The Black Dahlia Murder 08/20/17—The Crown Uptown, Wichita, KS

I’ve been a Wichita resident for eleven years, and a metal fan for considerably longer. Until recently, those two things—being a metal fan and residing in Wichita—rarely intermingled, as live bands playing anything but country or classic rock were few and far between (Steve Miller Band, anyone?). There  was the occasional metal show here and there, but not much in the way of a scene that people could support.

That may be starting to change.


Brandon Ellis, The Black Dahlia Murder—sadly, the only zippered leather vest spotted all night.

In 2017, Wichita has seen shows by Mushroomhead, Cattle Decapitation, Superjoint, Amon Amarth, Hellyeah, Born of Osiris, and now, The Black Dahlia Murder. Combine that with the steady stream of shows full of local bands at smaller venues, and you’ve got yourself the makings of an actual scene.

The Crown Uptown is a gorgeous place. Although originally a movie theater when it was built in the 20’s (and dinner theater for years after), it seems almost custom made for concerts. As for TBDM show, turnout seemed a bit thin (blame the bad luck of having to book the show on a Sunday), although the fans who did show up were enthusiastic and appeared grateful to have another metal show in their town.

Kicking off the night was hometown act Parallax, playing a short but energetic set. Vocalist Trevor Rickett gave his all to try and pump up the crowd, with help from some vocal Parallax fans in attendance. The band was also shooting a video for a brand new song, so keep an eye out on social media for that one to drop.

Side note: Parallax is playing at The Elbow Room next month opening for Hed PE 09/22, so do yourself a favor and go see these guys while they’re still playing local shows—it may be only a matter of time before they’re touring nonstop and hardly ever home.

Betraying the Martyrs was up next, from Paris, France as a last minute replacement for Russian act Slaughter to Prevail. Their ultra heavy beats and growling vocals warmed everyone up, but the crowd was perhaps not ready for the occasional clean vocals and prominent keyboard parts that permeated the set.

At one point vocalist Aaron Matts urged the crowd to get moving and jump with the music, which the crowd did eagerly until the heavy riff they were jumping to gave way to keyboards and clean vocals, and the crowd lost their momentum. They’re a good band and they gave a tight performance, though by the end it I was thinking of them as “The THX band” due to the number of times their songs had beats drop like the THX surround sound intro that plays before a movie.

New Jersey’s Lorna Shore was up next, playing a short, tight set that was the first of the night to succeed in sustaining a circle pit for more than twenty seconds and consisting of more than two people. Closing with the title track off their newest LP Flesh Coffin, the band succeeded in loosening the crowd up for the remaining chaos yet to come.

Side note: Lorna Shore is returning to Wichita next month, opening for Miss May I at Rock Island Live 09/21. Don’t miss another chance to see this excellent band.


Adam De Micco, Lorna Shore—guy liked to shred with his leg propped on his monitor.

The final opening slot (in the disappointing absence of Dying Fetus from this stop of the Summer Slaughter tour) belonged to the crushing Oceano. Led by one of metal’s most guttural vocalists in Adam Warren, Oceano brought an intensity the previous bands lacked. In fact, Warren even issued a warning to a member of the crowd to properly channel his enthusiasm, after he sprayed Warren with water during the opening number. After a reminder from Warren that people at the front of the stage were vulnerable to face-level kicks from Warren if he were splashed any more, the crowd put an end to the shenanigans and put their energy into proper displays of enthusiasm like a frenetic circle pit and the evening’s first instances of crowd surfing. Oceano was the band I was most excited to see and they did not disappoint. They were brutally heavy, buzzing with electric energy, and had the crowd worked into a frenzy for the night’s headliners.


Adam Warren, Oceano—breaking it down while a fan headbangs.


Chris Wagner, Oceano—you can tell he’s pounding that bass, look at his top string.

The Black Dahlia Murder capitalized on the crowd’s energy level and never let it drop throughout their hour-plus set. Running like a precision machine, TBDM cranked through song after song without sounding like they were rushing to get through their time on stage. Vocalist Trevor Strnad had a good rapport with fans, simultaneously joking around and keeping them buzzing between songs by encouraging them to keep the crowd surfing and stage diving going throughout the set, particularly among the females in attendance, who were up to the challenge.

TBDM closed with a brand new song, the title track from their upcoming LP Nightbringers, which was reminiscent of some of their most popular material. If that song is any indication, fans won’t be disappointed when the album drops in October.


Trevor Strnad, The Black Dahlia Murder—pointing to a superfan.

Side note: Brian Eschbach had an absolutely insane guitar tone that made this guitarist and former member of metal and hardcore bands incredibly jealous.


Brian Eschbach, The Black Dahlia Murder—he knows his tone is sick, look at him.


The Black Dahlia Murder—orchestrating chaos.


