Full Access Magazine - July 2019 by Full Access Magazine

TABLE OF CONTENTS

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Music News.............................3 July Scrapbook....................15 Album Reviews ....................21 Club Calendar........................26 Event Calendar......................27 PAGE 11 PUBLISHER/EDITOR: Neal Nachman

MAGAZINE Volume 9 • Issue 7 • July 2019 WRITERS: Scottie Brown • Terry Canter Bob Cheesman • Corrina Drost Kelly Geist • Melissa Kucirek Rachael Lamb • Dawn Lemay Diane Nachman • Marissa Puckett Liz Stokes PHOTOGRAPHERS: Neal Nachman • Joe Orlando

DIRECTOR OF SALES & PROMOTIONS: Liz Stokes GRAPHIC ARTIST: Neal Nachman DIRECTOR OF MULTI-MEDIA PRODUCTIONS: Kenny Moore ACCOUNT EXECUTIVES: Liz Stokes LEGAL COUNSEL: Shobha N. Lizaso EDITORIAL INQUIRIES: editorial@fullaccessmagazine.com

PUBLISHED BY: Full Access Magazine • 9713 Takomah Trail • Tampa, FL 33617 813.400.3110 (Office) • 813.200.3916 (Fax) © 2019 ALL RIGHTS RESERVED • No part of Full Access Magazine may be reproduced in any form by any means without prior written consent from Full Access Magazine.

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“CMA Fest” Special To Air On ABC Television Network on Sunday, August 4 “CMA Fest,” the Music Event of Summer, brings the hottest music acts together on one stage for three full hours of epic collaborations and must-see performances Sunday, Aug. 4 at 8/7c on the ABC Television Network. The primetime special, hosted by Thomas Rhett and Kelsea Ballerini with special guest host Bobby Bones, brings the Ultimate Country Music Fan Experience to a national television audience for a 16th straight year. Filmed during Nashville’s 48th annual CMA Fest in June, the television special features more than 30 of music’s biggest acts as they hit the stage during the four-day festival. Fans won’t want to miss special collaborations including for the first time ever Lil Nas X joined by Billy Ray Cyrus and Keith Urban, Kelsea Ballerini and The Chainsmokers, Brothers Osborne with Brooks & Dunn and Ashley McBryde, Brantley Gilbert and Lindsay Ell, Tim McGraw and Luke Combs, Maren Morris and Brandi Carlile, and Carrie Underwood with Joan Jett. Additional performers include Dierks Bentley, Kane Brown, Luke Bryan, Dan + Shay, Florida Georgia Line, Chris Janson, Miranda Lambert, Little Big Town, Midland, Old Dominion, Pistol Annies, Rascal Flatts, Blake Shelton, Thomas Rhett and Brett Young. Thomas Rhett returns to host “CMA Fest” for a fourth year, first co-hosting the special in 2016, while Kelsea Ballerini returns for a third year. Bobby Bones appears as a special guest host for the first time. Taylor Swift Releases Intimate New Song ‘The Archer’ Following bullseye teasers this past week and even a hint in a previous music video, Taylor Swift released a new song “The Archer,” from her forthcoming album Lover, out August 23rd.” The Archer” marks the third offering from the album, following “ME!” and “You Need to Calm Down,” though Swift specified 3

in her Instagram Live announcement that the song is “not a single.” The Jack Antonoff-produced song is a somber, synth-heavy ballad centered around the metaphor of the archer, which is also Taylor Swift’s birth sign, as she’s a Sagittarius. The track follows in the informal tradition of Swift making the fifth track on her record the emotional and personal centerpiece (previous examples include “White Horse,” “All Too Well” and “Delicate”). Along with the song, Swift announced that she would be releasing a total of 120 pages from her old diaries, which she has methodically kept since she was 13, inside deluxe editions of Lover. Pages will include “pictures drawn, photos of that time in my life,” along with original lyrics to songs like “All Too Well.” Swift recently appeared in the new trailer for the film Cats. She also received 10 nominations for this year’s MTV Video Music Awards, seven for “You Need to Calm Down,” including Video of the Year, and three for “ME!” The ceremony will air live from New Jersey’s Prudential Center on Monday, August 26th at 8:00 p.m. ET/PT. Steven Van Zandt Announces ‘Lilyhammer’ Soundtrack Five years after its final episode aired, the soundtrack to Lilyhammer has been released. Scored by Steven Van Zandt — who starred as mobster Frank “The Fixer” Tagliano who flees to Norway under the Witness Protection Program — the expansive soundtrack has been released in two volumes. The first is comprised of jazz compositions from the show as well as standards, while the second is a lengthy collection of various songs and cues. Van Zandt provides vocals on the soundtrack, including a cover of Frank Sinatra’s “My Kind of Town.” He’s backed by the Interstellar Jazz Renegades, a group he founded with the help of E Street Band bandmate Max Weinberg. The Renegades consist

