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So much has happened, and so much continues to happen each day that my hopes lay in the nooks and crannies of my mind. To remember everything would be impossible, but to cull the most interesting, important, and intriguing moments from this, the Stockholm Syndrome's first tour ever, is what my job has become.
Wally Ingram & Eric McFadden
05.14.04 : Starclub : Dresden, GER |
Memory can be a funny thing when countries blur together and nights bleed constantly into new days. When you leave Germany and drink generously with the band as our brand new tour bus (which was built for Paul McCartney) barrels through France heading to Spain, taking notes often takes a back seat to banging on table as Jerry Joseph strums an acoustic medley and Eric McFadden does vocal harmonies. Or maybe Wally Ingram is cracking jokes or Dave Schools is speaking his always interesting point of view. How could one even attempt to stop and write, rest and remember... this is a rock and roll tour through Europe and I'm the fly who lives on the wall. But before we get to tour buses and Spain, long nights in Amsterdam and the plethora of work that is necessary to make this all happen, we must first look back and in time we can speculate on what's to come.
You see, a few weeks ago I was offered the insanely rare and opportune job of traveling across Europe as this amazing band begins to hash out its form and find its legs. Consisting of Jerry Joseph on guitar and lead vocals, Dave Schools on bass, Eric McFadden on guitar and mandolin, Wally Ingram on drums, and German phenom Danny Dziuk on keyboards, the Stockholm Syndrome has inspired high expectations, which are already being exceeded. This five-piece powerhouse rock unit is setting off to conquer the world, (or at least make it stop and think) and I will be living with these cats, in the hotel, on the tour bus, and at the shows. I will be your eyes and ears, watching, consuming, and reporting back on the birth of the Stockholm Syndrome.
Jerry Joseph & Dave Schools
Rehearsal :: Berlin, GER |
The first words I remember writing came from Jerry Joseph late one night during rehearsals in Berlin: "When you wake up in this haunted communist block with no one but the ghost of the last DJ they shot you can think of me." And with those words spilling out of Jerry's mouth, I just couldn't doze off on the couch of the control room in the band's plush velvet, wooden, and gorgeous Berlin rehearsal space. I'm not sure if it was the thought of what may have happened in this East German Military and public propaganda radio haven or just the jet lag. Images of cold, calculating men scarring this beautiful land were slashing through my head as the Stockholm Syndrome began their second rehearsal run in the former Ehemaliges Rundfunk – Gelande Der DDR, or the German Democratic Radio Station. But alas, much like the theory of one's body traveling too fast on an airplane thus leaving the soul behind and causing what we refer to as jet lag, I'm getting ahead of myself.
Like many feats of greatness things didn't get off to the smoothest start, but when you are traveling across the globe with instruments and tools of the trade, it's almost to be expected. As Eric McFadden and I scoured the Airport searching for his bags he said in disgust, "If I did my job like this I wouldn't have one." Mind you, this was after the airlines had already left Jerry's guitars in Amsterdam. But so it goes, you do what you can, and after the bomb scare that left us at the Tiegle Airport in Berlin for close to two hours Eric and I finally managed our way to one of the finest hotels the world has to offer; the Four Seasons hotel in downtown Berlin.
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| Rehearsal Space :: Berlin, GER |
On our first evening together as a full band and crew we began by consuming a few bottles of perhaps the finest wine I've ever tasted and walked around the corner to enjoy one of the better meals I've had in years. As Jerry was explaining the $200 bottle of wine and Schools the difference between French and German foie gras I began to realize this month long adventure was clearly going to be like nothing I had ever experienced... musically, personally, and otherwise.
