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Finally It’s Christmas! That’s the song I’ve been listening to all day as Hanson finally released a follow-up to what many (myself included) consider to be one the best Christmas albums ever made, appropriately titled Finally It’s Christmas – Check out our full 2017 Christmas Playlist on the home screen!

How the Grinch Stole Christmas: The Musical! – Dec 5th – Winspear Opera House – Dallas, TX

It’s beginning to look a lot like Christmas…but you’d better not finish that sentence within earshot of the Grinch. Because as we all know, the Grinch hates Christmas, as this touring production of How the Grinch Stole Christmas demonstrates, presented this month by the National Theatre. This December, join the citizens of Who-Ville as they appreciate Christmas for what it truly means to them, with or without their presents.  

Full Cast of ‘Dr Seuss’ How the Grinch Stole Christmas. Photo courtesy of ‘Dr. Seuss’ How the Grinch Stole Christmas!’ 

Director Matt August’s production of Dr. Seuss’ classic work starts with a big splash. The Grinch Orchestra, conducted by Adam McDonald, leads with a grand opening number featuring all the denizens of Who-Ville. The Whos are decked out like candy canes in red, pink and white, with clothes that balloon out into all manner of shapes and are decorated with wacky patterns, courtesy of Costume Designer Robert Morgan. Set Designer John Lee Beatty brings Dr. Seuss’s creation to life, with a design inspired by the original illustrations—indeed, the houses, hills, and even some of the food items look like black-and-white illustrations in a book. This idea works well with the central concept of the musical: that the events being seen here are a glimpse into the past, a story narrated by an older version of the Grinch’s dog, Max (Bob Lauder). Old Max reminisces about the days of his youth, even sharing a song with a younger version of himself, played with vigor and great warmth by Andreas Wyder. 

Philip Bryan’s Grinch is cantankerous and hates everything the Whos do—especially the singing. But he himself is a bit of a ham, which we see during his show-stopping “One of A Kind,” a song where he glories in his own uniqueness. Aided by designer Pat Collins’ flashy, Broadway-esque lighting scheme and sound effects by Ed Chapman, the Grinch prances and preens to his heart’s content. He hatches his plan to ruin Christmas from the Whos by stealing all their food and presents, content with his place in the world as the hated Grinch…until he meets Cindy-Lou Who (played alternately by Julia Rose DiPiazza and Danielle Guilbot), who seems determined to melt his—and the audience’s—heart. Cindy-Lou is the only one who spares a kind thought for the Grinch, supported reluctantly by her family (Vincent DiPeri, Melissa Weisbach, Brian Rooney, and Barbara Bayes). 

In spite of some technical difficulties, including a noticeable malfunction of Young Max’s microphone, the show is a delightful take on Dr. Seuss’s classic children’s story. Because while it may seem to be all about the presents in a production that features no end of visual effects from snowfalls to riding a sleigh down a mountain, it is, in the end, about letting love into one’s life, and accepting someone who is different. This production at the National Theatre is one the whole family can enjoy, and it makes a terrific holiday gift. 

Running Time: 80 minutes, with no intermission.

Amy Grant & Michael W. Smith w/ Jordan Smith – December 2nd – Verizon Theatre – Grand Prairie, TX

The Christmas season is officially underway in the valley with Friday night’s concert at the Abbotsford Entertainment Center. Michael W. Smith, Amy Grant and Jordan Smith brought a sold-out crowd a sample of new Christmas music as well as their much-loved hits. Amy and Michael are both established recording artists with multiple Grammy awards and have dominated the Christian music industry for years. It is a perfect blend for Christmas. 

For Grant, ‘Tennessee Christmas’ is her first Christmas recording in over twenty years. The album has traditional Christmas songs on it like Joy to the World, White Christmas, and Baby It’s Cold Outside, a duet with husband Vince Gill. It also has some thought-provoking songs about loneliness and isolation during the season.. A little melancholy, but it’s a reality for many and she wanted to reach out to people that dread ‘the season’ because of dysfunctional family issues or no loved ones at all. “We all need people around us, to connect to us, love us. It’s what the holidays are mostly about”. 

