Darien Lake Performing Arts Center

By L. Kent Wolgamott

The guys in Nickelback weren’t dreaming about selling millions of records and filling arenas when they started playing together in tiny Hanna, Alberta, back in 1995.

“We had no idea what this even looked like and what it meant to be winning in the music business,” said bassist Mike Kroeger. “When you're 19 years old, and you're trying to figure out how to play the instrument and maybe get a couple of people to stop and see you play at your local community center or even just come to the garage and pop a couple of beers
and watch, you're not thinking to yourself about arenas.” 

Nor did Kroeger, his younger brother, singer, and songwriter Chad and keyboardist/backing vocalist Ryan Peake have a clue about the reality of the “rock star” life they’ve led since 2005’s chart-topping album “All The Right Reasons” propelled them out of the clubs and opening act slots to arena headliners.

“I'm, right now, sitting on a tour bus that I travel on by myself,” he said. “My blessings are so many that I couldn't possibly try to count them with you. I'm so happy and fortunate to be where I am. But there's no chance any of us had any idea what this was going to look like as we went along.”

And, Nickelback certainly couldn’t have predicted one of the elements that fueled its rise to popularity – Napster and the other “peer-to-peer” file-sharing apps that emerged on the music scene in 1999 -- just before the release of “The State,” the Canadian quartet’s third album – and he band’s first to go gold.

“We were just starting to come up when Napster was just starting to come up and that whole dust-up with Metallica and some of the other artists and societies going on,” Kroeger said. “We were one of the most downloaded and probably uploaded artists on Napster when we were just coming up."

“To be honest, I think that the timing of being the new band at the genesis of this new sort of interface with fans served us tremendously,” he said. “I don't think we'd be where we are now without the whole illegal file sharing.” Napster, Kroeger said, let Nickelback build a relationship with fans who wouldn’t have paid for the music and helped spread the band’s songs beyond radio and the tight selection of the band’s hits that would get played a few times a day.

A quarter century later, however, Kroeger has some issues with what arose when Napster undermined the industry by providing free music–streaming services, which largely do the same.

“What that kind of relationship has done to the music business since Napster, I'm not as happy about,” he said. “It's essentially hollowed out about 65% of the capital in the music industry. There's no sort of licensing."

“It's a very rare thing to see a label or somebody else actually investing money to develop talent now because there's just no money,” Kroger said. “That exploratory capital just doesn't exist anymore.”

As Kroeger talked about the growth of Nickelback – “I wouldn't want to sound too self-aggrandizing to say evolution, like we're kind of closing in on some kind of perfection or something” – he turned to speaking of how Chad Kroeger has gotten ever better as a songwriter. “I think he’s got it down,” he said.

Chad Kroeger’s songwriting, Nickelback’s now two-decade-plus experience, and the versatility within its music – hard rock, metal, ballads, love songs, and nostalgic songs -- have combined to make the band better, record by record, year by year, Kroeger said. 

These qualities can be heard on “Get Rollin’” -- the band’s new album and the songs from it that get nightly showcases in Nickelback’s set. 

“We’re doing three every night on the tour, stuck in there with the old standbys,” Kroeger said. “It’s not like we put them into a block together where everybody’s gonna go buy a beer...We want to keep our momentum up on stage and keep people excited.” 

While it rarely, if ever, makes headlines, Nickelback is a band led by brothers, who, defying the norm set by The Kinks and Oasis, have managed to get along since day one. 

“Truthfully, not everybody can do that,” Kroeger said. “We all know about the bands that have brothers in them that have made the papers or whatever. There was one point really early in our career I'll never forget. We'd gone overseas. I remember where I was, in London. I got this phone call in the middle of the night. It was a person on our record label’s team. They were suggesting Chad and I get into a public fistfight in London to drum up some noise. I was just like, ‘Okay, I know you're, I know you think you're trying to help, but that's a level that we will not stoop to, and that's it.’” 

And the fact that Nickelback fills arenas night after night is evidence that thousands of people like the band, for which Kroeger is grateful. “Just to hear that phrase – It never gets old –  filling arenas,” Kroeger said. “It's an incredible, humbling gift”.

Nickelback will be performing at Darien Lake Performing Arts Center on Wednesday.

The following subjects were arrested by the Genesee County Sheriff’s Office during the 50 Cent concert on Aug 5 at the Darien Lake Performing Arts Center:

Terrance L. Falk, 24, of Woodsmeadow Lane, Rochester, is charged with assault 2nd after allegedly punching a female and knocking her unconscious.  Terrance was arrested and held for arraignment

Eliecer Angulo, 27, of Haddon Road, Rochester, is charged with criminal trespass 3rd after allegedly kicking over a fence to enter a restricted area of the venue.

Stephen J. Hunter, 38, of Demunn Road, Beaver Damns, is charged with harassment 2nd after allegedly pushing and fighting with Darien Lake security.

Tyrell T. Lynch, 35 of 10th Street, Niagara Falls, is charged with harassment 2nd after allegedly pushing a Darien Lake security officer.

Megan L. Kendall, 34, of Lilac Street, Buffalo, is charged with obstructing governmental administration 2nd after allegedly interfering with deputies making an arrest. 

Jayson P. Lazan, 46 of Folger Street, Buffalo, is charged with harassment 2nd after allegedly punching another concert patron.

Giovanni E. Paige-Mota, 21, of Glide Street, Rochester, is charged with obstructing governmental administration 2nd, harassment 2nd and disorderly conduct after allegedly causing a disturbance and then fighting with deputies. 

After 20-plus years as the drummer in Godsmack, one would think drummer Shannon Larkin had seen it all – and undoubtedly he has seen a lot. But he said when the group wrapped up rehearsals in April for the first leg of 2023 touring, he heard Sully Erna, the singer, songwriter, rhythm guitarist, and founding member of Godsmack, say something he’s rarely expressed ahead of the launch of a tour.

