Say Anything at Marquee Theatre 11/16

Last night every hipster in the Tempe/Phoenix area came together for their collective high school reunion, or so it seemed. As teary eyed and sweaty as they were in their teenage years, a mob of now twenty somethings packed into the Marquee Theatre to stand awkwardly on the back wall until Say Anything took the stage. At which point everyone lost their s***.

With good reason I might add. Say Anything's"...Is a Real Boy" 10 year anniversary tour inspired the most post-modern celebration of nostalgia I've ever witnessed. At first sight Max Bemis' eloquently disheveled hair sparks an uproar as the introduction to the first track of the album, "Belt", plays. A wave of goosebumps passes through the crowd upon Max's first words of the night: "and the record begins with a song of rebellion". From the first song the audience is run amok with moshing, cheering, and joyful fan girls crying. The closing lyrics of this track "all my friends in the alley tonight" assume a unanimous understanding of kinship between a handful of sweat soaked strangers holding one another in the mosh pit singing along soulfully.

Max's initial goal for this album was to write a rock opera featuring a full story, interludes, and characters. The final product of "...Is A Real Boy" instead became a musically focused album, and much less of a rock opera. However this vision came to life as every boy and girl in the pit assumed their roles throughout singing along to "Alive With The Glory of Love". A few minutes captures the emotion of what might be our last chance to share this intimate experience of expression with strangers on the same level of enthusiasm.

Reciting word for word an album that saw us through our adolescence, we're much less a crowd of fans than a group of life long friends. The same look of tragic angst shows on all our howling faces during "Every Man Has A Molly".

The applause grows with each passing song in the set. Despite writing about being an egotistical prick who hates himself, Max Bemis is actually a nice, humble guy on stage. Taking out his ear plugs to listen to his audience, the sentiment expressed by Max's face lighting up at the sound of the audience's ovation is heart warming. There's a real connection between this audience in complete adoration of an entertainer and a performer equally thrilled to hear us cheering.

Several fans anticipate the possibility of hearing a few songs from Two Tongues, a side project shared by Max Bemis (Say Anything) and Chris Conley (Saves the Day). Acknowledging this anticipation Max quickly bursts our bubble announcing that no Two Tongues will be performed. However he accompanies this with good news; a new Two Tongues record is in the works. So it only makes frustrating sense that the two would hold back on this tour to "keep you primed for the real thing" says Bemis.

The "...Is A Real Boy" anniversary tour is absolutely a must see for any Say Anything fan. If you don't buy yourself a ticket, buy a box of Kleenex to wipe away your tears at the thought of missing out. But really, the tour is a one time experience for fans to see whats arguably the most memorable album performed start to finish. The full performance of the album as well as it's later released bonus disc "...Was A Real Boy" features songs never before performed live on previous tours. Don't miss this tour, and be on the watch for a new release from Two Tounges. From Max's words, it appears there will likely be a tour following the release as well.

Yelawolf and Rittz at Club Red 11/4

What do rappers, an Appalachian dulcimer, steel guitars, electric guitars, acoustic guitars, turntables, pianos, and mosh pits all have in common? Probably nothing; except the spectacle that was Yelawolf's ridiculously genre-diverse show at Club Red last Tuesday night.

Slumerican culture introduces a number of elements you won't see at a run-of-the-mill rap show. For example, a mounted deer head at the merch booth.

Diversity also reared its head in the audience as numerous Strange Music and Slumerican fans turned out to see Rittz (currently signed to Strange), and Slumerican founder (though currently signed to Shady Records) Yelawolf. Both artists have a long history of collaboration between their respective record labels and its safe to say this comradery is shared among the crowd.

A strong sought-after supporting act is just one of the many unique, positive parts of tonight's show. Though he isn't the headliner, you wouldn't know it by the crowd's audible collective roar upon Rittz's taking the stage; a sure sign that very few people showed up here just to see Yelawolf. Rittz proves his popularity is far from unwarranted, spitting rapid bars with an accuracy made more impressive by a flow that seems to switch gears every other line. If that wasn't enough to win you over, Rittz takes it further continuing to rap a capella without missing a beat. Studio quality rhythm like that isn't something you always get from fast rappers, but Rittz's ability to live up to his recordings all throughout his set is impressive.


