Gregory Porter – Has a Sunday night ever sounded so smooth?

What better way to spend a Sunday evening than listening to the deep soulful baritone vocals of Gregory Porter serenading a sold out den Atelier.

Having recently announced a forthcoming follow up to his 2013 Grammy winning album “Liquid Spirit”, Gregory Porter is back on the road and dazzling audiences once more in preparation for his new album “Take Me to The Alley,” which will be released on May 6th.

Coming onto the stage wearing his trademark black cap, he opened up proceedings with “Holding On” a track he co-wrote with British electro duo Disclosure for their last album. His clever reworking turned this floor filler into a delicate and emotional smooth jazz croon. It wasn’t to be the only track from the upcoming release, as he gave us another glimpse of what to expect with the title track blending in some more smooth jazz.

All night the sound was crystal clear, allowing us to pick out every note which is a joy when you have such talented musicians working the piano, double bass, saxophone and drums. Their feather light touch and restraint in not overpowering Porters vocals is a skill in itself.

The ever sensual double bass started off the intro to the Temptations cover “Papa Was a Rolling Stone” as Porter casually leaned against the grand piano nodding his head and feeling the groove just like everyone else in the venue. As much as it’s Porter’s name on the ticket, the band are every bit as important, each of them taking their own moment in the spotlight throughout the night.

From their up tempo soul to funky jazz, they had it all last night. Porter’s affable personality had the audience in the palm of his hand as the band intermittently delved into solos. The vintage soulful groove continued on “Musical Genocide” as he sang of refusing to sell out, improvising lines declaring that James Brown & Nat King Cole would have been on his side in his struggle for artistry, with the crowd chanting words ‘I do not agree’.

Their restrained style meant no note was wasted, even when they jammed there was never a feeling of it being too much and when vocals such as Porter’s dropped back on top, it all felt so effortless.

The punchy cultural alertness of “1960 What?” combined with its mean groove was a highlight, getting the crowd shuffling along to the double bass whilst the funk groove of “Free” finished off the proceedings, complete with a 10-minute instrumental outro.

In a recent interview Porter said people shouldn’t assume they don’t like jazz and that they should go and see it live, as when it works it’s genius. On last night’s showing he couldn’t have been more spot on, I think you would be hard pushed to find anyone coming away from that show not feeling warm and enriched from the experience.

13/3/16 – den Atelier

Scorpions – Rock ‘N’ Roll Forever

Saturday night saw thousands of rock fans pack into Rockhal to celebrate the 50th anniversary of one of Germany’s most enduring hard rock bands, Scorpions.

There are probably only a handful of bands who have sold in excess of 100 million records and are still rocking out half a century after their formation but Scorpions are one of those select few. After an ill fated attempt of retirement back in 2010 the band have been on their 50th anniversary tour for the last year now, whilst at the same time releasing their 18th studio album.

As they took to the stage in front of a near capacity Rockhal, the giant curtain fell revealing an enormous screen stretching the length of the stage and rising around 50ft (15m) high with James Kottak sitting about 15ft (5m) up on his own stage above the band with his drums.

With so many albums under their belt, they have notched up their fair share of hits but it’s reassuring to hear that tracks such as “Going Out with a Bang” from their new album “Return to Forever” held up next to their classics such as “The Zoo” & “Coast to Coast”.

You’d even be forgiven for forgetting that Rudolf Schenker on guitar & Klaus Meine on vocals are 67 as they bounded about the stage like men half their age, running up and down to Kottak’s raised platform as well as perching at the front and holding their best rock poses for their adoring fans. As well as an abundance of energy, Meine’s vocals have lost almost none of its trademark melodic power as he still manages to sit upon the electrifying riffs all these years later.

After starting off at breakneck speed they took a few moments to slow it down, walking to the end of the runway – or ego stage as some call it – to play a few acoustic numbers in “Always Somewhere”, “Eye of the Storm” and classic ballad “Send Me An Angel”. Even in such a vast venue with a huge stage set up they managed to make these moments feel intimate and intense.

Then from nowhere, through the dark you could hear that unmistakable whistle and with that the crowd cheered knowing what was to come. “Wind of Change” was the track that launched the band onto the global scene and as they sang with help from the crowd there were powerful images of the Berlin wall up on the screen, which has become synonymous with the song.

