When I saw my first Struts show (last year), it was on a whim. Aerosmith had canceled the remainder of their farewell tour, and that demonstrated how rock gods are all too mortal. This July, we got a more affirming reminder, in the passing of Ozzy Osbourne. Adam Reader from "the Professor of Rock" YouTube channel recently addressed the fact that stars from the age of "classic rock" are getting older, and so are musicians such as Frankie Valli whose fame predated the Beatles Ed Sullivan appearance. Recordings, memories, and writings keep their work and live shows resonating into the future. However, those shows, studio albums, and fan interactions are of finite supply. While embracing Jorma Kaukonen and other elders in music who continue to perform and make memories with new generations of fans, it is important to look for the new torchbearers. The American broadcast market is no longer the fertile airwaves found in the age of WBCN, WAAF, and WKRP. It is in the more indie environment that we foster new generations of rock stars. With blogs, YouTube, streaming radio platforms, social media, and livestreamed concerts. While online algorithms get shaped by musical tastes not necessarily mainstream, you learn of new names to watch for when scrolling through concert schedules. I had heard of the Struts, had no idea what a Barns Courtney was, and was eager to learn. You can see my reaction to last year's Struts show here. What did their 2025 tour have to offer?
This is the 10th anniversary of their debut album "Everybody Wants". Knowing that a strong album can hit with less of an impact on Billboard charts, I feel more comfortable in it taking me some years to come across these musicians. I just wish that Marina and the Diamonds was still active in the music industry. The 10th anniversary is a time bring the band and crew together under the sane roof as new fans, old fans, and those who've joined the fold along the way. Their opening act last night wasn't even the West Coast band Dirty Honey. Instead we were treated to a five year old unit from New York City called King Falcon.
The Struts and King Falcon are "torchbearers" (as I call them). I've seen people embrace some musicians if they can be provocative with very specific social messages, or if they're already Top 40 acts viewed as "what the kids are listening to". Burgeoning rock bands are often given a narrower berth. Critics challenge the bands asking "But, what are they doing that's different? What are they saying doing that's new? If you want to hear this sentiment, instead listen to this, this, or that album that was released in the early 70's). I left a Linda Lindas show hearing people complain that the band wasn't being antagonistic enough for their personal standards. Personally, I feel that one of the biggest ways in which rock bands and pop stars (I'm looking at you Maris) stand out while built on the framework of 60's, 70's, 80's, and 90's Top 40 is because they dare to. It's not about any one concept album geared towards a different genre (immediately expecting to sweep that genre's music honors). It's about feeling inspired by certain artists of bygone eras and saying "let's bring that genre to 2025." Greater Toronto can simultaneously provide the world with the Cowboy Junkies, the millenial surf band the Surfrajettes, and the Beaches. Other musicians may live "the rock star life" with designer clothes, luxury cars, Super Bowl halftime shows, and Dom Perignon on ice. All this while "the new rock star life" is showing up to support each other at festivals, bandmates appearing on podcasts, the alternation between touring and in-studio work comparable to the Beatles' time tigether, and grassroots publicity through word of mouth and names on merch. Something that these bands do differently from rock stars of the past is openly endorse going to therapy. There are fewer addiction cases. LGBTQ+ artists are feeling more welcome to come out. Heck, in my Black Sabbath post, I pointed out that Doro Pesch (the Metal Queen) blazed her own trail in vegan "leathers" focusing on the European market. The Dollyrots on the other hand can go from the adorkable "Get Weird" to the wonderfully sincere "Under the Same Moon".
Describing King Falcon, I would first have to mention the Black Crowes. Chris and Rich Robinson go through long stretches of not performing with each other. Yes, I know that fans of Oasis and the Kinks have seen such fraternal tensions in the past. While the Black Crowes' productivity may be sporadic, they have inspired many bands since. King Falcon's one album in right now with a self-titled debut 2023 album. The tricky thing in describing their music is because what first can be considered "singles" (the songs where full music videos have been created) aren't necessarily the most distinct songs. Of the first three tracks, you can get a Lenny Kravitz vibe from the Queens-based band led by Michael Rubin both singing and playing lead guitar. "Cadillac" gets some more bounce from the bassist Joe Conserva and drummer Dip Chakraborty. It's songs like "My Name Is..." and "Touch" that brings King Falcon into the harder rock field, balancing the guitar emphasis more between both guitarists (Rubin and Sergio Ripa). More of that Black Crowes influence can be felt as they bring in bluesy southern rock riffs. Whether it's deliberate or not there's even songs which remind me a little of Gavin DeGraw and Everlast. I'm hoping that the soore into hard rock when it comes to the percentage of their next album's record space. The talent's definitely there, and with my new King Falcon tee shirt, I'm there for the ride.