Michael W. Smith released his latest ‘The Spirit of Christmas’ back in 2014 and plays a selection that he dedicates to his Dad as it was a song they often sang together. He promised not to cry but it’s only been a year since “he went to heaven”. There were some not so dry eyes there. Set stage is set with a complete symphony orchestra as well as their Nashville tour band. The sound is excellent, the music in enchanting and the dialogue and stories in-between numbers recall memories and emotions that fill the arena with a warm glow. 

After a few numbers, including an ‘impromptu’ snowball fight and Christmas-lit hula-hoops, Jordan Smith is introduced as the not-so-secret special guest. He enters shyly, smiles at the microphone and belts out ‘The Grinch’ in a voice that is jaw-droppingly good. His range and power show off his ‘The Voice, season 9’’ winning talents. His presentation is still a little stiff though. After an intermission, it’s back to the classics like Grant’s Breath of Heaven, Smith’s Overture/O Come All Ye Faithful and the beautiful instrumental ‘It’s a Wonderful Christmas’ which takes full advantage of the orchestral sound. Jordan Smith comes back for a powerful Silent Night. It’s stunning. It is so good that Michael, scheduled for the next song, says he doesn’t want to follow that and throws the audience under the bus instead with a couple of house-accompanying carols. The audience is more than willing, thrilled to be a part of such beautiful music. Amy agrees with the part about the audience being a big ‘part’ of their show. It’s about the connections, the sharing of time with friends and family and that is what Christmas is all about.

Brian Setzer Orchestra Christmas – Dec 12th – Allen Event Center – Allen, TX

Now 25 years into its genre-blurring revivalism, the 19-piece Brian Setzer Orchestra sounded as tight as it gets when the latest installment of the “Christmas Rocks!” Tour stopped by a sold out and gorgeously decorated Rialto Square Theatre. And while there was just as much to look at on a stage with a blinged-out bandstand, toy soldiers and trees galore, the true allure of the show was the musicians themselves, especially the esteemed band leader, guitar wizard and former Stray Cats singer. 

Along with a stack of sheet music, Brian Setzer Orchestra completely turned “The Nutcracker Suite” upside down and then back around, while spreading additional joy during “Jingle Bells” as Santa tossed out candy canes. 

Much of the triple Grammy Award winner’s vast repertoire was on display, including his former band, current ensemble and sounds of the season right up through the most recent “Rockin’ Rudolph” collection. Whether they were “Rockin’ Around The Christmas Tree,” playing with a “Hoodoo Voodoo Doll” or taking a “Stray Cat Strut,” Brian Setzer Orchestra provided an endless wall of sound over a flashy presentation. 

Fans of the troupe’s blockbuster album “The Dirty Boogie” (or the original swing era after which it was modeled) got their fix of glistening brass in the title track and “Jump, Jive An’ Wail.” And anyone mourning the loss of country great Glen Campbell or true rock n’ roller Tom Petty were surely touched by proficient editions of “Wichita Lineman” and “Runnin’ Down A Dream” respectively. 
On a jazzy note, Setzer turned in “The Christmas Song” all by himself, then brought out a few of the other guys for rockabilly remembrances “Rockabilly Boogie,” “I Got A Rocket In My Pocket” and “Fishnet Stockings.” If it wasn’t a holiday theme, the enduring “Rock This Town” would’ve likely been the finale, but after the main man’s switch from a pinstriped suit to a bright red shirt, it was clear there was more to come. 

Along with a stack of sheet music, Brian Setzer Orchestra completely turned “The Nutcracker Suite” upside down and then back around, while spreading additional joy during “Jingle Bells” as Santa tossed out candy canes. The only element missing in the musical winter wonderland was snow, but an indoor flurry fell just in time for the final bows of a cast who keeps on giving with every version of this annual tradition.

