Emilie Autumn typically has no opening act or live band, therefore her show is mainly focused on an overarching storyline of her time being locked within the walls of an asylum. She utilizes heavy satire and Victorian flair while confronting the issues of sanity and sexism within the world today. She has built an entire world that encompasses a novel, several album releases, and a soon-to-be major theatrical production. If you are expecting to see a traditional concert, you will more than likely question what it is you are experiencing; this is much more of an interactive performance piece.
“The golden rule is: if you can perform in Holland, you can perform anywhere,” says internationally known Dutch House artist Sander Van Doorn of how Dutch culture has shaped one of the biggest industries in EDM.
Alright, I know what you’re thinking. Punk rock? On Broadway? Are you fuckin’ serious? Set aside your thoughts on whether or not Green Day is “punk.” Instead, let’s talk about the awesome spectacle that is American Idiot.
Bucking the pattern of previous years, this December is shaping up to be a busy month for dance here in Zion. This coming weekend (Dec. 5–7) the University of Utah’s graduate students in dance will mount Multitudes, celebrating the culmination of three years’ research in new choreography.
John Brannon's lip is bleeding, Harold Richardson is wailing away that wiry solo on "Lead Song." Some idiot is screaming out for a Suicidal Tendencies (what?) cover. These songs are quick, borderline psychotic snaps of furor. Perfectly crafted by some mystic core entity into some divinely inspired audiovisual ratio of power and speed. No frills, no whistles. The calcified gristle of rock n' roll’s fattened carcass, the parts that stay behind when the glistening flesh has long rotted away.
Last Saturday night, punctuated by a giant steel cage and a crowded arena, UCW-Zero had one of their finest moments as a company. It was a night of great rivalries mounting to a head, excellent plot twists and more than enough blood n’ carnage to keep any wrestling fan content.
Opening with “Most People” from their 2013 album Stories Don’t End, lead singer/guitarist Taylor Goldsmith flawlessly captured every member of the audience both young and old with an epic yet interesting guitar solo, which set the tone for the rest of the show.
Ableton, the Berlin–based music software company responsible for some of the most widely used production software in the world recently teamed up with New York–based singer/songwriter and remix artist Erin Barra to promote the latest in production technology⎯Push.
The remainder of the evening progressed, or degenerated, into the more Butthole Surfers' end of the psychedelic swimming pool/cesspool. At the same time, their music, song after song, proved itself as just solid rock n' roll that doesn't fit easily into a pigeonhole of country, psychedelic or punk—it's a little of all of those things.
Jed Beal, the owner of Jed’s Barber Shop, a passionate supporter of the Movember Movement and the driving force behind the gala, took up the mic and said a few words about Movember and what it really means.