I still stand by last year's reference where I compared the Struts to T-Rex, but include the Sweet and 70's Queen to that equation. It's the flamboyance, catchiness, and swagger that helps the Struts to evoke those second two bands. The Struts' "Everybody Wants" stands as an example where a debut album cohesively shows the hardness and glam that delivers quality while helping the band's identity to stand out. In the albums since, these guys have honed and sharpened their abilities as musicians while witnessing how those songs from "Everybody Wants" can develop into something even more powerful at the live shows. It's infectious how quickly you can learn the lyrics and join the crowd singing along. More often than not, it's better at a club where the audience is already drawn together for the love of the Struts music. A festival with a wide range like Rodondo Beach's BeachLife Festival showed some life, but a great club show magnifies elevates the experience so much. When the band plays, the audience sings along. When Luke sways his arms so does the audience. That collaborative energy (especially when it spans most of the concert), it makes a Struts club show something to experience. Photos and videos can only do so much to convey the emotions. I would have to see how a Chappell Roan audience responds to "Hot to Go" in 2034. If she can still get a venue full of people all chanting and doing the dance (which was beyond impressive at Boston Calling '24). These Struts songs are ten years old, and singing along has become a communal tradition at their shows (like what you'd see at a Dave Matthews Band concert). The "Live v. Studio" difference may be most pronounced when the band performs "She's in Love With the Camera". With clapping and singing, the fanbase is as into the moment as they were when the song got released in 2018. I experienced a similar concert community tradition (albeit more minimalist) when the Indigo Girls performed "Share the Moon" at the Leader Bank Pavilion in Boston. You can hear the studio cut over and over again, never hearing this. There are these singular collective claps four times. Once after every "Hey la-la!". Four collective singular claps per show. If it's in an enclosed space, or a tent like at the Pavillion, that's all the better. The echos boost those collective claps and it's all the more moving for everyone in attendance. This is why I'm taking a train to Providence for an Indigo Girls concert next month. Though Melissa Etheridge (someone they're sharing a billing with) is someone who I'm happy to see a second time this year. For that same reason I can never tire of these Struts shows. For me (as a music journalist) part of the challenge is trying to capture that collective high vibe in a photo. The concert in included some songs from the other Struts albums (including 2023's "Pretty Vicious") and a cover of Queen's "We Will Rock You". Last year's Boston set included the Struts covering "Ballroom Blitz". I am a little curious to see what the Struts would've done as a tribute to Ozzy Osbourne, but the tour did start a few weeks after the news broke. The period of mourning for Osbourne reminded me of when a royal passes away. I saw Eric Clapton maybe a week after the death of Queen Elizabeth, and he performed "God Save the Queen". This American crowd (while trying to respectful) were taken by surprise when Clapton started the second verse. For Ozzy, I had this great moment leading an 11 o'clock Queeraoke crowd in a version of "Crazy Train" where replaced the claps with a call & answer chant of the vowel "I". A week later, an elderly gentleman sat on the edge of the stage and sang a wonderfully moving cover of "Mama, I'm Coming Home".
I can't close this post without acknowledging the production crew at the concert, and Luke taking the time to personally thank members of their crew who have worked with the band for so many years. One person has grown from guitar tech to tour manager. Over recent years, I've met people who work as festival organizers, concert promoters, and supervisors for "the back of the house". It's why one of my favorite photos of the night has Luke Spiller and Adam Slack as the prominent figures. In the background, you see tour manager Zack Fulton, and other members of the crew ensuring that the second show of the tour went off without a hitch.
Thank you to the Struts and your crew for such a great show. I look forward to seeing more greatness and return trips to Boston from both you guys and King Falcon.
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