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Trans-Siberian Orchestra – December 22nd – American Airlines Center – Dallas, TX

Trans-Siberian Orchestra’s show Saturday at Allentown’s PPL Center was big — and not just in its eight-member band accompanied by a six-member local string section and nine vocalists. Or its production — a huge stage, wall-to-wall screens covered with high-density images and risers that lifted up out of the stage and a walkway that rose above the crowd. 

The show also was big in scope. In 27 songs over two hours and 25 minutes, TSO presented not only the lushly orchestrated progressive rock versions of Christmas songs for which it’s best known, but also a rock opera/theatrical play, some blues and even traditional Christmas music thrown in. 

The concert was offered in three parts. First was an introduction that gave an indication of what was to come: the stage covered in roiling fog, flames, five musicians up on those risers, lots of lasers and even glittery “snow” falling from the ceiling as the group played three of those prog-rock songs. 

The middle was TSO’s 10-song soundtrack to the 1999 TV movie “The Ghosts of Christmas Eve,” with scenes playing on those screens and narration by too-dramatic storyteller Brian Hicks. 

That segment brought new staging, a theater facade, and the music TSO does best, a mash-up of “O Come All Ye Faithful” and “O Holy Night” with a wailing guitar solo, and a prog-rock combo of “Good King Wenceslas” and “Joy to the World.” 

The night’s best was “Christmas Eve (Sarajevo 12/24),” TSO’s first charting song (and only hit) from 1996. It was the concert’s payoff, with that walkway hovering over the crowd and so much fire on stage that the heat was felt halfway through the crowd. 

“Christmas Canon (On This Very Christmas Night),” with four female singers, was elegant, even with a rock treatment. “First Snow” was uplifting, and the guitarists went out to play in the nearly sold-out crowd. (The band’s dollar-per-ticket donation to charity totaled $8,122 for the first of two shows, suggesting the crowd’s size.) 

Surprisingly, two songs that strayed furthest from the TSO formula were among the best. The far more traditional “Promises to Keep” was sacred and touching, and “Music Box Blues,” a straight-up blues offering from a female vocalist, also was the least traditionally Christmas. Oddly, a later “Christmas Nights in Blue” by a male singer, also far from Christmas, was almost Broadway. 

Other songs also weren’t as successful. “What Child is This” came off as overwrought, and a breathy, deep-voiced “For the Sake of Our Brother” was uninspiring until it morphed into “O Come All Ye Faithful,” which with the same treatment was very good. An operatic and dramatic “Carmina Burana” seemed out of place. 

The show’s final segment was a 14-song “Best of TSO,” with band members again going into the crowd on the starting “Siberian Sleigh Ride.” 

TSO briefly paid tribute to two members who died this year — bassist David Zablidowsky (killed in a July bus crash that also claimed area singer Janet Raines) and TSO founder Paul O’Neill, to whom it dedicated a slow and intense “Safest Way Into Tomorrow.” 

But the show’s last segment leaned far more on effects, with a plethora of flames on “Wizards in Winter” and “Madness of Men” and the risers again on “The Mountain.” 

The show ended with a reprise of “Christmas Eve (Sarajevo 12/24)” amid a shower of sparks, fire and even fireworks — a big close to a big show. 

Another big thing about the show, the crowd, seemed to catch PPL Center by surprise. For the first show, five lines all stretched around the building, with a wait some people said was an hour, making them miss part of the show. One culprit seemed to be a ban on large purses, which made people have to rejoin the line after taking them back to cars.

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Roy Turner

We explore some current acts, Classic & Emerging – the innovators that are taking Hip-Hop to new heights & beyond. As a life-long fan & student of Hip-Hop it’s a great time to be a music fan to witness the rise of such talent taking Hip-Hop into the future.

Shabazz Palaces – August 24th – Club Dada – Dallas, TX

Ok so my long-time friend Tony turned me on to Shabazz Palaces a few years ago & have been greatly anticipating seeming them live ever since. To me they sounded like hip-hop meets Sun Ra so the expectations for what they were going to bring to a live setting were high.
As my girl Jocelyn & I met up with Tony & his girl, we waited for the set to begin. The individual stations, with their drums and electronics sitting neatly on draped colorful fabrics, suggested something vibrant or just more dynamic than what their albums bring. 