“By the end (of rehearsals), Sully isn’t usually like ever ‘We sound great.’ It’s always ‘Ah, you know, we’ve got work to do.’ Even (after) a year on tour, he’s still messing with the set list,” Larkin said. “We ended this with him (Erna), who never really gives it up and says we sound great, he says ‘We sound great. We’re going to be OK.’”

The guys in Godsmack – Erna, Larkin, guitarist Tony Rombola and bassist Robbie Merrill – have good reason to be on point. This will be the last time the band does what’s known as a cycle tour, where music acts typically spend a year-plus on the road promoting their latest album or EP.

Erna and his bandmates have recently announced that their new album, “Lighting Up the Sky,” will be their last as Godsmack. With that, the band will no longer need to do the cycle tours that have followed each of their eight studio albums. It’s not the end of the road for Godsmack, just time to ease up on what has been a rather all-consuming career.

“I hope everybody knows we’re not going away,” Larkin said, reassuring fans that Godsmack is not breaking up. “We will go out and play after this (cycle tour promoting) ‘Lighting Up the Sky’ is all done. We’re going to call each other up and say ‘Hey man, let’s go rock two or three weeks of shows this year’... And (we’ll) be able to control our lives for once instead of music controlling us.”

That last sentence gets to a key reason Godsmack are done with making full albums. Since seeing their 1999 self-titled debut album go quadruple platinum and spawn four top 10 singles, Erna, Larkin, Rombola and Merrill have felt pressure to live up to the successes of their previous output every time they’ve made a new album.

They’ve thrived despite that, building a catalog that includes 26 top 10 singles, 12 of which have gone No. 1 on “Billboard” magazine’s mainstream rock chart. But it’s time to say goodbye to the weight of expectations.

“You have lots of pressure to be successful and to continue to be successful. And the pressure sometimes is in your own mind and you’re putting it on yourself,” Larkin said. And the fact is, Godsmack have achieved everything the four band members set out to accomplish.

“We finally came to the decision that gosh, we’ve climbed the mountain that we envisioned reaching the top of when we are 10-, 12-, 13-year-old kids picking up our instruments,” Larkin said. “We don’t want to quit. But we do want to just, I like to say, jump off of the machine and not have to sell product after so many years of touring and selling product.”

There are other reasons why Godsmack will gear things down after the “Lighting Up the Sky” cycle. Some of the band members want to spend time with their families or have other hobbies and interests they want to pursue. And with the band members in their 50s, it’s not getting any easier to meet the physical demands of extensive tours.

The band members also feel with “Lighting Up the Sky,” they’re ending their run of Godsmack albums on a high note. Larkin said “Lighting Up the Sky” was the easiest album Godsmack has made, and to a man, the band members consider it their best release yet.

“For this one, we wrote over 20 songs. We had three years, with the pandemic and stuff. In fact, at one point we had written pretty much a whole record of music, and it was a totally different thing where it was like Pink Floyd, long-ass songs,” he said. “We wrote like 11 songs (initially) and we ended up keeping ‘Surrender,’ ‘Growing Old’ and ‘Red, White & Blue.’ Those three stayed. We had taken a break from writing and he (Erna) comes back with ‘Soul On Fire’ and God, it was just relentless, ‘What About Me’ and ‘Let’s Go.’ Just all of these songs started just pouring out and it was so easy for us and we were like ‘Wow!’”

Now it’s time to hit the road, and Larkin said several of the new songs will be in Godsmack’s visually spectacular shows. (“We blow a lot of stuff up live,” Larkin noted with a chuckle.) The band members, after all, are promoting “Lighting Up the Sky.” But fans will hear plenty of the hits, too.

“We know that look, even if our new record is our favorite one and it’s great, we can’t oversaturate a set list when we have all of these radio hits that people expect to hear,” Larkin said.

Godsmack will be playing at Darien Lake Performing Arts Center on Sunday.

It’s a bit ironic to know the song that saved Jelly Roll’s music career is called “Save Me.” The ballad seeped in despair is getting a second life as a featured track on Jelly Roll’s new album, “Whitsitt Chapel,” as a duet with Lainey Wilson. 

“Save Me” first appeared in a stark acoustic guitar-and-vocal version on Jelly Roll’s 2020 independently released album “Self Medicated,” and the success the man born as Jason DeFord is enjoying now can be traced back to that song.

“For lack of a better word, ‘Save Me’ went viral,” Jelly Roll said in a mid-July phone interview. “It was undeniable. I had built a pretty good career. Keep in mind I had a billion views on my YouTube show. But I couldn’t get it, I was missing that one song that made people go ‘Oh, OK, this guy can do it all.’ I think ‘Save Me’ was that.”

Soon Jelly Roll was getting meetings with multiple record labels. He said the labels had plenty of ideas for his music, but it wasn’t until he met with Jon Loba, president of BMG Nashville, that he heard what he wanted to hear from a label.

“The cool thing was from go, Loba and everybody in the office sat me down and said the biggest thing we want from you is to do what you’ve been doing. It was awesome. I had complete creative control,” Jelly Roll said.

“Save Me,” however, wasn’t the song that put Jelly Roll on the radar of country and rock audiences. First came “Dead Man Walking,” a robust rocker from his first album on BMG, 2021’s “Ballads of the Broken,” which topped “Billboard” magazine’s Mainstream Rock Airplay chart and pointed to Jelly Roll’s potential to cross genres. Then a rootsy acoustic ballad from that album, “Son of a Sinner,” topped the magazine’s Country Airplay chart and spent a record-setting 28 weeks atop the Emerging Artist chart, which tracks the most popular developing artists across all genres.

Now “Whitsitt Chapel” is out, and he is starting a lengthy, highly anticipated tour headlining outdoor amphitheaters. Jelly Roll is doing his best to make sure his show lives up to the expectations.

