to join this project is still mind boggling to me. Fred Kron on keyboards, my partner in production for this project, is nothing short of a wizard. There would be no Transatlantic Radio without his invaluable input, otherworldly mixes, and his ability to sprinkle magic dust on all of these songs. This is the band I could never have imagined being in growing up, and this is the record I always dreamed of making”.

An inspired celebration of classic AOR with a fresh, modern pulse, Midnight Transmission marks the official album debut of Transatlantic Radio. Midnight Transmission is a love letter to the 80’s giants of the genre – Foreigner, Toto, Danger Danger, Starship – but it’s no nostalgia act. Each track balances polish with punch, fusing massive choruses, slick arrangements, and emotionally charged performances with crisp, contemporary production.

Conceived during the isolation of the 2020 lockdown, the project was born out of a desire to bring timeless melodic rock back into the spotlight – with a lineup as global as their sound. Fronted by powerhouse Swedish vocalist Mattias Osbäck and featuring American guitarist R.J. Ronquillo (known for his work with Ricky Martin, Santana, Stevie Wonder, and Stone Sour), the band blends European sensibility with American fire.

The lush keyboards of Fred Kron – who had his work featured in Anchorman 2 and High School Musical 2, and longtime member of the Jimmy Kimmel Live! band – add cinematic depth and vintage flair. Behind the kit is Chris Reeve, drummer for Filter and Avril Lavigne, whose dynamic style gives the album its drive and precision. At the center of it all is Brodén himself, anchoring the songs with groove, vision, and a deep understanding of the genre’s melodic soul.

Following a string of well-received singles and video releases, Transatlantic Radio made their live debut at the Malmö Melodic Festival 2024, where their sound and presence confirmed that this is more than just a studio project – it’s a band with heart, muscle, and chemistry.

Pre-Order Midnight Transmission here.

The post AOR Supergroup TRANSATLANTIC RADIO Shares New Single “City Of Angels” From Upcoming Debut Album “Midnight Transmission” appeared first on Sonic Perspectives.

UK alt-hardcore quintet Higher Power have released a video for their track “Count The Miles”, ahead of their highly anticipated sold-out show, at Leeds Brudenell Social Club on Friday 16th January.

The band’s third studio album, There’s Love In This World If You Want It, was surprise released digitally in summer 2025 via Nuclear Blast Records.

Frontman Jimmy Wizard commented on the video: “This video was Alex’s concept but one of our favourite things growing up was seeing videos that give you a look behind the curtain! We don’t live and tour like this anymore but I’m grateful for the experiences we had together and it’s cool to have something of a highlight reel of our lives over those years so enjoy!”

Inner peace. That’s the aim for us all, isn’t it? Well, the truth is that it is always there waiting for you. You just need to work away a little bit to find it, digging deep and questioning yourself to get closer and closer to achieving that ultimate sense of personal zen. It may not always feel like the search is paying off, but there is always potential for that love, compassion and understanding of who you are to seep through. The journey may be challenging, but you’ll be glad that you took part in it in the end.

For Higher Power, that journey has seen them do things that, when they emerged onto the Yorkshire hardcore circuit in 2015, were never even on their radar. From their innocently frantic beginnings of emulating and celebrating legendary bands like Leeway and Merauder for a new generation, even playing their first two shows in the basement of the house owned by The Flex and at an early iteration of Outbreak Fest respectively, the ten years that have followed have seen them ride every ebb and flow that the music industry has to offer.

From touring with everyone from Alexisonfire and Neck Deep to Knocked Loose and Angel Du$t to signing to Roadrunner Records for their sophomore full-length 27 Miles Underwater, they have achieved the sort of things that, up until recently, would never have been on the horizon of possibility for a hardcore band of their ilk. Yet, within experiencing the industry mechanics usually reserved for the highest echelons of rock royalty, they also realised they were drifting away from the things that made them want to do all of this in the first place.

The result of putting what feels right for them first is There’s Love In This World If You Want It, a record that encapsulates the Higher Power spirit in a way that only those whose hearts are truly entrenched in the band can produce. Peeling away layers of assumption and ideology placed upon them by others and focusing once more on the genre-splicing experimentation that inspired them to create together in the first place, they have produced nine songs that showcase exactly what they are made of in a screaming rainbow of colour.

The post HIGHER POWER Shares Latest Video For “Count The Miles” appeared first on Sonic Perspectives.

