Winter keeps creeping in the Midwest and once again the temperature drops to a freezing cold of 19 degrees. This southern gal questions her decisions to live in this cold state every winter, but somehow I pull myself out of my warm and safe home to brave the winter weather like many others to attend one of the many concerts that highlight our area. I make my way to downtown Minneapolis which is normally bustling with life and activity, but the streets of downtown seem like a ghost town once again. The bright lights of the signs of the Skyway Theatre, Orpheum Theatre, Pantages Theatre, and other buildings light up the road as if to welcome patrons to dawn their doorsteps. As I pass by the Skyway Theatre, I see a line forming outside to enter the building for the show. I park in the underground parking structure and immediately get lost trying to find my way out to the street. Great way to start the night getting lost. It was like a maze and I found my way in a shopping center in the part of the building. I finally find an exit and start the quick trek around the block. I entered the building and proceeded to find the box office to pick up my photo pass. Not as easy as I expected. I wound up going around the building numerous times to find the box office, which was a small table at the top of the stairs with a small register in the middle of the floor. Nevertheless, I was in and ready to get to work. The show was scheduled to take place in one of the smaller rooms, The Loft instead of the larger Skyway Theatre. I made my way through the forming crowd and saw several people that I knew. I always love seeing them because they are such an important part of this community, especially Mike, who is a local Twin Cities celebrity in his own right, who runs the Midwest Rock Fans Facebook group. I always say that because of Mike’s group, I am here as a music photographer partially because of him and I met the love of my life. Yeah yeah, there is mushiness in rock and roll. Ok, enough of the Harlequin Romance Novel crap on to the rock and roll!
First on the docket for the evening was the first opener, local Minneapolis band Eaon. This three-piece rock band is made up of lead vocalist and guitarist Blayne Sovia, bassist Kyle Glidden and drummer Evan Stueve. Known for their hard rock and progressive edge sound, the band took no prisoners when they hit the stage. The five-song set was heavy and hard-hitting. Songs like “Lesson No. 1”, which was released in October with their new video packed a punch with a blend of grunge, classic rock, and heavy metal, while “87 Seconds” was a heavy rock ballad with a slower tempo. The band was a crowd favorite and is no stranger to the Minneapolis scene, playing in numerous venues. I was definitely impressed with their musicality and each song was better than the next. Blayne’s strong vocals and unsparing guitar rifts gave the songs its solid range. Bassist Kyle Glidden’s thick and dirty tones pared perfectly to his cohorts. Drummer Evan Stueve laid down a tight killer groove that accompanied his bandmates to a tee. To no fault of their own, the setup of the stage was odd as the band was not able to interact with each other, and they seemed so far away from each other. I think this would have given their set a little more oomph to it, but the multiple sets of instruments on the smaller stage did not help. I definitely look forward to seeing the Eaon again in the near future.
Eaon is:
Blayne Sovia – lead vocals, lead guitar
Kyle Glidden – bass
Evan Stueve – drums
Setlist:
1.) Lesson No. 1
2.) Strength to Move
3.) 87 Seconds
4.) Off the Floor
5.) Fan the Flame
Up next was Detroit’s favorite Kaleido. This female-fronted band is led by powerhouse vocalist Christina Criss. Sporting an ever-changing hair color which is now blonde, Minneapolis welcomed the band with open arms. Since being invited to tour with Sebastian Bach, the band has gathered more fans, and rightly so. Formed in 2009, this group has certainly made a name for itself. Previously touring with Alien Ant Farm and being part of the 2019 Warped Tour, they have stood out which got them added to the Kiss Kruise and Bach’s tour, which ironically happened on her birthday.