The reality is about half true. The set starts off in total darkness and the lighting only improves to dim. What is immediately clear is that Shabazz Palaces sell themselves short on their recordings. The muted dub quality of the albums dampens everything from the vocals to the broad-ranging references, all of which come to life in their live set. Vocalist Ishmael Butler’s delivery has a lot more attitude and personality live, and the nuances of the percussion really become effective here. 

The set itself does drag out for nearly two hours and it feels it. Because while Shabazz Palaces have an undeniably strong sound, the focuses on the sound often surpasses the focus on songs. And as there are peaks and valleys & if the duo continue to go for lengthy performances, then visuals might be helpful. Having no idea what to expect, I was anticipating maybe a more full band live arrangement a la Portishead. And how the fact that Ishmael Butler is Butterfly from one of my most beloved Hip-Hop acts Digable Planets got by me is incredulous to say the least.

Dalek – October 6th – The Curtain Club – Dallas, TX

New Jersey-based pioneers of atmospheric industrial hip-hop Dalek return as Ipecac Recording artists & tour to support this year’s confident, self-assured Endangered Philosophies. It had been 14 years since I last saw Dalek perform while they were on tour with The Melvins & Ipecac leader & all-around Renaissance Man Mike Patton’s Tomahawk project. In fact it was Patton’s label that first brought the Hip-Hop collective to my attention – Fun Fact: On a few of their earliest tours, Dalek stayed at my place in Texas circa 2001-2003.

After a 5 year hiatus at the beginning of this decade & a few lineup changes, they return strong. 

With live-sampling and on-the-go beat creation, the three-piece shifted through a set of extensive material all the way back to 16-year-old closer ‘Megaton’ – an altered take of Techno Animal’s noisy hip-hop track. The moments that impressed most were those that shook; a surprising amount of noise was churned through the venue, and although MC Will’s vocals often felt buried, the groove and impact more than made up for this, with some of the heaviest, slow-swung, hypnotising beats heard in the rap game. Dälek’s grasp on experimental – yet completely danceable – hip-hop is not only genre pushing, but wholly entertaining. 

Check out MC Will’s recent guest appearance on our TrickyKid Radio Podcast

Wordspace & Dallas Poetry Slam Presents: Saul Williams – October 19th – The Kessler Theatre – Dallas, TX 

What makes seeing Saul Williams perform so anticipatory is not only his unique versatility but unpredictability. Like you really don’t know what your gonna get except you know that it will be memorable. Sure when he’s doing his music tours you know your gonna get music but you definitely get so much more, the man is encapable of phoning it in or faking it, sometime even to his own detriment,

Last time I caught up with Saul Williams was about 2 & half years ago at the Roxy in Hollywood. The air was thick with a sense of urgency & grief as earlier that morning Freddie Gray,  the unarmed African-American man in his 20’s who was beaten to death by thug cops was buried. This place felt ready to erupt over that injustice and many came to the show to be around like-minded people to grieve. He was just putting together last year’s MartyrLoserKing LP.

Here as a fund raiser for local arts collective WordSpace this one-person performance designed to give this audience a chance to experience Williams in the type of performance that made him a phenomenon as a spoken word artist.

Here he exposed himself, short of shame and full of grace. Williams stretched his arms and invited the dense audience into his most intimate places – sometimes as roaring narrator of worlds he creates and reflects, sometimes as a muttering observer, more alongside his listeners than ahead of them.
Wrapped in a single spotlight, Saul Williams twisted and spilled over thoughts and journal entries as a student of language showing himself worth the cost of admission but also rearranging the landscape inside and thrusting his sensory captives into worlds, settings and perspectives beyond the comfort and pleasantries promised by the evening.  