Danny Dziuk & Jerry Joseph
Rehearsal :: Berlin, GER |
After our splendid dinner, Ulf, of Germany's Ulftone Records (who happens to be the tie that binds all of these musicians in one way or another) took us to a local watering hole. As we sat and talked, drank and laughed, Jerry's open personality began to turn my way. "I've never been more scared about a band," he revealed. And this comes from a man who has never done anything but play music. I can't be sure, but my gut tells me the fear stems from the potential. Jerry is one of the most under-appreciated songwriters around, and he has tasted success, teetering on the brink of stardom in the late 80s with his band Little Women. His widely documented personal demons led him down a dirty path, one that will never go away, but has been successfully tamed. And now, as we sit in Germany the potential for something huge is lingering in the air and sticking to the name Stockholm Syndrome. As the hours begin to push towards morning, Danny, Jerry, and I order more drinks and Danny asks exactly what it is I do. Jerry tells him with a smile, "He's a writer for this genre I fuckin' hate." Ahh, my good friend Jerry, always there to sling a little mud. But it's understandable. It's hard for musicians like Jerry Joseph and Dave Schools who have been making music long before "jam" was even a category, to be lumped together with a bunch of young bands that hardly write songs and meander around on derivative chord progressions and passé guitar solos. Not to say all the bands found in the "jam" genre do this, but many do, and it's been the topic of more than one conversation. But we're getting off track, back to Germany and my discussion with Danny.
I go onto clarify that I'm the editor and writer for an internet magazine called JamBase, and through an ever-evolving relationship with Jerry was brought along to witness something that can never be duplicated: the first notes, the first shows and the first tour of the band.
Schools, Joseph, Dziuk, McFadden, Ingram
Rehearsal :: Berlin, GER |
Amongst the other truly unique experiences that are bound to unfold, we find something happening here that is beyond rare. Most bands start off slow, working up material and playing gigs in empty bars. Not the Stockholm Syndrome. This band of absolute monster musicians has recorded a stellar album, Holy Happy Hour at the legendary Compass Point Studios in the Bahamas. This fine piece of work (due out June 29 on Terminus Records) was produced by Dave Schools and recorded by sound guru Terry Manning, with the mixing prowess of John Keane. The band has never played a note on stage, yet they are headlining festivals across the states and being booked in major music halls. This type of stuff doesn't happen in the music business, but then again, you don't usually find such talented and driven musicians with active careers putting everything else on hold to follow an idea spawned out of collaboration and admiration. And in only three days of rehearsals, it's obvious why the dream is being chased.
It's the first day of rehearsals and the band has just smoked the D Chord power rocker "American Fork." Schools is standing behind his bass and turns to Jerry, "We can play a little butt rock, we are in Germany where the mullet is still popular." Butt rock or not, this track is shaping up quickly, as is the rest of the band's growing repertoire. Being able to watch this evolution is amazing. Not three songs in and the power is evident, the potential impressive, the vibe high. Jerry looks at Eric, who's playing Jerry's gorgeous Gibson hallow body (because his own axe was ripped off days before departure), and says, "You're gonna have to teach me all these songs." And Eric smiles, "That’s what I'm here for, to teach you your songs." This type of camaraderie may or may not exist elsewhere, but this mass of talent is certainly hard to come by.
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Then we tell the kids that it's good versus evil, that country and God are more important than people. We say it so much that it's almost believable. Fear we'll leave nobody behind. |
--Tight
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Dave Schools :: Rehearsal :: Berlin, GER |
As the days roll toward May 7, the date of the band's first show, the songs continue to get tighter. Considering each song has only been played a handful of times it's easy to understand why they improve with each rendition. And just as the songs need time to develop and take shape, so do the dynamics of the band. While each member has a strong voice it is clearly Jerry and Dave's band. These two have collaborated for years, first Jerry letting Dave and a young Widespread Panic open for his band Little Women in Colorado, then the better-known situation of Jerry sitting in with Panic every so often. Dave also produced Jerry's Conscious Contact album and the two are pretty much old friends. With the Stockholm Syndrome Schools is the musical director and whether he's driving with his bass or calling shots in discussion, everyone listens. Jerry is the emotion, the lay-it-on-the-line front man. Not having complete control (as he does in the Jackmormons) is proving to be a bit trying for him, but it may also be the difference in perhaps finally taking him to the next level.