Finland’s forward-thinking metal trailblazers Lost Society announce their brand-new album Hell Is A State Of Mind, set for release on March 6th, 2026 via Nuclear Blast Records. Four years after the critically acclaimed If the Sky Came Down, the band returns with their most fearless and defining statement yet—modern metal without equals and without apologies.

For vocalist–guitarist Samy Elbanna, guitarist Arttu Lesonen, bassist Mirko Lehtinen, and drummer Tapani Fagerström, Hell Is A State Of Mind marks a bold step into the metallic territory they were always meant to claim: unrestrained, unmistakable, and unapologetically their own.

Reuniting with trusted collaborator Joonas Parkkonen (producer, co-writer, mixing engineer), the album took a decisive turn when the track “Blood Diamond” reshaped the creative direction—evolving from a simple melody into cinematic, string-driven grandeur.

The album’s first official single, “Blood Diamond”, follows last spring’s “early first taste,” “Dead People Scare Me (But the Living Make Me Sick)”, and arrives alongside a raw, high-energy video capturing Lost Society’s untamed stage presence. From the very first notes, Hell Is A State Of Mind makes one thing clear: this is Lost Society at their most confident, confrontational, and uncompromising.

Frontman Samy Elbanna comments: ”I’m beyond excited to finally be able to announce our upcoming album and the new single off of it! Lost Society sounds HEAVY in the year 2026 – and you are all about to experience it first hand! I loved every moment of writing this album and especially preparing the story that i’m singing to you all – soon it will all be yours. Pre-order the album and blast out ”Blood Diamond” LOUD until your neighbours can’t take it anymore!”

You can now pre-order Hell Is A State Of Mind here.

The post LOST SOCIETY Announces New Album “Hell Is A State Of Mind” And Drops First Single “Blood Diamond” appeared first on Sonic Perspectives.

DEAN BIRKHEIMER | Go Venue Magazine

On January 16th, Save Ferris tore through a set that reminded everyone why this third-wave ska punk outfit from Southern California still packs a punch three decades after bursting onto the scene.

With a crowd of all ages, the vibe was equal parts nostalgia and fresh excitement as Monique Powell and her band ripped into favorites and deep cuts with relentless energy.  Save Ferris is very popular. The sportos, the motorheads, geeks, sluts, bloods, wastoids, dweebies, dickheads. They all adore them. They think they are a righteous band.

From the moment the horn section kicked off with “Turn it Up”, the room filled with skanking feet, clapping hands, and grins all around.  Pardon my French, but the horn section was so tight that if you stuck a lump of coal up their collective asses, in two weeks you’d have a diamond.  Powell’s vocals were powerful and precise, weaving effortlessly between ska rhythms and rock and roll punch. Though the band has evolved since their heyday in the 1990s, that signature blend of horns, guitar work, and melodies was on full display. Standouts of the night included costume changes and songs that had fans singing along word for word. Classic hits brought an unmistakable flash of ‘90s alternative radio vibes to the club.  Powell connected with the audience with both humor and genuine warmth, sharing stories and hyping up the crowd between songs.  It was clear that every member onstage was feeding off the same energy.  Save Ferris still brings a joy to the stage, delivering a ska sound that refuses to sit still.  Of course the crowd went ballistic during the final song of the evening “C’mon Eileen”. A big thank you to the friends who kept calling the other friends and talked them into going to the show..I can hear the conversation in my head..He’ll keep calling me. He’ll keep calling me until I go. He’ll make me feel guilty. This is uh… This is ridiculous, ok I’ll go, I’ll go, I’ll go, I’ll go, I’ll go. What – I’LL GO. Shit.  As the evening ended and as I was walking out they’re was a group of fans still near the stage.  I walked up to them and said, You’re still here? It’s over! Go home. Go.

Actually, I think they were in the right frame of mind as life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.  If you get an opportunity to see Save Ferris, don’t miss it.

SETLIST
Turn it Up – Anything – World is New – Little Differences – Everything I Want To Be – Sorry My Friend – I’m Not Crying For You – The Only Way To Be – What You See Is What You Get – Li it’s a half brother things have good moves – Ohh Oh Rudi – Goodbye – Superspy – Lights Out – Artificial Life –  2 Drunk 2 Fxck – I Know –

ENCORE
Santeria – Coming Eileen

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

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