As Williams’ rhythm, energy and focus reached its highest swell, just as easily as he wielded it, he handed it to his audience, offering an opportunity for showgoers to pick his brain for as much time as he’d spent performing. Here, in simpler language, he answered questions of love and war and the day and age we occupy, human connections, LGBTQ rights, growing up a pastor’s son, his first kiss(es) and the now-tickling trouble that followed.  

He offered something rarely seen between the stage, an artist and his art: an opportunity to humanize Saul Williams. To separate the art from the man only to realize no such separation exists. These radical and abstract thoughts are the growlings of a real radical. Not a man who will gun you down, but absolutely one who embraces and investigates every image he authors.  

When it seemed everyone else in the room had heard enough of their own voices, the attention returned to Williams who resumed form, raining down extended metaphors, consonance and triple entendres with an eloquence and a chestiness of a man who knows, if any can, A TRUTH – his own.  

Tricky – October 21st – The Curtain Club – Dallas, TX

While Tricky’s astounding new LP Ununiform nods sonically to his ’90s beginnings, there wasn’t a whole lot of looking back at this performance. The setlist favored newer material or radically reworked versions of old songs. Some things don’t change though as the show at times was a delicious mess & Tricky seeming like the last thing on his mind was the audience but overall did seem like he was in a good mood, More often than not where the times where it all came together and Tricky’s status as a true innovator and orchestrator shone though brightly.

Backed only by a drummer (Luke Harris who is also now a member of Brand New Heavies) and guitarist Paul Noel. Luke is also in charge of triggered synths and other sounds. Things tended to veer between minimalism and late-’90s alt-rock territory, especially on a couple of extended ragers. Lighting was also minimal — he basically played in the dark.  

Joined by the mesmerizing Breanna Barbara on vocals, Tricky doesn’t really click without that female counterpoint & there are no less than eight guest vocalists on Tricky’s new album alone (including Martina Topley-Bird). Barbara brings a strong stage presence and a great voice that lies slightly outside of his normal choice of singers. But she handles all their parts. Every time she was on stage things became more focused, tension went up. The cover of Hole’s “Doll Parts”, done live as a duet, worked much better live than on Ununiform, too, thanks in no small part to her.

Setlist – 

Vybes
You Don’t Wanna
I’m Not Going 
New Stole
Armor 
Palestine Girl
Doll 
Nothings Changed
Here My Dear
It’s Your Day
Running Wild
Parenthesis
Dark Days
Sundown
Daughter
When We Die
Vent

Blackalicious – October 22nd – George’s Majestic Lounge – Fayetteville, AR

Returning in 2015 after a (seemingly forever) 10 year hiatus with the innovative Imani Volume I – Now two years later they prep the release of the second volume with this mini-tour.
Blackalicious supported by Lateef and Jumbo. Chief Xcel’s beats were as solid as they’ve always been and when Gift of Gab hit his stride, every syllable that left his mouth were as smooth and effortless as they’ve always sounded coming from him. 

The crowd, whilst surprisingly small, were highly enthusiastic about what they saw which fed right back into Blackalicious’ performance. They were having as much fun as the crowd and the overall vibe was a pleasant and happy one. 
It was a shame to see Gift of Gab have to take as many breaks as he did, but despite having to still deal with the fallout of kidney failure, pushed on as much as he could. Gab’s verbal dexterity is just as impressive live as recorded & raps at an electrifying speed that must be seen to be believed. While it was impressive to see him lyrically annihilate tracks such as Blazing Arrow, Blacka and the enduringly iconic Alphabet Aerobics, it was his freestyle that was truly mesmerising. Despite recent health issues, GOG was ferocious in his delivery, causing jaws to drop all across the room.  The combination of his rapping with Chief Xcel’s sublimely engineered backing tracks was awe-inspiring, as well as a fantastic reminder of why Blackalicious are considered a monumental part of hip hop history.