“Knowing we have a chance to touch so many people, we’ve spared no expense,” he said of the show, which will feature not only new songs but selections dating back as far as to 2013. “I’m bringing tons of lights, video screens. Our goal is to kind of bring a mixture of a hip-hop show, a rock show, a country show and a little bit of a backroad tent revival.”

It’s quite a turn of fortune for someone who grew up on the streets of the working-class Antioch neighborhood of Nashville, did drugs and spent parts of his teens and 20s in jail for offenses ranging from robbery to drug dealing.

It was during one of those stints behind bars, though, that Jelly Roll, 38, was spurred to break his cycle of dead-end behavior. Informed by a guard that he had just become a father to a newborn daughter, he set his sights on making something of himself. Having begun making mix tapes in his teens, he decided that music was his ticket to a better future.

Around 2009, Jelly Roll began releasing a steady stream of indie albums, mixtapes and singles. His early music was predominantly rap and hip-hop, but as time went on, he began to broaden his sound.

“Ballads of the Broken” offered a preview of where Jelly Roll is now taking his music, as it spanned country, rock, pop and hip-hop. “Whitsitt Chapel” offers a similar cross-genre appeal as it touches on country (“Save Me,” “Nail Me,” and “Church”), muscular rock (“Halfway to Hell” and “The Lost”), hip-hop (“Unlive”) and songs that blend those styles (“Need A Favor,” which is currently a top 5 country single) with raw and emotional lyrics that continue to touch on his past struggles, but hint at the redemption he has started to attain.

It took some time and effort for Jelly Roll to find the direction of the album, as he set aside more than 70 songs after he realized only two of those songs – “Church” and “Hungover in a Church Pew” – were calling to him.

“I said, ‘Man, these two songs kept kind of putting their hands up to me, ‘Church’ and ‘Church Pew,’” he said. “Then I started thinking how God had kind of brought me to these two songs out of 70, the two I kept thinking of. And I was like, ‘That’s it. I’m going to write an album called ‘Going To Church.’”

“And my producer, Zach Crowell, sat me down and said, ‘What was the name of that church you went to?’ (I said) ‘Whitsitt Chapel,’” Jelly Roll said. “He was like, ‘You write songs that nobody else in this town could sing because they’re so personal to you.’ He said ‘Anybody in this town could have an album called ‘Going To Church.’ There’s only one person in this town who could have an album called ‘Whitsitt Chapel.’ That was the birth of the ‘Whitsitt Chapel' album. Me and Zach Crowell scratched everything but those two songs and started from there.”

Jelly Roll will be performing at Darien Lake Performing Arts Center on Thursday.

At one point during an early May phone interview, Paul Doucette of Matchbox Twenty considered the longevity of his popular band. “It’s hard to stay together for 30 years,” he said. “That’s why a lot of bands don’t do it.”

To be completely accurate, Matchbox Twenty won’t hit their 30th year as a band until 2025, but the guitarist knows a thing or two about how difficult it can be for a band to remain intact for so long.

In Matchbox Twenty’s case, there have been several periods where the band went inactive – usually involving times when singer Rob Thomas was making and then touring behind one of the four solo albums that have made him a major star in his own right.

Those projects had idled Matchbox Twenty in 2005 and 2006, 2009 and 2010, 2015 and 2016 and in 2019. In the early years, things were busy mostly good, as Matchbox Twenty became one of the most popular bands going. The 1996 debut album, “Yourself or Someone Like You,” sold some 12 million copies and yielded four hi singles, including the chart-topping “3AM,” “Push,” “Real World” and “Back To Good.” The 2000 follow-up, “Mad Season,” added four more hits, including the multi-chart-topping “Bent,” and 2002’s “More Than You Think You Are,” included the top 5 hits “Unwell” and “Bright Lights.”

But then Thomas, who has gained individual fame for co-writing and singing on the monster Carlos Santana hit “Smooth,” in 1999, launched his solo career. And since then, Matchbox Twenty has released only three albums – including 2007’s “Exile On Mainstream,” which combined 11 hits with seven new songs. The most recent release was “North” in 2012.

Doucette admitted Matchbox Twenty’s sporadic schedule had created points where the group could have split up. Guitarist Kyle Cook, in fact, left the band briefly in 2016 before rejoining in time for a tour the following year that seemed to put the band back on solid footing.

And Doucette reached a point where he had concluded Matchbox Twenty were done making albums. He, Thomas, Cook and bassist Brian Yale would tour from time to time, but that would be the extent of the band’s activity. It was not a notion he welcomed.

“When I sort of got to the point where I was like ‘Yeah, I think that we’re done making records,’ I legitimately grieved that process. Like that was a loss to me,” Doucette said. “But once I went through that process, I could look at it differently. I could look at it and be like ‘You know what, we can go out and we can play. We’re ridiculously fortunate to be able to do that and people will still come.’ And I have all these other things that I can do and I can concentrate on doing this (scoring). And maybe that’s not so bad.”

So Matchbox Twenty remained together, and after Thomas finished his solo tour in 2019, plans were formed for the band to return to touring. But of course, the pandemic hit and tours for 2021 and 2022 were pushed back once more to this summer.

But there was a major silver lining to the second delay. With the schedule cleared for 2022, Matchbox Twenty made a new album, “Where the Light Goes,” which arrived on May 26.

For “Where the Light Goes,” the four musicians reinvented their process for writing music. Where on past albums, the band members tended to send each other acoustic solo versions of songs and build out the arrangements together, Doucette, Thomas, Cook and Yale worked separately on the songs for the new album – a process necessitated by the pandemic and the fact the four band members live in different cities. 

Doucette said the band found that by working separately and e-mailing in-progress tracks back and forth to each other (as well as to producer Gregg Wattenberg, who was heavily involved in helping the band members to complete the songs) they were able to explore song ideas more thoroughly and in some cases, fully realize songs that might have been abandoned in the past if the song hadn’t come together quickly either in the writing/demo stage or when the four musicians gathered to flesh out the acoustic demos of songs.