It was then back to no holds barred rock as they delved into the blistering instrumental of “In The Line Of Fire” before the “Kottak Attack” which saw Kottak’s drum riser lift from the stage and hoisted halfway up to the roof of the Rockhal as he took us on a 5 minute drum solo.

After a couple of more riff heavy, hard rocking tracks with “Blackout” & ‘Big City Nights” they returned with the inevitable “Still Loving You” & “Rock You Like a Hurricane” giving us a dose of classic hard rock at its best, with the band still running around the huge stage, posturing and shredding up the chords just as they did in their hayday.
Most bands would be delighted if they still had their energy and enthusiasm after 10 years never mind 50 and if they keep performing like they did last night there could be yet many more years to come, after all as they say, Rock & Roll Forever.

12/3/16 – Rockhal

Kodaline – Searing choruses and emotional ballads in abundance

Irish indie pop rockers Kodaline returned to Luxembourg on Friday night to play to a sold out crowd at den Atelier.

Since they burst onto the scene back in 2013 with their debut album “In A Perfect World” Kodaline have cemented themselves as one of the few marketable indie pop acts that can deliver enough melody to appease the casual listener whilst throwing in a good few hooks and choruses to catch the attention of the young adolescents.

After extensive tours following the success of their debut, the band wasted no time in getting back into the studio to record their second album “Coming Up for Air”. This produced another host of radio friendly tracks which found them once more back in the charts and notching up the airplay.

First up last night was Irish indie outfit All Tvvins who come with a fair bit of hype themselves, having already supported the likes of Pixies & Arcade Fire over the last year. Their electro tinged indie rock certainly hit the mark, getting swathes of the audience shuffling along. Their mix of melodic pop and effervescent riffs gave them an element of intrigue without being disjointed.

Kodaline arrived on the stage to rapturous applause and ecstatic screams from the audience. Their opener “Ready” didn’t pull any punches but then again that’s not what the band are about, it’s all about those hooks and sing along choruses and they have them in abundance.

“Way Back When” even threw in a good foot stomping beat to get the pace moving along nicely before a few shouts of “Luxembourg” from frontman Steve Garrigan got the obligatory cheer.

Garrigan’s falsetto vocals shone on “Lost” with the atmospheric synths enveloping his voice as the track built with the shifting of gears as it took on an electronic groove, something they moved towards on their new album.

The first note of “High Hopes” got the crowd screaming and brought about a scramble to ones’ pocket as a sea of camera phones appeared, all swaying in unison. Then the driving percussion and simple hook of “Honest” saw them delve into a grander, more complex sound which was a welcome change to proceedings.

Of course it’s fitting that they should end with the song that launched them to fame, the teary sing along “All I Want” had the crowd swaying and singing one last time.

Kodaline might have a few too many clichéd lyrics and far too many weepy choruses for some but it’s clear they connect to a huge demographic and when they can produce engaging performances like they did last night, they won’t be losing any of their fans in a hurry. On the other hand, they won’t be winning any new fans either if they fail to develop their sound further on their next album.

11/3/16 -Kodaline

A thrilling blend of genres from GoGo Penguin

Jazz has had a somewhat troublesome relationship with the mainstream music fan over the years but with the likes of Kendrick Lamar, Flying Lotus & Kamasi Washington all bringing jazz to a younger audience, the genre is finding itself in something of a renaissance.

Another act who is opening up the genre to a wider audience are GoGo Penguin, who brought their blend of jazz to the Philharmonie on Thursday night.

Back in 2014 GoGo Penguin received their big break when they were nominated for the Mercury Prize with their second album “v2.0”. Now on the revered French label Blue Note Records they have released their third album “Man Made Object” to yet more critical acclaim.

The trio made up of Chris Illingworth on piano, Rob Turner on drums and Nick Blacka on the double bass opened with “All Res”, the first track from their new album. With its swooping yet interlocking rhythms, it set out the tone for an evening full of exquisite technique and symbiosis between the three musicians.

With “Kamaloka” each instrument danced and weaved together to create joyous yet subtle shifts that allowed each musician to shine equally, whilst the heads around the auditorium all began to nod to one of the many different beats.

The slow and delicate build of “Murmuration” highlighted its beauty as the song built to a frantic crescendo with Blacka’s double bass taking us to a post rock ending before delving straight into “One Percent”.