Death Grips – November 11th – Gas Monkey Live – Dallas, TX

Another hip hop group out of Sacramento is the highly experimental Death Grips. By gaining their following through social media outlets such as Reddit, 4Chan, and Soundcloud, their audience is largely part of the younger generation of music listeners. I knew something was up (& good on the fine people of this venue) when no one was drinking at the bar & the bartender had lined up dozens of pre-made cups of ice water.
I think the crowd was even shocked that they showed up with Death Grips being notorious for cancelling their major label debut tour in 2012, and deciding not to show up to their other shows in 2013. By shrouding themselves in mystery, whether it be a series of intentional PR moves or not, no one truly understands the thinking that goes behind Death Grips but they absolutely love it. 

As soon as MC Ride entered the completely dark stage the crowd went wild. With only green and red strobe lights attached to MC Ride and Andy Morin’s knuckles lighting up the venue, the atmosphere had a sense of chaos accenting the crazy set that would ensue for the next hour and a half. With Lock Your Doors starting out the set, the venue was packed full of energy, and there was not a single person in the crowd that was not going crazy. With MC Ride’s crazy movements on stage, Andy Morin’s crazy keyboarding, and Zach Hill’s out of this world drumming that is not typically found within a typical hip hop group. They got the rebellious cool kids on their side & that’s where the future lies. Fun fact: When I returned to my friend after the three-song limit of shooting was over, I saw this butch teenage girl puking into the trash can right next to us. I look over at my friend & he says “She’s not the first to do that while you were gone” – Good times.

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Roy Turner

Fall is here & along with the anticipation of the Holidays comes a new season of Classical Music performances. We kick off Plano & Las Colinas Symphonies with grandeur & check in with a comedic genius at his most personal.

Eddie Izzard: Believe Me – Oct 13th – The Majestic Theatre – Dallas, TX

How perfect that Transgendered comedic legend Eddie Izzard & his brand of info-tainment landed in our fair city on Friday the 13th.
From the creation of the universe to the Trojan War, the comedian has never shied away from telling huge stories in his inimitably hilarious style. Now, at the age of 55, he has felt the need to return to his formative years and discuss childhood sack races, football and his street theatre days at Edinburgh Festival. But of course it’s all part of something much bigger. 

In his new memoir Believe Me & accompanying stage show held in intimate theatres to match the nature of the material, Izzard tackles some of the most important and personal moments in his life with frank and moving honesty. 

As he reads passages from his book, shares home movies and family photographs and takes questions from a captivated audience, the linking feature of Izzard’s bizarre and beautifully crafted comedy shows is his fascination with the ridiculous. Jazz chickens, vampires and Darth Vader have all been drawn vividly across a dreamlike landscape of nutty characters.

But Izzard has only ever briefly touched on the personal details of his life & in this show he tackles the death of his mother, coming out as transvestite his early experiences with women & other pivotal moments of his life with remarkable candor. 

Izzard – a stand-up, political activist, marathon runner and actor, the devastating impact of losing his mother at the age of six is the memory which kicks off the show & this moving admission sets the tone for a reliably funny but emotional show. 

In one particularly unflinching extract Izzard describes being chased by a group of teenage girls during his first public outing dressed in women’s clothing. Stripped to the bare bones, the story is heartbreaking but spoken through Izzard’s voice it is funny and gives us a true insight into his bold and unabashed approach to life. 
Full of pathos, honesty and boomerang hippos, Believe Me is a wonderful show which gives a fascinating glimpse into what drives this remarkable man.

Masquerade:Opera Cabaret Presented by  American Baroque Opera Company  – September 14th – AT&T Performing Arts Center – Dallas, TX

ABOC, had its inaugural concert as part of the recently started Elevator Project. took the form of a Greatest Hits sampler, including several arias from their upcoming spring production of Alcina, & rare gems by Vivaldi and Porpora that gave a very promising hint of the repertoire that these intrepid performers intend to bring to the mainstream consciousness.  

This is the first group in the state specifically devoted to Baroque opera. All the singers (and several of the orchestra players, including the director, Eric Smith, who played cello) wore Venetian masks as well as we the audience to make it a fun, interactive experience that really set the mood for the music. The effect was heightened by how the singers would walk up to the stage in character throughout. 