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of pianist Lee Musiker, saxophonist Stan Harrison, Raul Agraz and Adam Hochstatter. “I figured I’ve got some of the most talented musicians in New York City so why waste them on 15 second cues,” Van Zandt said in a statement. “We decided to have some fun. I’d meet Lee about an hour before the session and give him the top line melodies, basic chord changes and structure and talk about the overall mood of the piece. I wanted to try something different and get the musicians creative input and let these guys who were used to always reading their parts express themselves for a change. We would basically arrange it on the spot. I’d suggest a harmony, Lee would suggest an idea and the musicians would begin to orchestrate themselves. It was wild and extremely fruitful. After the success of the first session I knew we had a legitimate jazz album in addition to an incredible score.” Van Zandt is currently on tour with his band Disciples of Soul in support of his new album Summers of Sorcery. He’ll head to Europe in August, then return to the U.S. for a fall tour that runs through November. He’s scheduled to perform at New York’s Beacon Theater on November 6th. Gregg Allman’s Solo Debut, Live Album Slated for Reissue Two years after his death, Gregg Allman’s 1973 solo debut Laid Back, as well as his 1974 live album The Gregg Allman Tour, will be reissued on August 30th via Mercury/UMe. Recorded at the same time as the Allman Brothers’ iconic Brothers and Sisters, Laid Back is a densely soulful record that includes a stripped-down version of “Midnight Rider,” the devastating rocker “Queen of Hearts” and a swampy cover of Jackson Browne’s “These Days.” The reissue will be released on a deluxe edition 2CD-set, which features early mixes, demos and outtakes, including an unreleased demo of “These Days.” Two vinyl formats will be released — a standard 180-gram as well as a limited edition colored vinyl, pressed in violet and white marble.Two years after his death, Gregg Allman’s 1973 solo debut

Laid Back, as well as his 1974 live album The Gregg Allman Tour, will be reissued on August 30th via Mercury/UMe. The reissue will be released on a deluxe edition 2CD-set, which features early mixes, demos and outtakes, including an unreleased demo of “These Days.” Two vinyl formats will be released — a standard 180-gram as well as a limited edition colored vinyl, pressed in violet and white marble. Allman’s live album The Gregg Allman Tour is also being reissued, pressed for the first time since 1987. Featuring live tracks from Carnegie Hall and the Capitol Theater, the tracklist includes “Oncoming Traffic” and a cover of Elvis Presley’s “I Feel So Bad.” The vinyl edition will be pressed in grey and white marble, modeling the original so that side one and four will be on the first LP, while sides two and three will be on the other. R. Kelly Arrested on Federal Sex Trafficking Charges R. Kelly was arrested Thursday evening on federal sex crime charges, NBC New York reports. The singer was apprehended in Chicago and is expected to be brought to New York. NYPD detectives and Homeland Security investigator agents arrested Kelly on sex trafficking charges while he was walking his dog. The new indictment by the Northern District of Illinois contains 13 charges, including sex crimes, child pornography, enticement of a minor and obstruction of justice, per Chicago Sun-Times. Federal prosecutors in Brooklyn also filed a separate indictment against Kelly with five additional charges, the New York Times reported, including one count of racketeering and four counts of violating the Mann Act, which prohibits transporting people over state lines for the purpose of prostitution. Following a hearing Friday in Chicago, Kelly will remain in custody throughout the weekend. The singer, who did not enter a plea upon being charged Thursday night, will also have a hearing next week to determine when he will go to New York for arraignment on those charges.

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by Liz Stokes

The Bacon Brothers consist of Kevin Bacon and Michael Bacon. Kevin best known as an award-winning actor with over 80 films and television credits to his name, including Footloose, A Few Good Men, The River Wild and Apollo 13, to name only a few. And his brother Michael, an accomplished composer for film and television, also known for numerous awards including 2 Golden Globes and an Emmy for his original score for 'The Kennedy's.' I had a chance to talk with this musical duo about their new single "Play!" and their upcoming Shaky Ground Tour. I asked if they can tell me about their new single and Kevin said, "I do a lot of interviews by myself and with the band. And pretty much one of the main questions I get asked is about my marriage, which is a question I'm really truly sick of. 'How do you stay married for so long in the business and everything?' One of the things people always frame it with us, 'I guess you really got to work at it. It's got to be a lot of work.' My attitude is, it's not about the work, it's about play. That's really what the song is about. It's my answer to that question. You've got to play!" Michael tells me that the writing process for him has changed a lot over the years. He says, "When we first started writing songs, 5