Eric McFadden
05.08.04 : Malhauz : Plauen, GER |
With Dave in charge musically and Jerry acting as the soul, Eric McFadden is the insanely smoking lead guitarist who not only kills it on the guitar and mandolin, but possesses that ever-elusive rock star stage persona. Having worked with Dave on Slang, and sitting in with Jerry on several occasions, Eric has been in the fold for some time, sharing both personal and musical relations with Dave and Jerry. With long dreads dropping in his face, echoes of Hendrix screaming from his axe, and a manner that screams Big Time, McFadden is more than essential to the equation.
Wally Ingram on drums has proven to be quite a surprise to yours truly. While the name and some of his projects are familiar, I was definitely not aware of this man's immense talent (not to mention his easygoing good times attitude). On drums he can do anything. He can bang what Schools referred to as the "bombastic" drumming on "The Jacob Ladder," paint the dub nuances of "Sack Full Of Hearts," and hold down any beat in between.
Then we have Danny Dziuk on keys. Danny has been friends with Jerry for a few years, dating back before the release of their wonderful double album, Oil. Danny is incredibly talented, but a bit restrained and perhaps not as excited about rock 'n' roll as the remainder of the band. Danny has been playing music all his life, and did the rock thing for 20 years, and although he's more than capable of doing it, he tells me (over a marvelous Indian meal after rehearsal one night) that what he really enjoys doing at the moment is a "Tom Waits spoken word" type thing, with a German writer/poet friend reading over his keyboard work. If Danny continues to come out of his shell, be a bit more aggressive and assume certain angles, the band's sound would be a bit healthier, but these are things that get worked out in rehearsals, and for all intents and purposes that's what this European tour is, a real-time rehearsal. It was either rent a studio and learn the material in the confines of a single room in the U.S. or take the circus on the road and learn as you go. Besides, respectful European audiences have fewer expectations than the salivating American fans. This tour is a band on the fly, learning as they go, rehearsing live in front an audience every night, performing without a net.
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| Wally Ingram :: Danny Dziuk :: Rehearsal Space :: Berlin, GER |
The first semi-public appearance of the Stockholm Syndrome came on May 5th at the Radio Berlin Brandenburg station. Hosted by one of the biggest DJs in Germany, the band's one-hour slot has been played and replayed, garnering quite a few comments in the days that would follow. Starting things off, Jerry explained, "This song is called 'Tight' and it's the first time we've ever played, so we'll see how it goes." And with that Jerry grabbed his acoustic guitar and led the band through their first official notes. After a strong rendition of the wonderfully emotional new song, "White Dirt," Jerry explained, "This next one's kind of a political song as well. Where you act as an empire and not ask to do things, simply do them. This is sort of from the perspective of if George Bush was writing rock songs. This is called 'Empire One'." When taken in this context the message is clear... and quite frightening as the lyrics go; "Ask me if I'm lying, hell ya I'm lying, I'm a liar baby that's what liars do. Back on the preemptive, back on the offensive you're either with me or against me, better choose." After some more conversation and a few tracks off the new album, the band left with warm regards, eagerly awaiting their first gig in front of an audience.
Preparing For Acoustic Radio Show
Rehearsal :: Berlin, GER |
Driving back from the radio spot we stop at a fine Italian restaurant where we are joined by Turkey's biggest rock star. As we eat heaps of food and drink what seems like vats of grappa, discussions loosen and hopes of what's to come emerge. Back at the hotel, the late night drinking continues. Schools turns to Jerry and says, "This band has the potential to do anything." As I went to bed that morning Dave's words continued to play in my head, mixing with the echo of countless hours of practice. And as I think back over the extensive rehearsals I'm shocked by the amount of energy that fills the room, humming from band members, bouncing from instruments and off walls. Add to this tangible vibration the prospect of a packed club full of dancing fans and screaming kids, and who knows what major league madness might emerge. The future is uncertain, but School's prophetic words resound in my mind.