I met guitarist Drew Johnston backstage before they took the stage. He asked me about my camera equipment and I quickly learned not only is he a guitarist, but he is a guitar tech, videographer, and photographer. A jack of all trades you could say. He also provides photography for Bach during his set. Once the band hit the stage, there was no section they did not step. There was so much energy from each member. Chriss projected her voice with such power through every song. I could see why Bach chose her and her band for the tour. Her powerful voice was rich, raw, and unpredictable. Her stellar performance was matched by her band mate’s talent. Lead guitarist Drew Johnston was exactly what I would call an energizer bunny. If he was wearing a Fitbit, it would read off the charts. He invited me up on stage to continue photographing and it was like electricity on stage. His heavy-sounding guitar riffs were progressively melodic with aggressive undertones. Across the stage, bassist Cody Morales laid down a tone that was big, thick, and tight, especially in songs such as “Dead To Me” and “Pretending”. His extra dense and heavy cords gave each song its darker tones. Last but not least was drummer Joey Fava. Fava sets the tone of the band and everyone follows. Responsible for keeping the tempo, this human metronome bashed out a rhythm of heavy beats that I was sure would break the drum set. The powerful and energy-packed concert was just what this venue needed. I can honestly say that Minneapolis would sure welcome this talented band back at any time after this performance.
Kaleido is:
Christina Chriss – lead vocals
Drew Johnston – lead guitar
Cody Morales – bass
Joey Fava – drums
Setlist:
1.) Die Tryin’
2.) My Rock and Roll
3.) Pretending
4.) Play Video
5.) My Fire
6.) Drum Solo
7.) Dead to Me
8.) Eating Me Alive
9.) My Enemy
10.) Blood
11.) Panic In a Pandemic
I was getting ready for the last act and was directed to the “pit” area that was actually the front, while I had been standing in the pit for the first two acts. I was a little confused by the direction of the staff. I acquaint it to, “Your right! No, your other right.” But hey I am happy to stand in the middle of fan-crazed concertgoers to get some damn good shots. I have had worse, like the shirtless sweaty hairy guy, arm to arm with me at another show. The house music stops and what sounded like cartoon tunes started playing and the crowd starts screaming. Band members start filing out on the stage and a roar covers the building. Bach hits the stage and breaks into “Slave to the Grind” which just happens to be the 30th Anniversary of the album of the same name. The 2-hour performance included both sides of the album including the Japanese B-side song “Beggar’s Day”.
The current tour celebrates the 30th Anniversary of the Slave To The Grind album which features cover art painted by Bach’s father and rebound noted painter David Bierk. The song was a replacement for “Get The Fuck Out” for the clean version of “Slave to the Grind”. The show was interesting, to say the least. It included a lot of headbanging, hair tossing, water bottle sharing, comedy, and plenty of screaming. Bach does put on an energetic performance at his shows, there is no denying that. The former Skid Row frontman moved about the stage and at times circled the wired microphone around his head as if he was going to lasso Brent or Rob like cattle. I winced every time he did it, just wondering at what time was the microphone going to detach and layout someone in the audience. Fortunately, it didn’t happen. Bach ran through sixteen songs in 2 hours and filled in time with jokes, history of his life, and dodging Minnesota Vikings Blankets and teal Victoria Secret Bras thrown at him by fans. I see that female fans still have the hots for the 80’s crude heartthrob who started his career at the young age of 19. Times have changed to the rock mania that was bestowed on the blonde good-looking singer. He mentioned in an interview once that he is known for his hair and the healthy locks were long for two reasons he stated. “(1.) I get laid and (2.) I get paid!”
At the height of his career with Skid Row in 1991 or 1992, fans, made up mostly of women would wait outside of the back of an arena for him to come out. In an interview with Conan O’Brien, Bach stated that one evening 8,000 or more people were packed outside to see him after his performance. He said to safely get to his tour bus, the tour crew would hide him in a Marshall cabinet to get him to the tour bus. I am sure that plenty of rock bands had to do similar tactics, including Bon Jovi, which oddly was the band that got Skid Row started on the road to rock greatness by inviting them to tour with the band on their New Jersey tour. There was none of this going on in Minneapolis, but the bra on stage was just a peak of the wildlife that was once a daily attraction. This is a different life from the young Bach who grew up singing in the church choir at the age of eight who would sing church hymns such as “Gloria in Excelsis Deo”.