Their influences from trip hop through to classical and dance music are all there to hear. With each song another influence came to the fore, whilst still retaining their traditional jazz setup as with the likes of “The Letter” starting with the dark brooding piano before ebbing and flowing between piano and double bass as it took on a more sombre tone.

If we thought it was to tail off quietly we were to be quickly shaken out of the slow sombre as the frantic pace of “Smarra” with it’s fluttering bass groove and drum breaks took it all back up a notch.

Finishing on what seemed to be a bit of a fans favourite, “Garden Dog Barbecue” the frantic and powerful blend between the piano melodies and breakbeats were once again seamlessly tied together by Blacka on the double bass as tempo shifted vigorously whilst still retaining rhythm.

With shows as relentless and exciting as last nights, hopefully GoGo Penguin can continue to court the attention of the mainstream music press and open up a whole new audience to the exciting music that is out there for all to consume.

10/3/16 – Philharmonie

Macklemore & Ryan Lewis – Turned the Rockhal into one big party

Finally returning to Luxembourg after their triumphant show at Rock-A-Field back in 2013, hip hop duo Macklemore & Ryan Lewis kicked off their World tour on Tuesday night at Rockhal.

Since breaking onto the scene in 2012 with their multi-platinum self-released debut album “The Heist”, Seattle hip hop duo Macklemore & Ryan Lewis have continued to churn out hit single after hit single and with the release of their new album “This Unruly Mess I’ve Made” that pattern looks set to continue.

Support came from 19-year-old Raury who has been hyped up by the blogosphere over the last few years, courting collaborations with Lorde, featuring on SBTRKT tracks as well as gaining the services of Tom Morello on his debut album. However, it’s live where he stands out, with his abundance of energy and charisma, he delivered his own mix of soul, hip hop & folk. He’ll surely be coming back for his own headline show in the not so distant future.

Then it was time for the main event and as the lights lowered, the stage rose from the depths of the Rockhal to reveal the band including a string quartet and brass section with Macklemore taking up point on the extended stage, whilst Lewis was content on his own riser at the back with his decks as they launched into “Light Tunnels”, the opener from the new album.

Then with Macklemore & Lewis appearing with their finest oversized fur coats it was apparent they were about to drop “Thrift Shop”. This of course got the first big sing along of the evening with the crowd dancing away and laughing along to the comedy hip hop. It is testament to the number of hit singles they have that they can give us such a huge hit so early on and not worry about the lack of a big finale.

Since their debut album they have become the hip hop act the whole family can enjoy, as they not only take on comedy but tackle more socially responsible topics including their assault on our consumerist ideals with “Wing$” before delving into gay rights in “Same Love” whilst condemning the homophobia which is so prevalent in hip hop.

All this before Macklemore turned onto his own guilt with their success on the back of black culture on “White Privilege II” where the stage show was rained back, only keeping a solitary spot light on Macklemore as he delivered his vocal barrage. These more reflective moments took the night to a different place but still managed to keep proceedings upbeat which is no mean feat when tackling such issues.

But it didn’t take long before the unashamed fun was back with the light hearted & playful “Let’s Eat” as Macklemore sat at a dinner table to deliver this one before launching some brownies into the crowd, lets just hope they were all above board as there were some youngsters in the audience.

From then on it was relentless party mode with “Can’t Hold Us” seeing Macklemore climbing into the buoyant crowd before finishing on their new hit “Downtown” which encapsulates everything the duo are about: joy, energy and exuberance. Eric Nally even joined them on stage for a short but effective cameo with his own infectious stage presence.

As people began to filter out of the Rockhal all you could see was broad smiles and hear laughter through the humming of “Downtown”, even as I type I can still hear the screams of the chorus from Nally reverberate in my head. Macklemore & Ryan Lewis certainly know how to deliver a show of sheer joy and it’s no wonder their fans are so loyal and cry from the rafters that you have to see them live.

8/3/16  -Rockhal

Years & Years – Brought their winning formula to Atelier

English synthpop favourites Years & Years took to the stage at den Atelier on Friday night for their first Luxembourg show.

Last year was quite a momentous one for the band, having won the prestigious BBC Sound of 2015, they then went onto hit the top spot in both the UK singles and album charts for their debut “Communion” which went on to become the fastest selling debut album from a British band in 2015. However, their success didn’t stop on their own shores, with their single “King” going into the top ten in many countries across the globe, whilst selling out shows all over Europe, including last night’s.