my guess would be Kevin was 10 or 11 years old. He didn't play the guitar, and he really didn't have any musical training. So, he would sing me the lead melody and the lyrics, and I'd help him structure it into a song. Maybe we just make this diversion at the chorus and this will be the bridge, that sort of thing. Then we would demo the songs that we liked in my studio. That went well for a long time, and then we wrote a bunch of stuff together. Then, when we put the band together in 1994/95, Kevin was playing guitar well. We started doing less writing, mostly because he really didn't need me to help him anymore. Most of the time, we're writing separately. However, in this particular bunch of songs that we're in the process of demoing, 'Play' is the first one. We did collaborate on one song. I think the main thing is to have a structure where you come up with an idea and you can't finish it. Then it's really good to have someone that can help you with that. Every song that I've written over my career since I was 15, I've probably written 10 snippets of songs that are written on little pieces of paper and spread all over the house." Kevin tells me what fans can expect from this tour is, "We have a six-piece band, my brother and then four other people. It's a lot of instrumentation, because a lot of

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people play a lot of different things. We're going everywhere from loud electric guitars, to four ukuleles on the stage, to cello and accordion and saxophone. The songs are very varied, partly because we don't really try to stay in one kind of style. 'Play!' for instance, is kind of a funk song. Other things we have are more rock and roll, a little bit more folky. Also, because we have two writers in the band, we kind of switch off between a Mike or Kevin song. Whoever's doing the lead vocal is generally the writer of that song. We try to have a good time and put on the best show we can." I asked Michael who are some of his musical influences growing up and he said, "A lot of world music, folk music. A lot of classical music. I started playing the cello when I was about five and later switched to the oboe when I was in high school. But also concurrently, I played all the folk instruments. I started playing banjo when I was very young. My sister, Helga, taught me how to play the guitar when I was about 9 years old. My background in music is really eclectic, and it serves me very well as a film composer. You have to be able to write for an orchestra. You have to be well-versed in historical styles, but also with popular styles. So, the kind of music that our parents just had wafting through the house on this gorgeous old hi-fi system that my father installed in our house in Philly, I just heard such amazing variety of music." I asked Kevin the same question and he said, "I was born in 1958, so probably a lot of British Invasion. That was some of the first stuff I was listening to. Beatles and the Stones. I was a big Motown fan. I was buying 45s and listening to a little AM radio. Philadelphia had great rock and soul and pop on the stations. My brothers and sisters are all quite a bit older than me, so they were into all kinds of music, starting with the British Invasion and eventually more acid rock or 70s singersongwriters, which I was crazy about. My brother really was one. He's really cut from that singer-songwriter cloth, so I heard songs when he was writing and they were a big influence on me as well." Micheal tells me that he teaches at two

colleges in the city. He says, "One's in the Bronx and one's in Greenwich Village. I teach film and scoring." I said, 'How do you separate your time for doing all that and then being in a band with your brother?' And Michael responded, "It's a struggle for both of us. I think we both say we will never get any of this done, but somehow we've been able to make all the gigs, we get the records done and mix the album, and do interviews. It's worked out so far." I asked Kevin if he prefers acting or playing music and he said, "It's not really a thing where I feel I have to choose. I love them both. Some people say, 'Well, you must play music because you need a break from acting,' but the truth is that I love acting. I love acting more than I ever have. To me, the acting and the playing never gets old for me. I never tire of playing music. I never tire of the time between 'Action' and 'Cut,' playing characters. It's the other stuff that comes with it that sometimes you get weary of, but I don't look at them as I have to choose." I asked if there is a favorite song that they like to perform live and Kevin said, "I would say we tend to get a little bit more into playing the new stuff, because we're very forward-thinking and it's fresh. It's fun for the band and we're getting a chance to share it with everybody. I think probably one of my favorite songs to play right now is off the last record, which is a song called 'Tom Petty T-shirt.' The reason that I like playing the song is that we do well as writers and as a band's dynamics. The song is one of those songs that kind of starts in a certain place and gets big when it needs to get big. Mike's got a solo on it as well. It's just kind of a fun, kind of rocking ballad to play." Last year they released, "The Bacon Brothers" album. I asked how do they go about choosing what songs go on an album, and Michael said, "I think it's more like, "Do we have enough songs to make an album?" It's kind of intuition. We did a gig with G.E. Smith, who's a well-known guitar player. We did a gig out in the Hamptons, Long Island, New York and he heard this song that Kevin had wrote and said, 'Boy, I'd love to produce