The new approach to songwriting, though, didn’t alter the core pop-rock sound of Matchbox Twenty, and “Where The Light Goes” features a fairly even mix of concise and catchy uptempo tunes (“Friends,” “Don’t Get Me Wrong” and the title track), and richly melodic ballads (“Hang On Every Word,” “Warm Blood,” “One Hit Love”).

This summer’s twice-delayed tour will feature some songs from “Where The Light Goes,” Doucette said, but he noted that some fans held onto tickets purchased in 2021 and 2022 expecting a greatest hits show, and the band will play a good mix of new and older material.

“It’s a longer set than we’ve done on the past couple of tours,” he said “That gives us the advantage of being able to play a solid two hours a night. So we have more time, which is great. And we think we’ve got a good balance of it.” 

Matchbox Twenty will be performing at Darien Lake Performing Arts Center on Tuesday.

By Alan Sculley

Martin Cash of We The Kingdom admits it might seem odd that the Christian group chose to make their second album a self-titled effort. That’s usually a title bands reserve for their debut albums.

“I think it’s ironic that it ended up being self-titled because to be honest, in the beginning that option was thrown out because we couldn’t agree on any other name. Someone at some point was like ‘Hey, why don’t we just call it ‘We The Kingdom’ and call it like a day,”

Cash said during a recent phone interview. “At first we were like ‘Ah that feels like a cop out. That feels like throwing in the towel.’ But the irony is that I really think this album highlights the individual members of We The Kingdom because throughout the album there were particular people that started certain songs and we all kind of jumped in to finish them.”

“(It says) Hey, we are a team. We are all in this together,” he said. “As you look down the list, it’s almost like Ah, I remember, that’s kind of Franni’s song that she started and we came around and finished it. That was a really cool and different, unique thing that happened with the album, where it was still collaborative, but there were just individuals who started songs and brought them to the rest of the band that we then all finished.”

It makes sense that the five members of We The Kingdom would grow more collaborative. After all, this is essentially a family band that’s very accustomed to being around each other. The band includes Ed Cash, his brother, Scott Cash, Ed’s son and daughter, Martin Cash and Franni Rae Cash-Cain, and long-time friend Andrew Bergthold, We The Kingdom became a group after writing several songs while the five musicians were serving as worship leaders during a stint at a Young Life camp in 2008.

The band got signed by Capitol Records’ Christian Music Group, and debuted in 2019 with a six-song concert EP, “Live at the Wheelhouse.” That release contained a version of the song “Holy Water,” which topped the Christian Airplay singles chart. The studio version of that song became the title track for the “Holy Water” studio album, and in April 2020 the song landed atop three different Christian music charts. Two more top-5 singles, “God So Loved” and “Child of Love,” followed, as We The Kingdom became one of the fastest-rising acts in Christian music.

So far, the self-titled album has generated a top 15 single in “Miracle Power,” a top 30 single in “Jesus Does” and more singles could still be released. In making the “We The Kingdom” album, the five band members grew more collaborative as songwriters, drew on some different influences (Martin mentioned Fleetwood Mac, the Eagles and the Smash Mouth hit “All Star” as prime examples) and experimented with new tones and sonics. In the end, the band emerged with an album full of strong songs that are a bit more energetic overall than the “Holy Water” album.

Cash said doing a second album presented We The Kingdom with plenty of questions about the next musical step the band should make. “With our first album, you’re starting from zero. You have no reference for what people like from you, the sound,” he explained. 

“If say, they gravitate toward ‘Holy Water,’ you struggle with should we write more records like ‘Holy Water,’ that same sound? But then the creative in you is going ‘No, we’ve already done that. How do we continue reinventing ourselves and pushing the envelope, but still offering the same sound people fell in love with?’ So that was a struggle with the self-titled album. I’m personally super pleased with how it turned out.”

We The Kingdom is back out playing headlining shows after starting the year co-headlining the multi-band Winter Jam, one of the year’s biggest Christian music tours. That outing initially caused the band some concerns, because when We The Kingdom took the stage, it was later in the evening and they were seeing a significant number of people who were either leaving during their set or before We The Kingdom took the stage. 

After a number of discussions, Cash said, they came to feel people were leaving for logistical reasons – such as needing to get home to meet up with babysitters or the younger fans had curfews. Cash feels that experience will only help the band, even with headlining shows.

“There was talk of like are we playing the right songs? Should we play more songs that are hooky, kind of cheap tricks you can get into to get people to stay?” Cash revealed. “But at the end of the day, the point is not to force them to stay. It’s to play to the ones that are there. It’s a lesson, but it’s a good one.”

We the Kingdom will be playing at Darien Lake Performing Arts Center on Tuesday.

By Dave Gil de Rubio

If synthesizers are the engine for Howard Jones’ creative drive, then positivity is the fuel. It’s been that way since Jones broke onto the international music scene with his 1983 hit single “New Song” and has continued to be the case with the current four-album concept that started with 2015’s “Engage,” followed in 2019 by “Transform” and last year by “Dialogue.” The fourth album, “Global Citizen,” is set to wrap up this overarching concept album project, and could arrive as soon as this year.

The English musician described the story arc that has been his focus for the past seven years. “‘Engage’ was about not just being a bystander—be involved in what’s going on around you and don’t think that you don’t have any effect on the world and your environment because you do,” Jones explained in a recent phone interview. “‘Transform’” was about if we want to change the world and change things for the better, we have to start with ourselves. We have to work on ourselves and our behavior towards other people and ourselves as well. And ‘Dialogue’ is what I just described—the importance of communicating towards each other. The next one...is ‘Global Citizen,’ and that’s putting all those three concepts into action and believing that you can have an effect on the world as a global citizen.”