Support came from the Dutch duo Klyne, who from the off possessed the same infectious electro groove as Years & Years, if maybe with a more soulful darker edge mixed in for good measure. Even when they dropped it back to the more down tempo beats the strength of the vocals still managed to captivate the boisterous crowd. On last nights showing I’m sure they’ve built quite a new fan base on the back of this tour.

With the crowd nicely warmed up and the anticipation palpable it was time for the lights to dim. I hadn’t foreseen just how down with the kids the band were till they took to the stage and it sounded like 1Direction had walked into a school classroom. The band proceeded to build up “foundation” before frontman Olly Alexander joined them a minute later to more screams as the haunting intro continued to soar.

Every contort of Alexander’s body got an extra cheer and with their reggae tinged “Take Shelter” there were plenty of moves and grooves to suffice. It was on “shine” where his falsetto vocals really came into their own, not that he needed to sing much as by this point the audience had found their own voice and were singing every word back to him with gusto.

As much as their sound lends itself to a good sing and dance, it was Alexander’s charisma that captured any of the non converted and encapsulated the whole crowd into one. For “Eyes Shut” he brought a young girl onto the stage to join him on the stool as he played keys and sang, this for sure wont be a night she’ll forget in a hurry.

With the huge success of last years “Communion” it looks like the band will be back in the studio sooner than you might think, as they looked to try out a few new tracks last night, including “See Me Now” which saw them stick to their tried and tested formula.

With headline tours for a band with just one album you are of course going to get some covers and they didn’t disappoint with a crowd pleasing medley of Drake’s “Hotline Bling” & Katy Perry’s “Dark Horse”, not to mention a curveball with Britney’s “Toxic”.

As the evening progressed so did the set, leaning heavier on the spiralling keyboards and euphoric club breakdowns of “Real” before launching into “Desire” & “King” both of which had the whole crowd singing along to the infectious electro pop.

There were moments throughout the night when the sound got a bit muddy and Alexander’s vocals were lost, but fortunately there was space for the imperfections and when you write as catchy songs as they have then you’ll have the crowd singing along all night, masking those mishaps.

Years & Years clearly have their niche and although the new tracks didn’t sound like much of a departure, why change a winning formula.

4/3/16 – den Atelier

Ellie Goulding – A lack of connection leaves you feeling cold

Ellie Goulding’s rise to global status was well and truly confirmed last year, so it was of no surprise that she packed 5000 fans of all ages into Rockhal on Monday night.

Since scoring her first UK No 1 back in 2013 with “Burn” Goulding has been on an upward trajectory, evolving her sound through each album, leaving behind the folk tinged past of “Lights” to take on the bigger beats of EDM on her second album “Halcyon”.

For her third album “Delirium” she went full on pop and for best results for that these days there is only one man to turn to, the hit factory Max Martin. The new album has become her most widely acclaimed to date and produced the worldwide smash hit “Love Me Like You Do”, which broke streaming records for first week plays, went No1 in 70 countries and has already notching up over 1billion views on YouTube.

With numbers like that come big shows and grand stage sets, last night was no different with a sloped stage and large horizontal screens flanking either side of the stage, the audience could see every inch, which was great for the small kids who made up a good number of the crowd.

As the enormous curtains fell the show began, the band slowly building up with the intro from “Delirium” before Goulding joined them as they launched into full on pop of “Afterlife”, with Goulding’s vocals piercing through and reminding everyone just why she has hit such high levels of success.

As she knocked out a few of the soaring electro pop tracks it was evident that the crowd was a bit subdued, with Goulding remarking that they seem a bit shy, so asked them to dance with her on “Something in The Way You Move”. Although that got the crowd going for a moment there was a disconnect from her and the crowd all night, with not much warmth or interaction coming from the stage. That’s not to say she wasn’t jumping around and giving it her all and sounding on top form, but there was a real lack of connection and even conviction.

The Calvin Harris collaboration “Outside” with its EDM beat got the crowd moving a bit once more but it wasn’t to last too long. Though one of the more unashamed bubblegum pop tracks “Around U” proved a highlight before acoustic version of “Devotion” took us back to her folksier roots.