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that,' So, we said, 'Sure, let's do it.' We booked the studio and he came in and produced it and it was going well. We said, 'Can you stay around for another day? Let's cut four more things?' I think we got it the next day. All the sudden, we kind of went from floundering around with four, five songs to having a completed record. We're pretty old-fashioned. I mean, I looked at recording, my career, in terms of CDs. You have 10 or 12 songs and you record them and you're waiting for the next 10-12. I'm not sure that's a valid business model anymore. People tell me it isn't. We'll release 'Play!' and some how get in the studio, and probably cut a couple more things and stagger that release and just let it roll out one piece at a time. Right now, we've got the songs, we just haven't been able to get in the studio to record them." I asked Kevin what does he consider as his greatest musical accomplishment as of now and why. He says,"I'd say just hanging in with the band and have the band stick around for as long as it has. I mean, for one gig, we cobbled together as many songs as we could that we thought we could play with a fourpiece, kind of an acoustic duo in '95 or '96. The material that we did was probably over a 20 year writing span, along with some easy covers. The fact that we end up with six more records of original material, to me is something to be proud of. Because whenever you write a song, I always feel like it's the last one. Like, 'Okay, that was it. I'm tapped out.' In my humble opinion, I think the songs have gotten better. I think they've gotten better for both of us. I feel like that's an accomplishment." And as for Michael, he tells me, "Without a doubt, the cello concerto that I just finished. One thing that is really exciting is that we're trying to amalgamate it with a Bacon Brothers show. The concerto is something that I never thought I would be able to do when I graduated from college in music school. It wasn't really that long ago. My senior piece was such an unmitigated disaster that I said,

'Well, I'm just not an art composer. I'm a film scorer, a songwriter, and a pop person.' I'm a cellist. I think everybody who's a composer and instrumentalist, their first dream is to write a concerto for your instrument. The concerto is a really great form, because it pits a single individual against an entire orchestra. As you're writing it, at least for in my case, I always tried to imagine what that dialogue it was. Sometimes they were at odds with each other, sometimes they were perfectly matched, and every different kind of relationship between that. It took me 10 years to write and 3 years to get a decent demo of it. I'm also integrating that into this organization called El Sistema, which a group that provides instruments for kids K-12. I've written a piece for them, but it's yet to be played. The cello concerto comes on and then we do a piece at the very, very end with everybody, which could involve over 100 kids on the stage and the band and the orchestra. I think I'm most excited just because it takes the two things that I love, which is singer-songwriter and also art composer, and mushes them together into something that I think is very, very exciting for me!" Michael says the advantages of touring with your brother is, "This is a business. We have a lot of moving parts. And if you don't treat it like a business, it's very difficult to succeed, because there's got to be money coming in, there's always money going out. And if you hae a business with someone who you trust to the ends of the earth, then that whole aspect is erased, any kind of negativity associated with that, as being brothers. We totally trust each other. We have to take care of each other and I have an enormous respect for my brother's writing. I just think his songs are incredible. I would be his partner whether he's my brother or not." The Bacon Brothers will be performing in Ocala, FL on July 28th, at the Reilly Arts Center. Tickets are still available, make sure you don't miss out on this great show!

The Bacon Brothers will be performing at Reilly Arts Center in Ocala on July 28th. Tickets are still available. 7

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by Liz Stokes

Abby Anderson calls just a bit late and the voice, the energy on the other line is just as infectious and just as big as the country singer’s home state of Texas. It’s just a few days after her first gig opening for Grammy winner Rob Thomas on the Matchbox Twenty’s singer’s solo tour, Chip Tooth Smile. The experience of opening up for a pop rocker like Thomas might be lost on some, after all, Anderson, who’s debut single “Make Him Wait” helped her nab a mention on Rolling Stone Magazine’s “10 new country artists you need to know.” Her newest track, “Good Lord” is firing its way on the country charts. It's not lost on her. Anderson, 22, credits her “very creative” management and booking team for the opportunity to support Thomas on the more than 44-city tour. Her first show with Thomas, in Red Bank, N.J., had her feeling like a “nervous mess,” but she said the audience welcomed her with open arms. Anderson, a former gymnast, spring board diver and 10-meter diver composed herself quickly. “I get nervous because I care,” she said. “I always know it’s going to be a great show when I got a bit of the jitters. I always do really deep breaths called diaphragmatic 9

breathing and I just say a little prayer to God to help me remember my purpose. Remember my ‘why.’” Thomas, a multi Grammy winner for the iconic collaboration with Carlos Santana on “Smooth,” even came out to the crowd to introduce her. The gesture still gives her chills, she said. Thomas and her corresponded via social media prior to actually meeting. “I’m a hugger, I was like ‘Rob come over here and give me a hug!’” She said about their first face-to-face. “He’s one of the most genuine people I’ve gotten to meet and I’m thankful I get to learn from a genuine soul like him. “I listen to Matchbox Twenty records now and I think if those were out today, they may be considered pretty country. Their instrumentation is just very natural, stripped-down, just beautiful. Amazing. Hopefully I put out great music – and great music is great music. This crowd doesn’t care if I’m country or not, my job is to entertain them for the night. That’s my only job.” The self-described ‘tomboy’ grew up in a family of seven kids. She credits playing youth sports like football (yes, football), gymnastics and diving for giving her discipline and focus. She often thinks back