Like the rest of the world, Jones found himself isolated by the pandemic lockdown as he embarked on recording “Dialogue.” The dark mood of uncertainty that came with this global situation meant lyrics came later, but in the end, Jones was able to surmount the challenges presented with being a one-man band, particularly after contracting a post-vaccination case of COVID-19.

“I couldn’t really work with other people on this, so it was me, my growing synthesizer collection, software and studio,” he recalled. “In a way that makes it quite focused, I think. I had plenty of time to experiment, try some new things and get some really great sounds together. I got to spend days on just one sound to make it really special. And having that amount of time was a blessing to really experiment. I suddenly remembered that I used to do a lot of harmony vocals—layered vocals and big multi-harmonized vocals and I got back into that idea. And I wanted my voice to sound different every time I used one of those harmonized vocals and I was experimenting. 

“There was one point that I got COVID-19—I was completely vaccinated and everything but when I got it, I sort of lost my full voice,” Jones said. “I thought I was going to have to try and do something different, so I sang in a different way more quietly. I got a really different sound and I was really quite excited about that. If you’re doing all your own backing vocals yourself, you need to make yourself sound different to differentiate between the lead and backing vocal. It worked for me.” 

And while Jones did all the creative-lifting, he got a compositional assist from BT (aka Brian Transeau), the American musician/DJ/electronic music pioneer who became a close friend of Jones after the latter came out to see him head up an ambitious orchestral project in Miami in 2015. It’s a connection Jones has come to treasure.

“On the new album, we did two or three tracks and BT was great,” Jones said. “For those two tracks—‘Celebrated Together’ and ‘Be the Hero’—he’d sent me some seed ideas for tracks quite a long time ago. I used a bit of that in the writing of them and I’m really hoping that we may get a remix from him based on one of those songs. I know he was particularly excited about ‘Be the Hero.’ We probably will continue to work together maybe throughout the rest of my career because we get on very well. For him, it’s about trying to find time because he’s the busiest man in the universe.”

While this string of albums is heavily electronically driven, Jones will mix things up during his live shows as he opens this summer for Culture Club. 

“It’s an electronic show and we’re going to be debuting a few tracks from the ‘Dialogue’ album along with a couple of tracks from ‘Transform’ and one from ‘Engage’ as well,” he said. “The fans really follow everything I do and I really must look after that as well as playing the hits.”

Looking ahead, Jones and his fan base have plenty of projects to anticipate between “Global Citizen” completing his four-album musical concept, a concert album (“Live at Union Chapel”) and a collection of non-synthesizer-based material Jones has been working on for a number of years (“Piano Composed”). And while he’s understandably excited about this burst of creativity that’s going to take him into the next year, Jones has always clung to the philosophy of gratitude driving him forward while refusing to get caught up in the highs and lows of the music industry and life in general.

“I think it’s very important to be happy with your work and one of the best ways to be happy is to really appreciate the situation you find yourself in, even if it’s difficult or you’re having problems or whether you’re soaring because it’s going well,” Jones said. “Just really appreciate things because if it’s not going well, then you can learn a ton of stuff from that to make it better. If things are going really well, don’t get carried away, because that may stop you from doing great work in the future.”

Howard Jones will be playing at Darien Lake Performing Arts Center on Saturday.

Foreigner has announced that the band is now embarking on its  final tour -- an outing that could extend well into 2024 when the buses and semi-trucks will get parked and the band members will move on to new chapters in their lives. 

This development doesn’t come as much of a surprise. It’s been widely reported that health issues have prevented guitarist and founding member Mick Jones from playing multiple shows and sometimes only performing a few songs with the rest of the band when he has been able to participate in recent tours.

But what also becomes clear in interviewing singer Kelly Hansen is that he had a good deal to do with deciding it is time for Foreigner to step away from being a touring band. The fact is, Hansen said in a recent phone interview, he recognizes that as a high tenor vocalist, the day is coming when he won’t be able to deliver Foreigner’s songs the way he wants. Certain songs have notes that already are difficult for him to hit and he wants the band to call it a day with touring while they can still play and perform at their current high level.

“It gets harder and harder every year to perform this catalog in the way that it deserves, not only for the songs, but for the fans,” Hansen said. “I want to have us go out strong and have the live presence be remembered as still super strong and energetic,” he added. “That’s how I want the legacy of this band to be remembered.” 

As for Jones, he’ll be along for the final tour as often as possible. “He wants to be out. He’s scheduled to be with us. It all depends on what is allowable for him health-wise,” Hansen said. “I think the show itself is better with him there, but I think the show is really, really good even when he’s not there because it’s really about the songs. It’s about this catalog. It’s about the legacy of what this band has put out over these past 45 years.”

That 45-year history has seen Foreigner become firmly established as one of rock’s most enduring and successful bands, overcoming ups and downs and a major departure along the way. Jones, who previously had been in the band Spooky Tooth, formed Foreigner in 1976. 

Over the course of six albums, from the 1977 self-titled album through 1987’s “Inside Information,” Foreigner notched 15 top 20 singles, the high point coming with the multi-chart-topping epic ballad, “I Want To Know What Love Is” in 1984. Earlier rocking hits like “Feels Like The First Time,” “Hot Blooded,” “Double Vision” and “Urgent” established Foreigner’s credentials as a band with talent for writing catchy mainstream rock.

But then Jones and singer Lou Gramm had a falling out and Gramm left the band in 1990. And while Gramm rejoined Foreigner for the 1994 album, “Mr. Moonlight,” any return to former glories was sidetracked when Gramm needed surgery to remove a brain tumor in 1997.

He was able to resume touring in 1998, but tensions gradually returned and the Jones/Gramm partnership ended in 2003. After a couple of years, Jones decided to bring back Foreigner. Hansen, who had fronted the band Hurricane from the mid-1980s into the early 1990s, got wind in 2004 that Jones might be forming a new edition of Foreigner and pursued the singer’s slot. He got an audition, which he obviously passed.