After another day of intense rehearsals, heated discussions ranging from stage set up to song dynamics, and some heavy drinking, it's finally happening--the first Stockholm Syndrome show in front of an audience. On May 7 nerves were tense and anticipation was boiling over. Sound check was stressful for everyone, perhaps most noticeably for Jerry as his amp wasn't working properly, leading to some running around and fine-tuning. Such things are to be expected when a band plays their first gig ever.
Wally Ingram by Nate Cake
05.07.04 :: Quasimodo Berlin, GER |
The scene for the first show is Berlin's Quasimodo, a small club that holds a few hundred people at most, and on this night no more than 150 heads piled in to witness the bands official debut. The first song to go down in the books is "Tight." Ironing out the parts and smoothing out the sound, the band moved along nicely, continuing with "Counter Clock World," and "Empire One." Now I often tend to rate my musical experiences based on "goose bumps" and "fist pumps." The first instance of goose bumps came during "Empire One." Standing in the German club and thinking of the local news headlines the words that emanate from Jerry seem to cut a little deeper and irritate a little more. Bottom line is the world now looks down on America because we embody the scathing message found in this song.
The remainder of the band's first set brought the ominous and very well written "Oil," which was worked up by Jerry and Danny years ago, along with the emotional "White Dirt," the single "Couldn't Get It Right" (which has received very favorable airplay in Germany), and a smoking version of Jerry's "Ray Of Heaven." All in all a very impressive first-ever set. Most bands would die to play like this after a few years, let along a few rehearsals, but this is no ordinary band and they seem to have their sights set on big things.
The second set featured "American Fork," and was highlighted by Jerry's Chagall-influenced "The Jacob Ladder." Also of note was Danny's back-end keyboard section on the jazzy "Purple Hearts," the uplifting island vibe of "Bouncing Very Well" (both off Holy Happy Hour), and the raging "Shinning Path" (which provoked the first fist pump), followed by the Jerry Joseph staple, "Light Is Like Water." While the music was pretty damn impressive the first show of the band's first tour ever hinged on the energy. To actually be playing these songs live and interacting with one another on stage created a plethora of it, and though there were spots that needed work the evening was a huge success. Jerry topped off the show by thanking the crowd and explaining, "We couldn't have picked a better place to start a band." And with that the champagne was uncorked and the celebration began. The Stockholm Syndrome has been born... and the beast is loose in Europe.
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| Jerry Joseph :: Dave Schools :: 05.08.04 :: Malhauz :: Plauen, GER |
After little sleep it was time to hit Plaun, a small German city near the Czech Republic. Upon arrival fans were already assembling and helping us find our way into the old, strangely shaped room. The previous night's intense energy carried over and the band's second gig showed noticeable improvement. The German fans screamed in appreciation, working up a sweat and creating a real rock vibe under the venue's low ceilings and sloping walls.
"Empire One" and "Oil" again came off strong as the band dropped into the dub-heavy beats of "Sack Full Of Hearts." While some of the nuances are still in need of some fine-tuning the core of these tracks is simply amazing and is a testament to the band's songwriting prowess. In discussing "Sack Full Of Hearts" it's necessary to comment again on the mouth open amazement that Wally Ingram brings to the table. Watching him man the skins and do more with NO electronic devices than most players with pads and delays, I can't help but ask myself how this man has slipped past my radar all these years. Yes I've heard the name Wally Ingram, and yes I knew Dave Schools wouldn't search out a slouch on drums, but nothing prepared me for the talent this man possesses. To say he is a professional is an understatement, but you don't tour with David Lindley, Sheryl Crow, Jackson Browne, and Tracy Chapman without being on a level all your own. Some of you may say, "Oh Sheryl Crow, Tracy Chapman--big deal, they don't rock." If that's where you stand there is far too much you need be taught, and I simply don't have the time right now. Just realize that you don't get picked up by the biggest names in the business unless you are top-notch... and Wally Ingram is beyond top-notch.