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on the days of waking up at 4:30 a.m. for practice, and retuning to the gym after school as a huge sacrifice. Anderson says she has an “adventurous spirit like my mama.” She moved to Nashville at age 17, sacrificing her senior year with her friends. “Obviously in Texas, country music is everything,” the Dallas-born singer said. “I grew up listening to country’s greatest artists…we were raised on a steady diet of a lot of love and lots of music.” When asked about her songwriting influences, she quickly names Carole King (“Will You Love Me Tomorrow,” “You Make Me Feel,” among many others). But, she’s also quick to point out it’s not always about her own self-penned tunes that make for a great song. “I listened to a lot of Carol King, but I also listened to a lot of Aretha Franklin, Elvis Presley – but they didn’t always write their own songs, they cut great music – I’ve learned that to be an artist, I’m not always going to write the greatest song and I need to know when to record the song that is better than mine for the sake of bringing great music into the world that needs to be heard.” Anderson co-wrote “Good Lord” with Josh Kerry and Jordan Minton. The sun kissed chorus is a perfect summer tune: Good Lord, you're a heaven-sent/Hallelujah, can I get an Amen?/Every long kiss, every slow dance/Got me raisin' both my hands/Good Lord, I got a good man/ I thank the good Lord/I got a good man. The recording experience went smoothly and finding the energy and passion in the studio didn’t prove problematic. “We wrote this song on the tour bus, on the back of the bus,” she said. “My producer Josh is brilliant. And that song really did sound like that from the original demo.

Any time Josh and I are working together, energy is not a problem. I’m so annoying in the studio and get so excited. He fuels the fire and really amps up the excitement for me. We’re just two kids in a candy shop making music. “I always tell my co-writers, ‘okay, will this get the crowd going? Can I dance to this? Can I sweat to this? The live performance is the center piece to the music I make.” Her fans, especially the more than 45K Instagram followers and counting are paramount to her career. She enjoys connecting with them on a daily basis. “I never shy away from attention,” she said. “For me specifically, my listeners, my followers are the reason I get to create music. I read every single message they send me. I love fueling that fire and their passion just blows me away every day.” When she’s not on stage and not in writing mode, Anderson fully admits to being “the biggest foodie.” She and her band have a rule to not eat at any chain restaurants while on tour. “I like to think I’m a healthy person, I’m not shy to show off my tummy, I eat pretty much whatever I want. I think I owe it being 22, but I’m always in search of the best taco in whatever city we’re in,” Anderson said. For a few more weeks, Anderson will be on the road with Thomas and she’s looking forward to getting back to writing and catching up on some sleep. The experience has her feeling like her writing will have many new experiences to share with her fans. “I’m 22 dang it and I’m emotional as crap,” she said. “I got to get all the feelings out. If anything it’s humbling.” Abby Anderson will be performing at the Hard Rock Live on July 3rd and at the Mahaffey Theater in St. Petersburg, FL on July 5th, opening for Rob Thomas.

Abby Anderson is performing at the Hard Rock Live on July 3rd and the Mahaffey Theater in St. Petersburg, opening for Rob Thomas on July 5th. Full Access Magazine

by Melissa Kucirek

While storm Barry threatened The Big Easy and neighboring cities into possible hurricane level winds, Michael Girardot, trumpet and keyboard player for New Orleans-based band, The Revivalists, assures he and his wife are safe from the impending storm and bracing down for a wild ride. The same could be said for Girardot’s tenure in The Revivalists – it’s less than a week from the band’s support gig with iconic rockers, The Rolling Stones, and he’s prepared not only his shelter, but given the bands already impressive resume, the concert will be jumping’. The success of The Revivalists hasn’t exactly been whirlwind. But the past two years have been close. The support gig to The Rolling Stones’ No Filter Tour, Friday, July 19, in Jacksonville, Florida, at TIAA Bank Field might just be a pre-shock to the growing strength of a band that incorporates much of American music in all its might. Known for their breakout album, Men Amongst Mountains (Wind-Up, 2015) featuring the No. 1 AAA hit “Wish I Knew You” followed by Take Good Care (Loma Vista Recordings, 2018), which yielded the No. 1 hit “All My Friends” and “Change.” Formed in 2007, The Revivalists cut their teeth in the legendary New Orleans’ music scene, playing places like Tipitina’s, a landmark in the Big Easy’s music scene since 1977. “The band started when we were all in college in New Orleans,” Girardot, who’s originally 11