But Foreigner was not going to return at anywhere near the same level of popularity the band had achieved in the 1980s, and Hansen said the band had to get an entire organization, from management on down, in place, and more to the point, rebuild relationships, not only with fans, but with promoters, booking agents and other industry professionals.

“Of course, the band had the catalog and a great history, but there had been some damage done over the previous years,” Hansen said. “So it took time for us to develop trust with people. But as soon as we started doing shows, I think people recognized that this was something again formidable and were willing to take a chance on us again and do that and gave the band that new breath of life.”

As the years ensued, Foreigner played bigger and bigger venues while earning respect for the way the band delivered the song catalog. Another key step in solidifying the credibility of the “new” Foreigner, Hansen said, was making an album of new songs, “Can’t Slow Down,” which was released in 2009.

The lineup that made “Can’t Slow Down” is largely intact today, with guitarist Bruce Watson, drummer Chris Frazier (who joined in 2011 and 2012 respectively), and guitarist/bassist Luis Maldonado (a 2021 recruit), stepping in alongside Jones, Hansen, bassist/keyboardist Jeff Pilson and keyboardist Michael Bluestein. This stability has helped the band’s credibility as well, and Hansen is proud of what his edition of Foreigner has accomplished.

“I think over the course of these 20 years, what we’ve done, my goal has been to maintain the legacy of this band and the integrity of the catalog and give it the sincerity and the dignity that it deserves,” Hansen said. “I think that we have done that.”

Foreigner will be playing at Darien Lake Performing Arts Center on Friday

By Aaron Irons

Gov’t Mule’s latest album “Peace… Like A River” shreds laurels and hews fresh sounds from a batch of deeply personal and dynamic songs that deliver fuel for new and longtime admirers alike without giving into convention or complacency. A dozen studio albums in, the gang that originally hammered out its vanguard album at the Allman Brothers' old house in Macon, Georgia three decades ago is possibly even more compelling today than it was then.

Recorded in the same stretch of quarantined sessions that also begat the Mule’s 2021 juke- fest, “Heavy Load Blues,” “Peace… Like A River” is the story told clear-eyed in the sunshine, wary of encroaching shadows, and informed by lead guitarist/songwriter/frontman Warren Hayne’s pandemic experience.

“We decided to go with the blues record first because we'd been talking about doing a blues record for a long time and we thought, ‘Well if there was ever a time when everybody's got the blues, this is it!’” laughed Haynes, the Asheville, North Carolina native who started Gov’t Mule with drummer Matt Abts, and the late bassist Allen Woody in 1994. “‘Peace... Like A River,’ in some ways, deals with coming out of COVID and the whole lockdown, which we're all thankful to be out of -- assuming we are -- but it deals with it in more of a celebratory ‘other side of hell’ way.”

Recording the album’s more introspective material during daylight hours in the main room at the Power Station studio in Waterford, Connecticut, today’s lineup of Gov’t Mule, Haynes, Abts, bassist Jorgen Carlsson and keyboardist/guitarist Danny Louis would end the evening in one of the studio’s adjacent spaces, cranking out oily, fire-belching blues.

“We would switch our brains off, take a dinner break, and after dinner, hole up in the little small room next door and play blues the rest of the night! It was kind of a way of cleansing our brains and it turned out to be the right recipe,” said Haynes, who called in for this interview in late April.

Songs like “Made My Peace” offer up epic swells of stadium rock and psychedelia while plumbing emotions of loss and resignation, spiritually evoking the prodigal and notions of forgiveness. “It's also a metaphor for just coming back,” Haynes said. “It's written through the eyes of the prodigal son, which I don't think of myself that way, but metaphorically speaking, there's a lot of references to being gone for a long time and finding your way back. I also lost my dad during this process, which was really tough for me. And still is.”

On “Gone Too Long,” Haynes pays tribute to a fallen hero. “‘Gone Too Long’ is more of a one-on-one relationship with your soulmate, but the same thing of acknowledging how much of your life you've spent being away and what damage it did, and what major losses were suffered along the way,” Haynes revealed. “[It's] is a song that I wound up dedicating to David Crosby, who I only knew slightly. We played together once, but he was definitely an influence. I felt like that song had some of his influence from the very beginning, and then when he passed, it just made perfect sense for me.”

A wealth of special guests are seasoned throughout “Peace… Like A River,” including stellar shots from Ivan Neville and Ruthie Foster on the buoyant but lamenting “Dreaming Out Loud,” soul/blues belter Celisse Henderson, who appears on the hope-and-keys-laden “Just Across The River,” and icon Billy F. Gibbons of ZZ Top, who drops in on the “Heavy Load Blues”-ish “Shake Our Way Out”.

“That song, when we started working it up in the studio, it took on a ZZ-influenced vibe from the beginning and that's what urged me to call Billy and ask him if he would get involved,” said Haynes. “It was great. You know, he had played on a song called "Broke Down On The Brazos" that we did on (the 2009 album) “By A Thread” but he didn't sing. And on this one, he just sang and didn't play, so next time I guess we gotta get him to do both!”

With the revelation that he’s writing new material, Haynes is careful not to commit to the next chapter while Gov’t Mule prepares to embark on a tour that will crisscross North America through year’s end. “You know, I’ve been writing a lot of stuff that is more similar to “Man In Motion,” Haynes said, referencing his 2011 solo effort. 

“It’s somewhere between [that] and “Ashes & Dust,” and I wonder if maybe the next thing I do might wind up being a solo record. I’m sure after two records and two back-to-back tours, Gov’t Mule might want a break. I’m not there yet, but I have started to write a lot. “I’m looking forward to getting back in the studio, but for now, we’ve got a lot of stage playing to do,” he said.

When Brett Young began work on his latest album, “Weekends Look A Little Different These Days,” he faced a whole new challenge as a songwriter. He had strived to be authentic in his writing, delving into subject matter that allowed him to draw from his personal experiences.