Eric McFadden
05.08.04 : Malhauz : Plauen, GER |
Set two in Plaun brought another raging "The Jacob Ladder" as well as an inspirational "Light Is Like Water," with Jerry walking to the front of the stage and standing over the crowd to scream the words without using his mic. This was true Jerry Joseph time, tapping into the naked emotions and letting them rule his performance. It was at this point that I realized something—and this is nothing against the Jackmormons for I truly enjoy what they do. But I realized this is the band I've been waiting to see Jerry work with. Having McFadden on lead guitar, who Schools so accurately said "can play circles around nine out of ten guitar players," with Dave himself (who is unquestionably one of the greatest bassist around), with the amazing Wally Ingram and the ever inventive Danny Dziuk on keys, THIS is the band I've been longing to see Jerry create with.
And that is perhaps the key phrase here—"create with." The reason this is such a critical concept is that Jerry is used to being the guy the whole time. His band is Jerry Joseph... and the Jackmormons. So the question becomes, can you take all these amazing, accomplished, ambitious musicians, who are band leaders in each of their own projects, and mesh them into one cohesive unit? This is the real issue. If they can manage to truly become a band, not simply backing Jerry on his vast and amazing catalogue of music, but become a band in the true sense of the word, where each member works to make the whole greater than the parts, then the potential is truly astonishing and limits are perhaps nonexistent.
Danny Dziuk
05.08.04 : Malhauz : Plauen, GER |
In assembling the pieces of this band we find Ingram's world class, immensely versatile drumming, and Dave Schools' equally astounding bass playing establishing a rhythm section that is as good as anything you could dream of. Not only is Danny Dziuk, as Jerry put it, "one of the most beautiful human beings alive," but as Dave Schools pointed out, "he is one of the best keyboard players alive." Danny spent his childhood chasing the characters of Jack Kerouac and living out his fantasies in accordance with On The Road. He toured in rock bands and doesn't focus on such loud music these days, and in turn we often can't hear Danny, both in his volume and in his style of attack. With Jerry, Dave, and Eric on stage there's a lot of sound to contend with, and if the keyboard player isn't aggressive he'll be lost in the shuffle.
That shuffle is in great part due to the amazing Eric McFadden. In this dynamic we find Eric and Jerry working out their places. As Jerry said, "Eric does everything I don't do as a guitar player." And if they can continue to find their respective spaces and compliment each other, allowing adequate room to breathe and in turn team up to blow the roof off when the time is right, this band may be in for big things.
In one conversation with Eric, we discussed the intricacies of learning to play with these guys, and his belief that once they find their roles the music will truly begin to unfold. In considering Eric's position and watching him play I did seem to sense a bit of hope that more material would evolve as a band, as opposed to songs from the Jackmormons rotation. And when considering the musical mastery and outright insane playing this guy is capable of, it's no wonder he doesn't want to play songs that have already been developed and heavily explored. All of these men are such talented and creative musicians that the need to develop new material with group dynamics and a fresh perspective is crucial. So again, much like a basketball team with five superstars manning the floor, the question truly is, can the band as a whole make these five intricate pieces fit into one amazing outfit?
Jerry Joseph & Dave Schools
05.08.04 : Malhauz : Plauen, GER |
Coming out of such heavy thoughts was the raging "Ray Of Heaven" guitar meltdown that shook Plaun to its core. I don't care if these boys don't like the term "jam," but the shit going down in the ten-minute, wide-open freakout "Ray Of Heaven" was downright nasty. Featuring McFadden and Jerry trading licks and firing shots through the dank, dark room and Schools dropping bombs galore Plaun turned into a sweaty mess of a good time.
After the show, as we all enjoyed the replenishing effects of heavy libations, the discussions continued in regards to what I've been referring to as the "sound war." You see, we are working with a talented and well respected German soundman who is doing his best to keep the levels in place, but with so much guitar and such small rooms the end result is not always to his liking. But as Dave said on the bus well into our drive to Munich, "This is a rock 'n' roll band, and I don't give a fuck if some beer hall owner booked my rock band and it's too fuckin' loud." Spoken like the badass rock bassist he is... and I would guess he's only going to get louder when he hits the states.