With the change in sounds there was change of costumes, all of which was a bit contrived as the move to 80s dance with “Keep On Dancin’” inspired a brightly coloured jumpsuit before the ballad of “Explosions” had her take to a flowing white gown. Then a leather jacket appeared as she took to the electric guitar to rock out for a moment. It all became a bit predictable, following well worn formulas.

One of her few interactions with the crowd was to ask them to put away their phones and live in the moment for “Burn” and that they did, singing away with all their hands in the air.

It was left to “Anything Could Happen” & the smash hit “Love Me Like You Do” to finish up proceedings and although they of course got the sing along you might have been expecting all night it was hard not to leave feeling a little cold from the performance.

You couldn’t fault Goulding’s vocals or the band but the show as a whole lacked a spark, maybe she couldn’t get anything from the crowd or she was having an off night but I went home feeling she had just gone through the motions.

29/2/16 – Rockhal

 

Charlie Cunningham – A rich & delicate marriage of cultures

English singer-songwriter Charlie Cunningham started his two-week European tour last night at Rockhal’s Floor, a stage for the up and coming acts of today.

With the release of his third EP “Heights” in as many years, Cunningham is certainly riding a wave of momentum at the moment, with support coming from major radio and blogs. Having toured Europe already with the likes of King Creosote, Mighty Oakes and more recently Rodriguez, which included a performance at the Royal Albert Hall, I think it’s safe to say he has conquered any stage fright he had at the very early stages of his career.

First up was local act Josh Oudendijk who has been enjoying some momentum of his own lately after his idea to write a song for Celine Dion was picked up by local media, resulting in Josh being invited to sing on TV for Live Planet People on RTL. It was a modest crowd that welcomed the young musician but that didn’t hamper him, his confidence and stage chat won them over immediately and put everyone at ease. The clarity in his vocals complimented his sharp acoustic folk sound, whilst he leaned towards a bluesier groove once he switched to electric guitar. He even managed to get crowd participation going as he handed out egg shakers to the audience to keep the beat through the chorus of his final track “Nylon”. Oudendijk is certainly one to keep your eye on in the future.

Opening with the title track off his debut EP “Outside Things” Cunningham’s Spanish influence in his music was evident from the first pick of the guitar. The flamenco flair of his guitar style instantly sets Cunningham apart from the raft of solo singer-songwriters out there. And with the crowd all sitting and even lying on the floor, the evening took on an intimate singer-songwriter feel with a hushed appreciative silence throughout.

His two years in Seville where he perfected his fingerpicking and guitar percussion was clearly time well spent. There is a minimalist feel to his sound that allows for the technique to shine through without overpowering the melody, giving it the space to take hold and drive the songs.

With each release you can hear the subtle changes in his style and layering of his sound which is adding to the overall aura. The title track “Breather” from his second EP once again saw him lightly strum and slap the strings, whilst the vocals painted the picture.

He even serenaded us with a more traditional Spanish track before working in “Plans”, showing us the progression in which his music has taken over the years. Cunningham has taken the elements from the two cultures and married them together to create his own niche which created an intriguing and rewarding musical journey for all.

It’s interesting that the more traditional folk structure of “Lights Off” clearly has a familiarity which resonates with the audience as it’s his biggest hit to date and gets the camera phones out from the audience.

With his new EP “Heights” out on April 8 and his debut album out later this year, there will be plenty of new material coming soon for his fans to enjoy. What will be the most rewarding though will be hearing how his sound continues to open and evolve over this time. Hopefully by the time he is touring the album venues this size will be full.

23/2/16 @ Rockhal – Floor

Hurts – Soaring choruses & electro grooves bring warmth on cold night

Monday night saw the return of Manchester’s synth-pop favourites Hurts to den Atelier. Having burst onto the scene back in 2010 with their anthemic choruses and 80s throwback synths, Hurts quickly gathered quite a following, with the critics falling over themselves to get a piece of the band even before they had recorded their debut album.

Their nostalgia laden sound combined with a strong visual aesthetic proved a potent combination with their debut album selling in excess of 2 million copies. With the new album “Surrender” out at the end of last year, they’re back with a more up-tempo sound as they continue to evolve.