But that approach wasn’t going to work on the “Weekends” album, especially if he was trying to write about where his life is now.

Married to his long-time girlfriend, which he literally says is the love of his life, and a father of two little girls, Young knew his happy life wouldn’t make for a compelling album.

“It would have been really tempting to just write basically a lullabies record, love songs about my wife and songs about my children,” Young said in a late-April phone interview. “So the challenge was that you can’t write just about what you’re going through in your life right now. That’s going to be boring.”

Fortunately for Young, he was working with some co-writers who have been around the block and knew how to put an authentic personal touch on a lyric and honestly convey a variety of emotions over the course of an album.

“It’s hard when you’re in the happiest place in your life, and you’ve got to still write a sad song, and we did,” Young said. “We did that, but we did it through a lot of conversations. I’d get in with a songwriter or a couple of songwriters, and I’d be like, ‘Tell me about your worst heartbreak. Explain that to me.’ We started having to go down that path, and that was a new stage of songwriting for me. Don’t just do what you’re feeling right now; here’s a topic, go back to a place where you did feel this way and write it. And we did that. I think it stretched me in a really good way as a songwriter.”

This new approach to songwriting is very evident on “Weekends Look A Little Different These Days,” and Young has essentially crafted an album that touches on the long and winding road he has traveled with his wife, Taylor.

Young, though, didn’t want to tell a linear story about his history with Taylor. Instead, the songs on “Weekends” feel like snapshots from various moments of their journey, which included three breakups before they decided they truly should be together.

“For us, our story wasn’t linear anyway,” Young said. “I met Taylor, this Thanksgiving, it will be 16 years ago. So we have a long, storied history.”

The album culminates with the song “This,” which describes how the life Young and Taylor have now has made the heartaches and good times from their dating years completely worth it.

“That one really fell out quick,” Young said of “This.” “It got me talking about my family (with Taylor), and it immediately made me realize it doesn’t matter, three breakups, 20 breakups, whatever, it was all part of our journey to get here, to this.”

Like his history with Taylor, Young’s musical life has been a journey that had its share of frustrations before things fell into place for the 42-year-old singer/songwriter.

He began by playing covers of other peoples’ songs, first at restaurants and other venues around his Orange County, California, home base and later in the big city of Los Angeles, while he independently released a pair of EPs and three albums, hoping to get a record deal.

But Young’s career remained stuck in neutral until he realized his songs actually were well suited to country music, and he moved to Nashville. There, Young quickly made contacts and, within nine months, signed with Big Machine Records.

In short order, he was in a studio making his self-titled debut album with noted producer Dann Huff. The album’s advance single, “Sleep Without You,” reached No. 2 on “Billboard” magazine’s Country Airplay chart. Then another single, “In Case You Didn’t Know,” topped the Country Airplay chart and went top 20 on “Billboard’s” all genre Hot 100 chart. The hits have kept coming since, with his second album, “Ticket To L.A.,” adding “Here Tonight” and “Catch” and “Weekends Look A Little Different These Days” adding “Lady” to his list of chart-topping singles.

For a while, Young worried that he might have to leave even some of his popular ballads out of his concerts to keep his shows from getting too sleepy for audiences. But as his current shows demonstrate, he’s found that his fans aren’t worried about the pace of his concerts.

“What we’ve found out is that people aren’t thinking about that at my shows. They bought a Brett Young ticket. They know the music,” Young said. “They came to hear the music that they know. So every time we try to kind of inauthentically ramp it up for the sake of ramping it up, they’ve felt like they missed out on a song or two they wanted to hear. So it’s been less about the setlist and more about paying attention to my fan base and what they’re actually coming to the show for.”

Brett Young performs at the Darien Lake Performing Arts Center on Saturday.

Luke Bryan headlined Darien Lake on Friday, joined by supporting acts, in front of 20,000 fans.

The pop-country music superstar played for nearly two hours, running through hits such as,  "Kick the Dust Up," "Country On," and "Country Girl (Shake It on Me)."

Virginian Alana Springsteen led off the night, warming up the crowd with a 20-minute set.  She is no relation to Bruce Springsteen, although her dad and brother are also in the music industry.

Chayce Beckham performed second, featuring his popular songs "Tell Me Twice" and "Keeping Me Up All Night."

Southern Alabama native Tyler Braden rounded out the openers with his tracks "What Do They Know," "Neon Grave," and "Ways to Miss You."

Photos by Steve Ognibene

The following were arrested at Six Flags Darien Lake during the Luke Bryan Concert on June 16.  The defendants were issued appearance tickets.

Jaxson R.W. Larsen, 21, of Lakeview Road, Lakeview, is charged with two counts of disorderly conduct after allegedly spitting on a Darien Lake security guard and knocking over a fence and threading security in the parking lot.

Cole L. Friend, 18, of Winfield Avenue, Lancaster, is charged with criminal trespass 3rd after allegedly jumping a fence into the venue.

Ryan A. Miller, 22, of Bailey Road, East Aurora, is charged with criminal trespass 3rd after allegedly re-entering the concert venue after being ejected and told not to return.

Derek J. Goodwin, 27, of Sherman Avenue, Hamilton, Ontario, is charged with harassment 2nd after allegedly punching another subject in the face.

The Sheriff's Office reported the following arrest on June 14 at the Dave Mathews Band concert at the Darien Lake Performing Arts Center:

Kelly P. Jones, 43, of 80th Street, Niagara Falls, is charged with harassment 2nd. Jones allegedly punched a Live Nation security guard and also attempted to bite a guard.

Five Finger Death Punch headlined a show Tuesday at the Darien Lake Performing Arts Center that was supported by Megadeath, Fire From the Gods and The Hu.