Brian Eschbach, The Black Dahlia Murder—sponsored by PBR.


Max Lavelle, The Black Dahlia Murder—mid-headbang


Alan Cassidy, The Black Dahlia Murder—they had him tucked away and not even on a drum riser, like he was some second-class citizen. Drummers are people, too! (Barely)

It was a satisfying night of deathcore and extreme metal, with every band delivering in a big way. One can only hope that attendance was good enough to keep bringing metal acts to town and for a scene to develop. Time (and perhaps turnout at the upcoming D.R.I., Miss May I, and DevilDriver shows) will tell, but when crowds are as enthusiastic as this it’s only a matter of time before word spreads among fans and before you know it you have a thriving scene. May Wichita be so fortunate.


Soles of shoes in a crowd shot = good concert.


Ecstatic crowd surfer.

Ramblings about live performance

During my teens/twenties, I went to a lot of live events. Mostly concerts—I had (and may still have somewhere) a collection of ticket stubs that would impress even the most avid concertgoer—but other random performances, too. Stand-up comedy, magicians, even an old-fashioned circus freak show.

Some of you may have even seen it, too.

Some of you may have even seen it, too.

And it wasn’t just big arena shows or “professional” level performances. One of the coolest things I remember from a trip to San Francisco was all the street performers, especially a teenage drummer/percussionist who played on a makeshift drumset consisting of nothing but empty buckets—and it was absolutely incredible.

After joining the full-time “adult” workforce, nights out became less and less frequent. Since I moved to the Midwest eight years ago, I’ve only been to a couple of concerts, and the last one was not long after we moved out here. Luckily, that’s changing in 2015.

One of the most impressive non-concert performances I’ve ever seen was Cirque du Soleil’s “O” at the Bellagio in Las Vegas. It was the kind of mind-melting experience you’d expect from Cirque, with the added element of an enormous pool, with many of the tricks incorporating water in some way. It was absolutely astounding—I still remember it like it was yesterday, some ten years later. When it was announced that a touring production of one of Cirque du Soleil’s newer shows, Varekai, was coming to town, the opportunity arose to give my wife a killer Christmas present, and—who are we kidding?—one I would enjoy as well.

I’m not going to give you a complete play by play of the whole show because a) I’m lazy, and b) that’s boring, but you generally know what you’re in for with those folks: lots of incredibly lean and/or muscular (and often times rather small) people hurling themselves through the air or flipping and tumbling around the stage in costumes that look like Dr. Seuss on mushrooms. One character wore a helmet with a lightbulb screwed into it—a look that reminded me of an odd mix between DEVO and the Red Hot Chili Peppers.


No wonder the bottled water at the arena was so expensive—it was dosed with LSD.

There was dancing, gymnastics, acrobatics, a surprisingly good live band that played music that sounded like something out of a psychedelic renaissance faire, laugh out loud comedic relief, and it was all wrapped into a two hour long package that ran like a well-oiled machine. I can’t presume to speak for my wife, but between the show, the very good seats, and the fact that we lucked into extraordinarily good parking (and free!), I had a blast. It was a great night.

And that’s the point I’m taking my sweet time meandering to—part of what made it so great, so special, was the fact that it was a live performance. I used to go to so many concerts, so many other kinds of shows, that I took it all for granted. Seeing people performing, regardless what kind of performance it was, became no big deal. Well, that’s wrong. It is a big deal.

Watching people perform makes me happy. Someone is (generally) doing what they love, and it’s hard—for me, anyway—not to get caught up in it. And it doesn’t matter if it’s a sold out arena or a dive bar or a sidewalk or a swanky Vegas lounge, it’s all good.

That being said, I will be experiencing performance of the sold out arena variety this September, thanks to five minutes of boredom on Thanksgiving weekend and a stroke of luck. Behold:


Won from my local radio station via Facebook, can you believe it?

For the first time in probably two decades, I’m going to a (probably, by then) sold out arena to see a major rock band. The ironic part? It will be probably three times the size of Cirque du Soleil in terms of the crowd, with a fraction of the production value. It’ll be (aside from the lights and maybe some lasers or something) some guys standing on stage rocking their asses off. I can hardly wait.

So I guess what this all boils down to is a smidge of advice—if I’m presumptuous enough to think any of you want, need, or will heed it: go check out somebody doing something live. It doesn’t have to be packed into a sea of thousands of people, or require tickets that cost as much as a utility bill. Go see a local band at a bar. Check out a comedian. If you’re lucky enough to be able to, go check out a sketch comedy or improv troupe. If you see somebody standing by the bus stop playing a guitar, listen to a song or two. Just appreciate the act of someone performing.

*Looks down* Hey, how did I end up on this soapbox?

Tell me what some of your favorite performances are—are they concerts, plays, comedians, or something else altogether?