Talent is a strong suit for Rittz, but he brings more than skill to the table at his live performance. The mile wide smile regularly growing on his face silently screams "I love what I do, this moment is perfect". I can feel the unmistakable vibe that radiates from an artist who's truly fallen in love with performing. There's a sonic presence of this energy in Rittz's fluctuating inflection as he screams, shouts, and raps his audience into a frenzy. Watching Rittz work the stage left to right it's clear there's enough to go around too. His stamina and vigor on stage go to no waste as the entire Club returns the energy audibly following line after line.

Skill and a good crowd reception don't constitute a big ego for Rittz. Repeatedly showing humble appreciation for his fans, Rittz tells us "I've been out here five or six times and always get a great crowd. I never get used to that s***. I aint no rich a** rapper". His likability continues to shine between songs, going on to speak to the crowd "Everybody on social media has some s*** to say, f*** that be yourself.". His blunt attitude is balanced with an entertaining sense of humor as Rittz places his mic on it's stand saying "Mic stand on stage make you feel like you're in a rock band or some s***. You get a false sense like you can dance." Our grinning jaws drop in laughter as Rittz goes on to impersonate a country singer, leaning the mic stand side to side soulfully.

Having entertained us from every angle, the end of Rittz's set leaves everyone more than pumped for Yelawolf.

My intrigue is quickly sparked before Alabama-based rapper Yelawolf even takes the stage. The two accompanying instrumentalists, Bones Owens and DJ Klever. appear on stage first. Both are dressed in all black from their wide brimmed hats down to their boots. Catching my eye is Bones Owen's eloquent cluster of country piano ornaments featuring a navajo style blanket, candles, and a horned animal skull. The first sound heard is the roaring engine of what I safely assume is a Chevy, similar to that of the intro to Yelawolf's song "Get the F***Up". Yela literally jumps into his first song bounding onto the stage wielding a can of Budweiser, sporting a cowboy hat and boots. The visual presence of the Slumerican southern roots hits you like a bag of rocks.

Early in his set we can see Yelawolf chopping through a familiar smirk cracking across his face. You have to love going to a show where the artist is having just as much fun as the audience. Which is saying a lot considering how much fun we were having in the mosh pit that exploded during "Push 'Em". In addition to passion, Yelawolf shares with Rittz a similar sense of humility, telling his fans "It's an honor for us to get up and do this for you all". Thinking back to Rittz's comment on mic stands, the rock infused mayhem going on safely justifies Yelawolf's use of his mic stand.

Following a healthy dose of snare heavy punk drums on the "Push 'Em" instrumental, Bones Owens puts down the guitar and hops on keys for "Throw It Up". Continuing to display the skills of a one man band, Bones also whips out the Appalachian dulcimer for "Catfish Billy". Bones Owens continues to pull out instrument after instrument and there's never a dull moment on his side of the stage throughout the show.

Things go from chaotic to dark and heavy as Yela introduces his next song. Requesting all house lights be turned off, he instructs the crowd "If you love somebody lighters up. if you've ever experienced violence, been the giver or taker of violence, lighters up." bringing a chilling new feeling to the lyrics of "Pop the Trunk".

Bringing Rittz back on stage the two perform "Box Chevy" together; an especially hair raising sight
considering it was Rittz's feature on "Box Chevy" that kick started his now successful rap career.

Now if you think rock, rap, and country don't mix, a Yelawolf show will cause you some serious cognitive dissonance. But go ahead and doubt him, Yelawolf welcomes it. Stating "Growing up in a small town in Alabama I always had to prove I was hip-hop. Motherf****** would tell me I ain't hip-hop." as a small preamble to  "I Wish" as he goes on to say "I wish a motherf***** would tell me I ain't hop-hop!". Demonstrating their cross culture resilience, Bones, Klever, and Yelawolf all seamlessly transition from "I Wish" over to hip-hop adaptations of "Back In Black", "Sweet Home Alabama", and "Smells Like Teen Spirit".

The crowd is a hot mess as Yelawolf concludes his set. Even one, two, three encores later, we're all begging for more. If you want to hear more from Yelawolf, pick up his newest single "Till It's Gone" and more directly from his website. For more from Rittz you can pick up his newest album "Next to Nothing" at the Strange Music store.