As the crowd entered Atelier on Monday night they could barely see the stage, as a black mesh cloth was draped over the whole of the front with the word SURRENDER projected across it, obstructing a clear view of the setup behind. Then as the band took their positions and launched into “Some Kind of Heaven”, with back lighting creating silhouettes, until they hit the chorus and the curtain fell. This of course received huge cheers from the audiance as the band came into view. A nice use of theatrics to get the crowd engaged early on.

Every aspect of their aesthetic was well thought out from the slicked back hair and sharp black clothes (think of Spandau Ballet and your almost there) to the effective strip lighting which was a throwback to 80s Top of the Pops sets. And with “Why” they wouldn’t have been out of place on TOTPs back in its heyday. A delightful pop track with soaring vocals and synths, which is the sign of the new lighter upbeat direction the band has taken.

The big drum beat and epic chorus of “Somebody To Die For” lead in nicely to the dark brooding intro of “Weight of the World” before erupting in a celebration of bright electro groove. Then from nowhere frontman Theo Hutchcraft appeared with some roses, swirling them around reminiscent of Manchester’s best known vegetarian frontman before throwing them out to the adoring fans.

It says something for the band that they can shift gears so effortlessly from the darker brooding sound of their first album to the unabashed disco funk of “Lights” off the new album. With lyrics such as “I just want to see you dancing” Hutchcraft had a beaming smile across his face as the Atelier crowd duly obliged, dancing away having well and truly warmed up from the cold night air by that point.

It was full on from then on with yet more clinically executed synth-pop with “Better Than Love” & “Wonderful Life” which had the crowd singing and dancing along before ending on their classic new wave gem “Stay”.

The band have managed to create such a strong audio and visual aesthetic that they seem to bring a sense of longing and nostalgia for a sound and time you may never have felt you had too much of an attachment for.

The critics might not have been too favourable to them since their debut but if they continue to put on shows like last night, word of mouth will do a better job than any critic could do.

Skunk Anansie – As electrifying and captivating as ever

Supporting the release of their sixth studio album “Anarchytecture”, Skunk Anansie pulled into Rockhal on Thursday night as part of their first European tour in three years.

A 90s favourite, Skunk Anansie decided to go their separate ways back in 2001 before reforming 8 years later. Since then they haven’t looked back, releasing three albums in the last six years with their latest “Anarchytecture” taking the band on a more electronic direction.

When some bands reunite you get that feeling that the spark has gone and it’s really just a pay cheque to them but that couldn’t be further from the truth with Skunk Anansie. When they took to the stage last night you’d be forgiven in thinking it was the 90s once more.

Frontwoman Skin bounded onto the stage in her black and blue jumpsuit and kicked straight into the fitting “Tear The Place Up”, from the off she got the crowd jumping around to their arresting punk rock. They barely let up throughout the night as they launched into “I Believe In You” with Skin covering every inch of the stage with her boundless energy, as her magnetic stage presence coerced the crowd into singing along all night.
The only moment they reined it back was on “Death to The Lovers” from the new album, a delicate yet emotionally charged rock ballad.

It didn’t take long before they were back at full throttle as Skin whipped the crowd into a frenzy once more before she launched herself into the audience, crowd surfing her way to the middle of the Rockhal whilst still blaring out “Twisted (Everyday Hurts)” with her powerful and sharp vocals as she had all night.

She capitalised on the fervent audience once more on “Weak” as this time she crawled onto the crowd before rising triumphantly to stand aloft. If this wasn’t already a fan favourite, having Skin sing it on top of the crowd soon made it one.

As well as the old hits, it was noticeable just how well received new tracks such as “Love Someone Else” & “Bullets” were. They may be lacking in the aggression of older hits but they certainly don’t lack the intensity and when they are delivered by a frontwoman as exceptional as Skin then it elevates everything coming off the stage.

They ended the set with the raucous climax of “Charlie Big Potato” mixing their love of heavy riffs and electro, which was a fitting finish to a full throttle evening.

The band retuned to the stage for the encore to announce that yesterday was the 22nd anniversary of the band, to which the crowd began to sing a suspect version of Happy Birthday.

Then they launched into three tracks from their first two albums, “100 Ways to Be A Good Girl”, “Hedonism” and where it all began, their first single back in 94 “Little Baby Swastikka”.

All of which still prove that 20 years on Skunk Anansie continue to be just as seductive and full of passion as ever, if they keep going with this intensity they will be drawing crowds back for many more years to come.

11/2/16 – Rockhal