Though no longer touring with his original band and no chance of a reunion, per Bach, his current relationship with band mates lead guitarist Brent Woods, bass Rob Deluca, and drummer Jeremy Colson seem stronger than ever. Both bass and guitar players provide backing vocals. These three have an extensive history in music and give the songs the musicality that much deserves. Lead guitarist Brent Woods has been at music since the age of 12. Surprisingly, he was a student of the legendary Randy Rhoads. This makes sense as to where he gets his style from and picked up the habit of being shirtless for 80% of the show. One can only wonder. Woods was signed to Capitol Records in 1990 with his former band Wildside and has played for artists such as Vince Neil and Kristin Chenoweth. His tone and skill are funky and groovy. Though when he is playing the electrifying harder and louder songs like “Slave to the Grind” and “Youth Gone Wild”, you can feel that funk when he is digging into other tunes. It is great to see him on stage playing his heart out, especially after his HCL (hairy cell leukemia) diagnosis last year. His cohort is bassist, songwriter, and producer Rob De Luca. He is no stranger to years of experience and has been playing since the young age of 15. He is best known for playing in UFO and founding the band Spread Eagle. Not only has he played with Bach, but Joan Jett and the Blackhearts as well. His style is gritty and dirty. I find his pairing with Woods and Colson complement each other well. Drummer Jeremy Colson is the epitome of a rock drummer, tattooed with a mohawk and bashing the drum set as if he is trying to break it apart. This world-renowned artist was a longtime drummer for guitar virtuoso Steve Vai. His style is wild but deliberate and he brings hella life to each song. He plays like he eats, drinks, and sleeps drumming day in and day out.
I would say that Bahamian-born Bach’s showmanship is still going strong. His voice is not a pristine as it used to be when he is screaming. Most of the time Bach was able to hit high notes with formidable intensity and power while flicking his fingers in the air when he hits the high notes. I’m not sure how someone can keep up that type of performance and still have a voice left. When he is singing at a calmer register especially in songs such as Quicksand Jesus, the tone sounds formidable, but at times when he is, let’s say overly screamy, it is like nails on a chalkboard. Don’t get me wrong, I have always been a Skid Row/Bach fan. And I am impressed at his singing career and time on broadway which included the Rocky Horror Picture Show and Jekyll and Hyde, but I am not a fan of his immaturity. But to each his own I say, right? I mean if you can put on a pair of stiletto boots and dress up as Lady Gaga on “Sing Your Face Off“, more power to you. The show encore ended with members of Kaleido joining Bach on stage for “Youth Gone Wild”. It was an interesting and enjoyable choice as Criss’s powerful vocals were a match for Bach. To close out the show, he introduces the band and thanks the crowd for their support. Not surprisingly Bach chooses the final song of the night as “Get The F**k Out”. I guess this is his graceful way of saying go home.
Sebastian Bach is:
Sebastian Bach – lead vocals
Brent Woods – lead guitar, backing vocals
Rob Deluca – bass, backing vocals
Jeremy Colson – drums
Setlist:
1.) Slave to the Grind
2.) The Threat
3.) Big Guns
4.) Sweet Little Sister
5.) Quicksand Jesus
6.) Psycho Love
7.) Beggar’s Day
8.) 18 and Life
9.) Livin’ on a Chain Gang
10.) Riot Act
11.) In a Darkened Room
12.) Creepshow
11.) Mudkicker
12.) Wasted Time
13.) Monkey Business
14.) I Remember You
15.) Youth Gone Wild
16.) Get the F**k Out
Follow Eaon Online:
Follow The Kaleido Online:
Follow Sebastian Bach Online:
As a Minneapolis-based professional freelance photographer and photojournalist, I feel I have a passion for sharing new perspectives of the world. Since picking up my first DSLR camera, I have been hooked ever since. Striving to capture the rawest forms of emotion through my photos, I am determined to make the viewer feel as if they were there too. Whether I am photographing landscapes, families, children, events, or concerts, I feel I have a way of capturing the true essence of the moment and finding the extraordinary in an ordinary place.
I am always looking for a creative outlet through my art, I find myself drawn to concerts as a rock music lover. You will find me right up front in the pit with everyone else. I have documented tours with some of the biggest artists in rock history including George Lynch, Judas Priest, Billy Idol, Slaughter, Vince Neil, Rick Springfield, and many more. I continue to push boundaries with my work and strive to capture some of the most iconic moments that represent the vibe of the artists and crowd as well as the atmosphere of the overall event. I am a contributor for All Music Magazine and a published photographer including features in Guitar Magazine and a feature cover photo on George Lynch’s 2021 solo album. Some of my clients include Morley Pedals, Rat Pak Records, Two Notes Audio, and many more.
“I capture emotions, not images.”
