Album Review: Halestorm- Vicious

I regularly run into a diligent concert photographer who is a steadfast rock loyalist.  After bemoaning the invariably diminished crowd sizes for his favorite form of music, our discussions shift to the general decline in the popularity of mainstream rock.  My go-to line is “where’s the new Guns N’ Roses?”  The next time I see my friend, I’ll be able to tell him that rock’s savior has finally arrived. 

On its fourth album Vicious (July 27 street date), Halestorm shows it’s capable of kicking up fresh dust with the one foot rock has moldering in the grave.  I’ve been on the Halestorm bandwagon for years, but the wholly accessible Vicious is the band’s first release that’s capable of crossing over to fans of classic rock, contemporary country and pop.

“Uncomfortable” is just one of several potential hits on Vicious.  Fashionable bands like Deafheaven and Parquet Courts will get the lion’s share of breathless reviews.  Halestorm is destined to pack arenas.  It’s about time.  Let the commercial revival of rock commence.


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I reviewed a concert by Kenny Chesney, Thomas Rhett, Old Dominion and Brandon Lay at Arrowhead Stadium for The Kansas City Star.

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I reviewed a concert by Henrique Eisenmann and Ehud Ettun at the 1900 Building for Plastic Sax.

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I write weekly music previews for The Kansas City Star.

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Ponty Bone has died.  Without Bone’s essential contributions, I probably wouldn’t have fallen in love with the first few Joe Ely albums.  The accordion player is featured in grainy footage from 1980.  (Tip via BGO.)

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The influential music journalist Roy Carr has died.  (Tip via BGO.)

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Binker and Moses’ electrifying Alive in the East? lives up to the hype.  Maybe London really is the new jazz capital of the world.  That said, I could do without the annoying harp of Tori Handsley.  RIYL: Courtney Pine, trendiness, Shabaka Hutchings.

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Beastmode 2 is fine, but I guess I’ve moved on from the Future/Zaytoven formula.  It doesn’t move me much anymore.

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The Royal Krunk Jazz Orkestra is a new-school big band led by Russell Gunn.  Get It How You Live is worthwhile, but RKJO is clearly an ensemble that’s best experienced live.  RIYL: Snarky Puppy, progress, Dionne Farris.

(Original image by There Stands the Glass.)

Hale Mary

Either I’m suffering from a severe case of Stockholm syndrome or a band I once loathed has dramatically improved.  Halestorm’s 2009 breakout hit “I Get Off” turned my stomach at the time.  The first few of the six or seven times I worked their concerts were dismal experiences.  Things have changed.  Not only would I now gladly purchase a ticket to a Halestorm concert with my own money, I’ve been listening to the group’s new covers EP for pleasure.  Whitesnake never sounded so good.  (Send help.)


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I touted Lincoln Marshall on KCUR this week.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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I documented my visit to a cocktail lounge on the Plaza at Plastic Sax.

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Nat Hentoff has died.

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I’m glad No Plan exists, but most of the new David Bowie EP isn’t nearly as good as Blackstar.

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Renée Fleming's Distant Light is a lovely adventure.

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Dale Watson and Ray Benson’s new duet album is charming.  RIYL: Willie Nelson’s countless duet albums, old coots, Texas.

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Spotify’s bots earned their keep when they tipped me to Courtney Marie Andrews’ Honest Life.  RIYL: Iris Dement, The Last Waltz, Mimi Fariña.

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Robert Glasper is featured in what may be the  best episode of “What’s In My Bag?”

(Original image by There Stands the Glass.)

Concert Review: Adia Victoria at the Riot Room

I attended Adia Victoria’s show at the Riot Room last Monday on a hunch.  While I was underwhelmed by the recordings of the Nashville based artist as I researched a preview I wrote for her Kansas City debut, I suspected that I was missing something. 

My hunch paid off. 

I was one of about three dozen people in attendance for what’s certain to be one my favorite performances of 2016.  Backed by an impressive band of Nashville cats, Victoria prowled the stage like the feral grandchild of Howlin’ Wolf and Dolly Parton. 

Victoria repeatedly suggested that she was playing the blues.  Accordingly, a noisy cover of Robert Johnson’s “Me and the Devil Blues” was my favorite selection.  She was entirely credible as she insisted that she was going to “beat my man until I’m satisfied.”

I was so gobsmacked that I failed to take a decent picture.  Fortunately, Todd Zimmer documented the show with a remarkable set of photos.


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I reviewed of a new collection of 58 previously unissued Charlie Parker tracks for KCUR.

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I reviewed Brian Wilson’s concert at Muriel Kauffman Theatre.

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I reviewed a concert by Duran Duran, Chic and Tokimonsta.

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I previewed Drake’s return to Kansas City for The Kansas City Star and Ink magazine.

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I reviewed a concert by Shinedown, Halestorm and Black Stone Cherry.

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I talked up Rooftop Vigilantes on KCUR last week.

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I write weekly music previews for The Kansas City Star and Ink magazine.

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The last 132 Hastings stores have been shuttered.  I spent a significant portion of my life in Amarillo soliciting the buyers of the once-powerful chain.  By and large, my contacts at the Hastings headquarters were good folks.

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I’m all about Revocation’s Great Is Our Sin.  RIYL: Exmortus, metallic hooks, Lamb of God.

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The unfortunately named Dinosaur exemplifies the look and sound of modern jazz.  (For the record, I dig the London ensemble.)

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Many readers of There Stands the Glass are vocal advocates of Goat.  Requiem, the band’s new album, will be released in October.

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Grady Champion’s preposterously old-school ”Move Something” just might be my favorite song of 2016.  (Not kidding.)  RIYL: Marvin Sease, dance songs, Mel Waiters.

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The things I liked about Z-Ro’s purple-drenched Houston rap are largely absent on Drankin’ & Drivin’.  Z-Ro knows it.  He raps “if you don’t like my new sh*t you can go back to my old sh*t… gotta get this money, man.”  RIYL: 2Pac, the slickness, UGK.  Here's "My Money".

(Original image by There Stands the Glass.)