They opened with Vivaldi’s L’Olimpiade, which showed off the orchestra’s agility, dynamic contrast, and cohesion, all attributes which very well foreshadowed the challenges inherent in the music to come. Intonation was very much on point, and the ensemble was very superb at acting as one. Soprano Anna Fredericka Popova’s take on “Ah, mio cor” was especially informative, featuring very dark vowels which were very much used to dramatic effect. She also sang Vivaldi’s extremely agile “Siam navi all’onde algenti” with the greatest of ease and finesse. 

Countertenor Nicholas Garza, who will be singing Ruggiero in the upcoming Alcina, showcased one of that character’s arias at the end of the first half, “Sta nell’Ircana”, complete with a robust natural horn obbligato cheerfully supplied by Nancy Piper, notable for its imitation in canon of the vocal line in places. He also sang “Venti, turbini, prestate” from Rinaldo and a passionate cantabile aria by Nicola Porpora, “Alto Giove”. Soprano Jendi Tarde filled out the program quite well with her selection which had by far the most acting, in addition to her delightfully unencumbered vocal instrument. She sang “Tornami a vagheggiar” as she will be singing Morgana in Alcina, and her ornaments were simultaneously very well-planned yet came off seemingly spontaneously, as if she were effortlessly grasping them from the thin air.

This group has succeeded in being a passionate representative of Baroque opera as not merely an outlier that “comes before the real operas of Mozart, Puccini, Verdi, and Bizet”, but as a vibrant, effusive, and brilliant genre sui generis that appreciates the love and devotion performers bring to it. The audience certainly showed this, with great reason, and I look forward to this company accomplishing many great things in the seasons to come.

Plano Symphony Opening Night w/ Conrad Tao – September 23rd – Eismann Center – Richardson, TX

Hector Guzman and the Plano Symphony Orchestra kick off the 35th Anniversary celebration with rousing fireworks by Dvořák, followed by a return to a favorite audience practice of two concertos in one evening. Liszt’s Totentanz is known in part for its innovations — from repeated notes in the piano to special effects in the orchestra. Prokofiev’s Piano Concerto No. 1 rewarded the composer with the Anton Rubinstein Prize for pianistic accomplishments at a performance of the one-movement work at the Saint Petersburg Conservatory. The performance concludes with Rachmaninoff’s romantic Symphony No. 2, one of his best known compositions. 

Conrad Tao has appeared worldwide as a pianist and composer, and has been dubbed a musician of “probing intellect and open-hearted vision” by the New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by TimeOut New York. 

Now full disclosure, my attendance was completely rooted in the fact that my gorgeous & wonderfully talented girlfriend Jocelyn Hund was playing violin in the orchestra & while I may be a bit biased, I feel that her presence was glowing light that blessed the venue & everyone in it.

Las Colinas Symphony Orchestra Opening Night w/ Oleg Larshin – October 21st – Irving Arts Center – Irving, TX 

As stated above my attendance was completely rooted in the fact that my gorgeous & wonderfully talented girlfriend Jocelyn Hund was playing violin in the orchestra & this time I was seated with her parents for the first time. And while I might be a bit biased, this was one amazing show!

Performing Bruch’s Violin Concerto No. 1 in G Minor, this season LCSO theme is Vienna & Throughout the 2017-18 Season, the musicians and Maestro Austin invite you to join us for symphonies by Mozart (the “Jupiter”), Beethoven (the “Eroica”), Schubert (the “Great” Symphony No. 9 in C Major), and Mahler (the “Titan”).  We’ll also share Brahms’s exquisite Piano Concerto No. 2 and Beethoven’s “Emperor” Concerto.  And naturally there will be waltzing, polkas, and quadrilles from Vienna’s beloved Strauss family.

An international array of brilliant soloists will be on hand, including Mexican flutist Joaquin Melo, and Bulgarian pianist Ivan Donchev.  Closer to home, Texan Alex McDonald (pianist) and Scott Stratton (trombonist) will also appear as concerto soloists.  The season’s distinguished array of guest conductors is headlined by Oliver Weder of Germany, Piero Romano of Italy, and Piotr Sulkowski from Poland. 