from Austin, Texas, and changed his major from education to music business said. “I went to Loyola, some of the guys went there and some of the guys went to Tulane. Tipitina’s is a special place for us. We love going back there – they do a thing called Tipitina’s Musician Workshops. So basically for kids and young adults – basically anyone that wants to come, and they have different New Orleans’ musicians there doing the workshop. Playing and sharing what they can share – so it’s really cool. New Orleans has this tradition of passing down music from generation to generation…there’s such a long history of New Orleans music history and so many greats to learn from.” The Revivalists, also comprised of David Shaw (lead vocals, guitar), Zack Feinberg (guitar), Andrew Campanelli (drums), George Gekas (bass), Ed Williams (pedal steel guitar) Rob Ingraham (saxophone) and PJ Howard (drums, percussion) offer up an alternative rock sound with bursts of brass, steel pedal guitar bound by sacred gospel tradition and miles upon miles of gigs in front of audiences large and small. It’s the bigger gigs, like performing at Red Rocks in Colorado that brings the music to the masses, but at the core of the octet’s soul is an ever evolving and positive vibe to all listeners. “Oh my goodness,” Girardot said. “From an audience perspective, when you’re at Red Rocks and you’re sitting and looking at the

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stage, the stage is going to be about 100 to 300 feet below you. And, then above the stage, you see the skyline above Denver, and you can see for maybe 50 miles, cause you’re on a mountain looking over the Great Plains. And, when you’re playing, you’re just looking up and they have all the rock formations lit up and you can just see up and up and up, and there’s people. It just keeps going. You have these beautiful rock formations, it’s just a beautiful place to see music and play music. I think it really hits you when you go out for soundcheck and you’re like ‘wow this place is huge and it’s beautiful….I think Jacksonville, and our Rolling Stones play is going to be the same. You get to play to a large amount of people that you’ve never played to before or playing in a place like that, that you’ve never played before. Just getting to that point in your career where you look up and are like, ‘wait, am I here?” Girardot said he’d always dreamt it was possible as a kid – performing music full-time. He said the members of The Revivalists had the same reaction when they found out they would be opening up for The Rolling Stones. “We were like ‘hell yeah!’” Girardot said. “You can start out with their catalog, it’s just iconic. We all know those songs and even if you don’t think you know like 20 Rolling Stones’ songs, you probably know like 15. The catalog is iconic. And, to us, we’re making this a living and a career. We’ve been doing this for over 10 years now and we hope to be doing it for another 60 years. To us the Rolling Stones are the exemplary – they hold the record for the most successful band with the most longevity. They keep putting on great shows and putting their heart into it and keep being friends with each other after all these years is a great example to us. Preparing the set list for the Rolling Stones’ gig will be done in typical band fashion. “We don’t play the same set twice ever,” Girardot said. “I’m sure there will be a lot of people that haven’t seen us before and we just want to put our best foot forward and

also, we want to have fun.” The arsenal of songs to choose is a smoldering stew of slick riffs, pesky but oh-so groovy percussions and tight jams only a Louisianabased band can deliver. “We write in different ways,” Girardot said. He himself notes - besides The Rolling Stones – The Beatles and The Who as influences. He also grew up studying classical music and opera. Fans might not know, too, that he’s also an avid reader, including science fiction works from author Philip K. Dick. While on tour, he continued, the band is always listening and absorbing other sounds and tastes from each other. He said that the song “Criminal” was built around the pedal steel guitar sound and the song “Monster” came spontaneously through a soundcheck. “Some songs, one of the members will bring in mostly completed form,” he said. “It happens a lot of different ways. There’s so many talented people in this band – Andrew our drummer is a great writer and a great lyricist. Zack writes a lot, Ed writes a lot. We all contribute to our sound – a lot of people coming together trying to put our best foot forward and trying to bring the best out of each other.” More on that eight member band size – it can get cramped, Girardot admits and can now laugh about. “We used to tour all in one, 15-passenger van with a trailer,” he said. “We did that for years and years and years and years. And, so anything we do now is luxurious in comparison. So we have a little more space now – we’re playing larger venues and we get to tour in a bus sometimes. “It is a lot of people, but it makes it fun. It’s like you’re touring with a big party and a big family that travels everywhere.” Make sure you catch The Revivalists in Jacksonville, FL, as they open for The Rolling Stones on July 19th. This will be a show not to miss.