Previously: Five Finger Death Punch brings AfterLife and familiar hits to Darien Lake tonight

Photos by Philip Casper.  Top photo: Five Finger Death Punch

Five Finger Death Punch

Five Finger Death Punch

Five Finger Death Punch

Five Finger Death Punch

Megadeath

Megadeath

The Hu

Fire From the Gods

Five Finger Death Punch singer Ivan Moody, in various recent interviews, has revealed that four years ago, he died for three and a half minutes before being resuscitated – his body’s reaction to quitting drinking cold turkey.

His bandmate, guitarist Zoltan Bothery, knows what Moody experienced, disclosing he briefly died when was 12 years old.

“I was on my bicycle and I used to get behind big trucks because I could go faster...You’re getting in the draft (of the truck),” Bathory recalled in a phone interview. “The bicycle started to get to a speed when it was really not stable anymore.”

That’s when Bathory briefly took his eye off of the truck.

“I just plowed into the truck,” Bathory said. “I spent some time trying to find it (the truck). And at first I noticed, I can look behind a wall and I can look behind a bush. So I realized in that moment I had an out-of-body experience.”

After a bit, Bathory regained consciousness, and he actually walked away from the scene, much to the astonishment of onlookers who had gathered.

Bathory said he is talking about the incident because the new Five Finger Death Punch album, “AfterLife,” deals in part with this unique experience he and Moody share.

Specifically, the album includes the song “Judgment Day,” which Bathory said was meant to be “a soundtrack to the process of dying.”  Moody’s reaction when Bathory gave him the music was all he needed to see.

“I gave the song to Ivan to write the lyrics,” Bathory recalled. “He freaked out. He said ‘I’m not writing this song. I don’t want to (relive it).’” 

Eventually, Moody remembered he was actually at peace while he was dying, and he completed the lyrics. With that, all 10 songs were done and “AfterLife” was ready to be the ninth studio album from this popular hard rock/heavy metal band – seven of which have gone gold or platinum.

Headlining at Darien Lake Performing Arts Center tonight, Five Finger Death Punch is bringing out a visually elaborate show and playing lots of the hits.

“When you put in new stuff that people are not familiar with, it changes the vibe (of the show),” Bathory said. “They can’t sing along because they don’t know the song ...So you can put in new songs, but you have to be careful and you have to be very smart where you put them in the set.”

Photo by Travis Shinn.

Spring 2020 saw Shinedown’s unplugged “Deep Dive” tour go up in smoke when the pandemic hit. It was going to be a rare opportunity for fans to see the hit-making group play a selection of rarely performed album cuts from across their career.

But fans probably aren’t complaining too much about the tour’s demise because Shinedown used some of the pandemic-instigated downtime to make the new album, “Planet Zero.”

The new album is a departure lyrically in that it’s the most topical of the seven studio albums from Shinedown, which formed in Jacksonville, FL in 2001 and has become one of mainstream rock’s most popular bands.

“When we started making this record, we were at a time when it was very uncertain. When we started writing, the world had just shut down,” Myers said. “It was supposed to be 10 days and it ended up being 16 months, and even more now. So when you’re in a place like that, you have all of this other stuff around you. You have people stating opinions that aren’t necessarily political or racial or anything else, and they’re still getting canceled for their opinions. So there was a lot to write about.” 

Indeed, tracks like “The Saints of Violence and Innuendo,” “No Sleep Tonight,” and “America Burning,” examine the divisions in today’s society. But Shinedown also offers moments of hope and spotlights the need for unity on songs like “Daylight,” “Dysfunctional You,” and “A Symptom of Being Human.”

A unique twist in the album is the introduction of a robot-like character, Cyren, who acts as a narrator and guides listeners through the album and helps connect the themes of the songs.

Shinedown, which also includes singer Brent Smith, bassist Eric Bass and drummer Barry Kerch, is on a tour that stops tonight at Darien Lake Performing Arts Center, building a set list around a catalog that includes nearly 30 hit singles. 

“It gets a little dicey. When you try to make a set list, you want to make everybody happy,” Myers said. “Obviously, you have your, we call them the four corners. You’ve got to play ‘Second Chance.’ You’ve got to play ‘Simple Man.’ You’ve got to play ‘Sound of Madness’ and you’ve got to play ‘Cut The Cord.’ Other than that, you can kind of maneuver around a bit.”

The following people were arrested by the Genesee County Sheriff’s Office during the Jason Aldean concert at Darien Lake Performing Arts Center on Aug. Both were issued appearance tickets.

Chelsea E. Kirsch, 28, of Weimars Street, Buffalo, is charged with harassment 2nd after allegedly kicking another person in the head.

Tina M. Simmons, 40, of Schuster Road, Schenectady, is charged with harassment 2nd after allegedly striking a Live Nation security guard in the head.

The following people were arrested by the Genesee County Sheriff’s Office during the Wiz Khalif concert at Darien Lake Performing Arts Center on Aug. 25. All were issued appearance tickets.

Brook L. Garrett, 20 of Elmwood Avenue, Buffalo, is charged with harassment 2nd after allegedly striking a Live Nation security guard in the head.

Anthony J. Connolly, 18, of North Main Street, Angola, is charged with trespass after allegedly attempting to reenter the concert venue after being ejected and told not to return.

Kelly J. Norah, 20, of Main Street, Brockport, is charged with trespass after allegedly attempting to reenter the concert venue after being ejected and told not to return.

The following people were arrested by the Genesee County Sheriff’s Office during the Outlaw Festival Concert at Darien Lake Performing Arts Center on August 14, 2022:

Anthony M. Digangi, 32, of Big Tree Road, Wales Center, is charged with trespass after allegedly attempting to reenter the concert venue after being ejected and told not to return

Cassandra M. Morales-Diaz, 32, of Orchard Road, Silver Springs, is charged with harassment 2nd after allegedly grabbing another patron by the neck causing a minor injury.

Donald K. Lasker, 53, of Springville Avenue, Amherst, is charged with harassment 2nd after allegedly pushing a Live Nation employee in the chest and neck.