Lillian Axe shine in sight and sound. When these five veterans of the business combine onstage to create a masterful musical performance, they prove beyond a doubt that their ability and confidence have not become casualties of their struggles in the industry. And speaking of industry battles, look forward to a major victory in the very near future for Lillian Axe.
Now, on with the show. As the band finished their backstage pre-performance preparations after an on-the-bus interview with RockLive, smoke-filled columns of light shifted and revolved around each other at the front of the stage, and the darkened room was filled with booming, gothic, synthesized organ music that created an interesting effect, but would have fit in far better before a Dio concert. This intro from the dark ages also lasted a tad longer than it should have, but the eager crowd was undaunted -- and for good reason.
The band assembled swiftly onstage and broke immediately into "Misery Loves Company." Just as quickly, the electric energy in the room exploded like a ball of lightning as bodies began to sway and shake on the small dance floor. "Misery" was followed by "She Likes It On Top" and "Innocence," one of the brand new songs slated for inclusion in the band's next album, tentatively titled Poetic Justice.
So far, the only mar in the show was a mediocre mix which, at times, failed to prevent the airtight network of Gene Barnett's drum thunder, Darrin DeLatte's solid bass lines and Stevie Blaze's and Jon Ster's guitar wizardry from steamrolling over Ron Taylor's passionate vocals.
For a band as competent as Lillian Axe, though, such adversities were easily overcome. As the band drove through the classic "Love and War" and "True Believer," it was overwhelmingly apparent that nothing was to stop this rock 'n' roll express. Most bands that try to come across with the sincere confidence that these guys display wind up seeming cocksure and ridiculous.
Following minimal intersong banter, we were treated to more new material with the ballad "See You Someday" and "Livin' In The Gray." By this point, the girls in the front row were clamoring for a closer look at the thick-maned frontman, and I could almost feel the musicians in the audience thinking "Hmmmm. Not bad." Damn good in fact.
The rest of the act maintained maximum boiler pressure with "Show a Little Love," another new track called "She's My Salvation," and a medley that included "Ghost of Winter" and "Diana." The band finished with "Nobody Knows," humbly thanked the audience and filed off stage as quickly as they came. Soon after, they emerged through the din of cheering and set the fire on high again with the encores "Left in the Dust" and "Dream of Lifetime."
In a time when the common club concert is little more than a bunch of guys jamming together on stage, I was glad to see somebody still cares about continuity and performance; and I left with a gut feeling that it won't be long before we have to venture to large arenas to catch a Lillian Axe show.