The Revivalists will be performing at TIAA Bank Field in Jacksonville on July 19th, opening for The Rolling Stones. Full Access Magazine

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by Neal Nachman

CMA Festival is the ultimate country music festival, there simply is nothing bigger or better. Each year, fans travel from all over the world to converge upon Nashville to experience the best Country Music has to offer. The festival is set up throughout the Downtown Nashville area with stages spread out downtown. And at night, there are two opportunities for fans to see some of the biggest artists in country perform. The festival features tons of up and coming artists, to some of the biggest artists, all packed into 4-Days. This year, despite the weather, which had some rain scattered throughout the week, the festival went on without a hitch. Featuring great performances by Scotty McCreery, Carly Pearce, Michael Ray, Keifer Sutherland, Jimmie Allen, Chrissy Metz, LoCash, Runaway June, Lindsay Ell, Russell Dickerson, Morgan Wallen, and Ashley McBride, in addition to tons of other great artists. As night falls, the festival kicks into high gear as fans move to either Nissan Stadium or Ascend Amphitheatre for some of the biggest names. This year, fans at Nissan Stadium were treated to some great performances and collaborations including: Lil Nas X with Billy Ray Cyrus and Keith Urban, Joan Jett with Carrie Underwood, Florida Georgia Line with Hardy and Morgan Wallen, Dierks Bentley and Tenille Townes, Brantley Gilbert and Lindsay Ell, the Pistol Annies, Thomas Rhett and Jon Pardi. There was also an amazing performance by Eric Church, who performed a non-stop acoustic set 17

of 8 or 9 songs. Plus more performances by Travis Denning, Kassi Ashton, Brett Young, Florida Georgia Line, Tanya Tucker, Luke Bryan, Rascal Flatts, Jo Dee Messina, Thomas Rhett, Kelsea Ballerini, Miranda Lambert, Brothers Osborne, Kane Brown, Dan + Shay, Little Big Town, Luke Combs, David Lee Murphy, Tim McGraw, Trisha Yearwood, Keith Urban, Maren Morris, Carrie Underwood, Old Dominion and Chris Janson. Definitely action-packed. There is also a 3-night series of shows that takes place on Thursday, Friday and Saturday. This yearâ&#x20AC;&#x2122;s performances featured artists like Hunter Hayes, King Calaway, Cody Johnson, LoCash, Tyler Farr, Randy Houser, Blanco Brown, Jimmie Allen, Lindsay Ell, Chase Rice, Mitchell Tenpenny, Jordan Davis, Brett Young, Ingrid Andress, Jillian Jacqueline, Bailey Bryan, Tucker Beathard and Ashley McBryde. The performances at Nissan Stadium are filmed throughout the festival and produced by ABC Television, which will air many of the nightly performances on August 4th on ABC. This is a great opportunity to relive the festival or to see some of the great performances you missed. I would highly recommend if you have never attended CMA Music Festival that you make plans to attend next years event. You have never seen an event like this, and once you attend your first, I am sure you will make sure you never miss another one. It truly is a once in a lifetime event that you get to experience yearly.

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Flaming Lips King’s Mouth Warner Brothers Records gg4ff by James McMahon It’s been a while since the Flaming Lips have returned to their classic formula of song-driven alternative psych-rock. King’s Mouth, an elaborate concept LP featuring spoken-word narration from the Clash’s Mick Jones, is, in some senses, a back to basics return to form for the group. There are a few moments of unexpectedly traditionalist beauty: the album’s lovely closing one-two punch of “Mouth of the King” and “How Can a Head” finds frontman Wayne Coyne falling back in love with the type of minimalist songcraft and plainspoken question-seeking that the band crystallized during their turn-of-the-century heyday. “All For the Life of the City,” on the other hand, is a stuttering pop earworm with bright production and easy melody anchored with a simple descending bass line. But King’s Mouth, with its slow-moving songscapes and disruptive spoken word meditations, can also make for an arduous listen. Coyne’s conceptual story, alongside an accompanying art installation and an illustrated book, may very well illuminate the record’s narrative about about power, death, kingdoms and sacrifice. But as a stand-alone piece of music, its pacing tends to remain too static to uphold its heavy premise. The best songs arrive far too late, and early tracks like “How Many Times” and “Giant Baby” can be hard to distinguish from recent Coyne experiments like 2017’s Oczy Mlody. It’d be a mistake to expect the band, which has undergone a series of lineup changes and stylistic