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| Jerry Joseph & Eric McFadden :: Band :: Traveling On Tour Bus |
In what appeared to be a direct result of the loudness conversation the night before, the band began their Munich show on May 9 with Jerry on his acoustic guitar. Opening with "Tight," the band continued to hash out their parts and with a little less guitar Danny was able to open up a bit more on the keys and show his marvelous phrasing. The show in Munich (and all of them for that matter) is the type of intimate affair where Schools throws his shaker to young Leopold (who couldn't be older than seven) in the first row. Jerry tells him to, "Just shake it in time" as he demonstrates the proper form. And not one song later I see the young blond haired German kid doing just that, shaking in time, staring back at the crowd, displaying a natural ability already developing.
Danny Dziuk & Jerry Joseph (acoustic)
05.09.04 : Kleine Elserhalle : Munich, GER |
After a few more acoustic numbers, namely the disturbing love song "Spy" and a wonderful reading of "White Dirt," with McFadden playing the most appropriate and gorgeous mandolin section, Jerry proclaims that, "The wooden part of the show is over, it's time for a scorcher." With that the band launches into their first version of "North." While I've come to expect great things of "North" from both Widespread Panic and Jerry with his Jackmormons, this version was clearly a bit sloppy and lacking the tight changes and nasty licks necessary for transcendence. It was still enjoyable to hear, and satisfying simply to realize that they will be working this monster into their repertoire.
The smoothest part of the show came in the transition from the reggae beats and Rasta chants of Jerry's "Lick The Tears" into "Bouncing Very Well." Like any band that develops a rotating repertoire culling different songs nightly and constantly adding more material, Stockholm Syndrome have found a few numbers that compliment one another. The guys are finding these intricacies just a week into the band's existence, covering ground that most groups don't address until far later days.
Blasting through another "Light Is Like Water" and working out the delicate sections of Jerry's "Crime and Punishment," the band encored with "One In My Hand" and "Counter Clock World" (both off Holy Happy Hour). And before I had time to digest the music or even a meal it was off to Frankfurt, another day and another show with no break in sight.
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Hillbilly heroin, the Patriot Act, smothering the airwaves in vitriol. Industrialization of the little brown babies, hope you got a bonus for the soul you sold... We raise our hands with our American fork, our greedy little hands. |
--American Fork
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They opened the show on May 10 in Frankfurt with the encore from the evening before, "Counter Clock World." As the guitars began to swirl and the music rapped around itself I continued to realize how ridiculous this band could be. After only a week they are already better at this intelligent, emotional, deep rock than bands that have been trying it for years. While they are all critical of what they do (as any great artists must be) it is somewhat astonishing that they are already focused on the details. After a week together most bands are simply struggling to keep it together and get through the material, but the Stockholm Syndrome is worried about various nuances and the intimate areas of the musical conversation. But once again, few bands, if any, start with such extremely accomplished musicians who are a bit older, a bit more mature, and a bit more aware of what is needed to make it on the road. And even fewer bands start with such a solid core of songs and such a strong album to work off... again, this is simply not an ordinary band... and did I mention that Dave Schools is in the band, that's really all you need to know? Trust me when I say that Schools only involves himself with the finest musicians in the most interesting projects.
Kai Fricke (sound man), McFadden & Dziuk
05.10.04 : Post Show in our Frankfurt Hotel Bar |
Just as every consecutive show has been, Frankfurt was the best of the bunch. Each night has grown in all areas, from confidence and familiarity with both the songs and the players to the overall sound that fills the room. Each evening we find a band on the rise and it can be seen on their faces and heard from their amps.
Being able to spend intimate time with all these remarkable men has allowed me to peer into their psyches a bit and get a feel for what makes them tick. Take Jerry for instance. Prior to the Frankfurt show, Jerry (as he often can be) was very volatile and in some ways difficult to deal with. But Jerry is a double-edged sword. His genius is found in the emotional catharsis mined from the depths of his pain, and this release is impossible without his other side, the side that makes him sick with anticipation, that makes it impossible for him to eat, that leads him to lock himself away for the hours leading to show time.