Photos – 

Roy Turner
Karen Almond

Don’t you love it when you stumble upon events that you couldn’t have planned for? Those are always the best when they find you.
That’s what happened when Hip-Hop Heavyweight J. Skinner went exploring and found himself smack dab in the middle of something awesome.

Words & Photos by J.Skinner

7th annual Block Street Block Party – May 21st – Fayetteville,Arkanasas

Over 40 bands on six stages, 150 local arts, crafts, business and non-profit booths, a dunk tank, bouncy castles, multiple local beer gardens, food trucks, and tons of other activities? Imagine my surprise when I stumbled upon this gem nestled away in the beautiful Ozark Mountain city of Fayetteville for the 7th Annual Block St. Party!
  
The sunny and 75º weather could not have been more perfect for the and it was clearly the place to be as the streets were flooded with an estimated 12,000 patrons eager to check out offerings from local vendors that stretched up and down both sides of several city blocks.  

  
As soon as I learned that downtown Fayetteville was home to Block Street Records, I knew where I would make my first stop. From the moment I walked through the doors of the locally owned independent record store, I knew that I had made the right choice. Owner Wade Ogle’s love for music was apparent as I dug through the crates of rare vinyl that the shop specializes in. Wade later explained that the record store was his passion project after owning and operating JR’s Lightbuld Club, a harolded local venue with over 25 years of rich live music history.  
 

As much as I wanted to spend all day crate digging, I knew there was a lot more to see and my growling stomach was a clear reminder that I hadn’t taken the time to eat before making the trip to Northwest Arkansas for the street festival. The hunt was on and I was determined to find the best of the best and the choices were plentiful. As I made my way through the swarms of people, I took note of the music that was accompanying me on my journey as it emanated from one of four stages, and thought to myself it was the perfect playlist for my mission.  

I was soon awaken from my trance as I was greeted by a delicious aroma that stood out amongst the rest. I quickly pinpointed the source as my eyes located an especially long line in front of local food truck, Frickin Chicken. I have stood in some pretty long lines for fried chicken in my day and I was prepared to do it again here. To my delight, owner Clayton Scott and his crew were cranking out orders and the line dissipated much quicker than I expected. Even though they were swamped, Clayton made a point to come and speak with me about his business. I was blown away when I learned that his food truck had operating for only 9 months before converting to a brick and mortar and has seen continued success for the last 3 years.  

Once I finished my meal (chicken, waffles, and fries) I turned my attention to the street vendors to see what more I could find. After a quick visit with May Bell Music, Bunlimited, Written, and our old friends at Rock City Kicks.

  Written

I decided to check out Silver Lining Street Boutique, a local pop-up shop specializing in funky, high-end women’s street fashion. Owner; Lynna Dempsey, not only had a great eye for fashion, but was also very gracious and took several minutes to discuss her business despite being overrun with eager customers. She explained that having a mobile retail location allowed her to stand out from competitors while combining her love for travel with her passion for fashion.  

Silver Lining Street Boutique

Lynna Dempsey

After meeting hundreds more vendors I was ready to finish out my day with some live music. I made my way over to George’s Majestic Lounge where Memphis based hard rock band Devour the Day were set to close out the day’s festivities with a headlining performance.

Devour the Day took the stage to chants from a raucous crowd that was ready to rock and they were happy to oblige; opening with S.O.A.R. before leading into breakout single, Good Man. They continued to rock the crowd with offerings from both of their studio albums Time & Pressure and S.O.A.R. Before frontman Blake Allison took to the crowd with his signature stage dive and surf to conclude their performance.     
  
Setlist:  

S.O.A.R  
Good Man  
Save Yourself  
Blackout  
You and Not Me  
The Bottom  
Respect  

  Block Street Block Party 2017 was a massive success and I am glad that I was able to take part in the festivites. This isn’t an event that was on my radar going into Sunday but I assure you I will be putting BSBP 2018 on my calendar.