evolutions over the past decade, to try to recreate any of the genre-bending magic from classic LP’s like The Soft Bulletin or Yoshimi Battles the Pink Robots. But for a group whose secret weapon was always sturdy songcraft, the bona fide old-school highlights on King’s Mouth tend to come too far and few between. Iggy Azalea In My Defense Bad Dreams / Empire ggggf by Dani Blum Iggy Azalea wants you to know she’s not sorry. She mentions this on every track of her new album, braiding it into brags about her money and her body until they snarl together in a petty wreath. It’s an odd package for a record with high stakes: This is her first album in five years, after her planned 2016 release Digital Distortion was shelved, and the first she’s released on her independent label. In those years, she has cemented a reputation built on appropriation and controversy. Name a major artist— Halsey, Snoop Dogg, the cartoon character Peppa Pig—and Iggy has entangled herself in some sort of feud with them. On an album with the unsubtle title In My Defense, she attempts to cast herself as a victim while further distorting and dismissing the cultures she takes from. Less than three minutes into the album, she raps, “Because I talk like this and my ass fat/They be saying Iggy tryna act black.” A few tracks later, she drops the record’s thesis: “I started to say sorry, but fuck that shit.” Didn’t we cancel Iggy Azalea? Maybe because of the nature of the internet, or because of the privilege that Iggy both

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willfully ignores and has worn as a shield throughout her career, she’s somewhat positioned for a comeback; media outlets have been hinting at her potential victorious return for years. This album could have been an opportunity to show an ounce of contrition, to own up to her mistakes and demonstrate that she has learned. Iggy is talented: a four-time Grammy nominee with the vocal toolkit and dancefloor command that allowed her to jump on and invigorate hits. (On “Fancy,” she handily eclipsed Charli XCX, a feat that few of Charli’s collaborators have managed.) But talent isn’t an excuse, and on this album, it’s almost irrelevant. “I just knew I wanted to go to America and be a rapper and have a ponytail and a leopard-skin jacket that went down to my feet, and like, 20 white, fluffy dogs on one leash,” she told Dazed and Confused in 2012. The album is stacked with cartoonish approximations of what she thinks a rap song should sound like: shivers of bass, the occasional “skrrrt,” Mad Libs of designer brands and bodily fluids. Many sound like direct imitations of the rappers she admires. “Sally Walker,” the best song on the album, features sparkling piano chords similar to Cardi B’s “Money” (J. White produced both songs). The exhausting, Juicy J-featuring “Freak of the Week” sounds like a rejected track by Megan Thee Stallion, whose debut album features her own song with the Memphis rapper. She hisses “lil’ bitch” in a way that sounds like Rico Nasty. It’s possible Iggy sees herself as a pioneer who paved the way for female rappers. Her album starts with “Thanks I Get,” a paltry diatribe about the “little mes” she claims to see. Women have been rapping as well as men for as long as rap has existed, but it’s

only now, years after Iggy came on the scene, that they seem to be inching towards getting equal attention. Iggy Azalea is not the only current rapper who fills songs with dreary, monotonous references to sex and money, but many find creative, amusing, and even raw ways to write and spit about both. Instead, Iggy crams her songs with one-liners that sound like branded Instagram captions: “I waste my wine before I ever waste my time”; “Catch flights not feelings.” Even worse are the banal repetitions: “I just wanna nut,” she whispers over a bastardized “Push It” sample, subjecting us to the word “nut” 15 times in under three minutes. Mixed metaphors wilt over predictable beats. I found myself bobbing along automatically to the slumped synths and handclaps, then wanting to hit “next” after 30 seconds of each song. For an album so concerned about “haters,” the worst we see comes from Iggy herself. “They call me racist/Only thing I like is green and blue faces,” she sneers, managing to corrode and embarrass herself in one line. Rather than penitence, she offers only a garish caricature. Her only defense is to further offend.

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New Kids On The Block Amway Center, Orlando

Young The Giant & Fitz The Tantrums Cuban Club, Ybor City

Iron Maiden BB&T Center, Sunrise

Dierks Bentley, Jon Pardi & Tenille Townes MidFlorida Credit Union Amp, Tampa

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Howard Jones & Men Without Hats Hard Rock Live, Orlando

Dave Matthews Band MidFlorida Credit Union Amp, Tampa

Blink 182 & Lil Wayne MidFlorida Credit Union Amp, Tampa

Carly Rae Jepsen House of Blues, Orlando

Shawn Mendes & Alessia Cara Amalie Arena, Tampa

The Bacon Brothers Reilly Arts Center, Ocala

August Burns Red The Ritz Ybor, Tampa

311 & Dirty Heads

I Prevail & Issues

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The Smithereens

Amway Center, Orlando

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Baby Metal & Avatar Hard Rock Live, Orlando

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