Jerry Joseph & Dave Schools
05.17.04 : Bikini : Barcelona, SPA |
Jerry's material is filled with pain: the pain of the world, the pain of Jihad, the pain of America's ruling mentality and lethal convictions, the pain of his past and the pain he sees in his future. Jerry is full of these thoughts and he sees these visions; in turn it's very difficult to simply ask him to turn it on and off when the lights go up and down. Jerry is an artist, and like many artists he's difficult to wrap up with a few words. To know Jerry the performer is to know his music, to read his words, and dig into his stage presence. But to know Jerry the man is to understand the stresses of having children thousands of miles away and a life that won't let him simply "go on the road." And this extends to each of us--the band, the crew, the management. There is far more that goes into a show than simply plugging in and playing.
Yes it is a wonderful life, one full of new places and faces, experiences and the ever-healing effects of music. But it's a hell of a lot of work. So much so that over dinner and wine one night Dave Schools began to tell me that he feels part of my job here is to explain just how much work goes into this, and just how difficult this all can be. He went on to explain his disgust with young kids who feel they have some type of entitlement to his band's music (mostly in reference to Widespread Panic). He even told a story about JoJo Hermann (keyboardist for Panic) going out to the tour bus and finding some Wookie asleep in his bunk. Shocked and a bit pissed, he roused the kid only to find the bastard had the nerve to be angry about being woken up. And when fans complain about set lists, and make demands about taping (which they obviously allow), I (and Schools) simply don't understand where they get off with such self-absorbed attitudes.
Dave Schools :: Rehearsal :: Berlin, GER |
These guys have been busting their ass for 20 years to get to this point in their career (all of them--Panic, Stockholm Syndrome, Eric with his own bands and P-Funk, Wally who has his own signature drum sticks, etc). Each of these musicians has given up a life that allows for time with their dogs, time with their wives, time with their kids. Each of these men have made great sacrifices and continue to do so on a daily level, and until you've helped with the load in and dialed in the sound, watched them learn songs and teach each other sections; until you've called home to find your life falling apart and there's nothing you can do with your calling card; until you have sat on the bus for 16 hours and survived off coffee in the day and booze at night; until you've lived out of your bag and forgotten what country you're in year after year, you can't say shit, and all you should do is enjoy the music as you enjoy your life, but don't think that this is somehow your music or that you are entitled to some sort of payback because you went on tour for the summer. But once again I'm getting off track... back to Frankfurt and the ever-evolving rock show.
R. Shippy (Crew), McFadden, Joseph, Kayceman
Post Show : Reithalle : Offenberg, GER |
All of these stresses were beginning to wear on band and crew alike, but during the "Light Is Like Water" > "Gloryland" > "Light Is Like Water" first set closer I was quickly reminded of all the things that led me down the path I'm currently walking. Although I hadn't slept and had barely eaten, everything began to slip to the side and none of it mattered. And although Jerry was even worse off mentally, dealing with sleep deprivation and life across the ocean, it all came to a point of marvelous beauty where at least for those sections when the band was clicking and the crowd (regardless of how small) was locked in, nothing else mattered. It became one of those moments of Zen that hordes of kids chase around in cars and vans each year, where nothing else matters but that moment of musical bliss.
Well my friends, phones are ringing and buzzers blinking, time is of the essence and in order to get things in place for this evening's show I must bid you farewell. Finding time to write is nearly impossible, which means I'm skipping my allotted time for sleep. But such is life on the road with a crew of rock stars. There is so much more to tell... Our adventures in Amsterdam, talking about Mikey's last shows, Jerry evoking tears from band and crowd alike, the most insanely wonderful venue I've ever seen, and details that I simply can't divulge at the moment. Be sure to keep an eye out because I'll be back with the dirt on the Syndrome's development. But take it from me, each night they reach new heights, and every time they play we are closer to glory.
Be sure to stay tuned, Part II will land soon.
All Words & Images by: The Kayceman
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