Tag Archives: Red Scare

Acoustic, Cleveland, Music, Punk, Review

Concert Review: Kali Masi, Sam Russo, Tane Graves [Tightwire] @ Hatfield’s | Cleveland, OH | 22-OCT-2022

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A strange series of events led to a very chill, quaint punk show last night at Hatfield’s in Westpark.

Flashback to a couple of days ago when my pal Nick reached out to me asking if I was still going to see Kali Masi and Sam Russo still. I responded that I would not miss it for the world, and he was quick to tell me the show was sold out and they were not able to get tickets.

I jumped online to see what I could find out, because no offence to the bands, but this was not a show I was anticipating to even come close to selling out. Do not get me wrong, the three acts on the bill are some of my favs, but I was expecting to just snag a ticket at the door.

Sure enough, Hatfield’s had posts saying the show was sold out and that they were actually moving it from upstairs to the main floor. I was floored to see this and highly excited too, but still was wondering what was going on so I reached out to not only Kali Masi, but also Toby at Red Scare to see if the show really was sold out.

Kali Masi pretty much asked me what the hell I was talking about and laughed. Toby said he would get back to me, and he did as promised soon thereafter. Both confirmed with me the show was not sold out and to head up to the venue as planned. Hatfield’s even responded to my pal’s wife saying they had opened up some tickets so they were able to grab a few.

Apparently, bots bought all of the tickets being sold by Hatfield’s online. This is a common trend these days where tickets are bought up by bots and then resold for more money. One might think this is a good thing overall, but the inconvenience and slight stress this put on Hatfield’s and even the acts was a true bummer.

Hatfield’s staff scrambled thinking they were going to have a full house and rearranged their business to accommodate. A vacation was cut short, staff was bulked up, and a lot of time and effort was put into preparing for the show. Sadly, a lot of this was not necessary at all.

In the end though, I think it was a nice shift from expected calamity to an intimate evening of amazing music. The fans that showed up were truly stoked to be there and Hatfield’s accommodated the hell out of everyone in the house.

Ken Hatfield, the owner of the venue/eatery, kept joking all night about the bots in the house. He even took a moment to show me the list of names on his phone who bought tickets and just laughed at how crazy the whole experience was. He credited the whole bot experience likely with the Kali Masi rockumentary that has been getting a lot of attention on YouTube lately.

The result was almost 200 tickets bought by bots, and a handful of fans showing up to take in the show. I have to give it to the staff at Hatfield’s, they took it in stride and handled it well.

So yeah, that was a little odd, right? The show was far from sold out and I am hoping to hell all those tickets that were purchased by the bots are not disputed down the way because this whole ordeal caused a ton of work that was not exactly necessary.

Anyways, felt I should share that given how unique the situation was.

Bots or not, the show was great. It was certainly not a late one, but enjoyable by everyone who attended.

Tane Graves of the amazing band Tightwire took the stage and also was the first person to play on the venue’s new PA system. Blasting through a handful of songs and even a proper Blink 182 cover, he performed like there was a full house in front of him and showed gratitude to this tourmates and also the venue.

The funny thing about Sam Russo is that he was supposed to play Hatfield’s well over a year ago with Brenden Kelly, but Covid had other ideas and forced him to sit that tour out. I thought it was only proper that he was able to play the stage in time and honestly, I have been looking forward to that moment for a long time.

I’ve been a huge fan of Russo since he started playing music almost 10 years back. His folk/punk, storytelling is what captured my attention and I was not the only one. I saw a few other fans singing along through Russo’s set and taking it in.

Hearing “Sometimes” and “Runaways” pretty much made my night. If you have no idea what I am talking about, you need to probably change that. This guy is pretty damn talented. He also learned that what he called fence-talking is called shit-talking here in the states.

Russo was easily the most humble musician I have had the pleasure of meeting. We chatted briefly after the show and the dude was just as real as they come. He was so excited to be on tour with a couple of his favorite bands and was excited to head down and play Fest. I really had hoped more people showed up to take in this amazing Englishman, but there is always next time.

Kali Masi took the stage and Sam Porter was quick to make mention he was not feeling hot and the set was going to be less than what was planned. He credited his illness to possible gas station food that he grabbed on their commute from Chicago to Cleveland. Poor guy looked like he was hurting and I was impressed he even decided to play a few songs.

In a sense, a six song set was a bummer, but also looking at things differently, if by taking it easy for one night so Porter could rest and feel better meant a cut set, that honestly is acceptable. I know these guys will be back again soon.

I was happy to hear them play “Sputter”, “Powerline Days”, and “Some Friends”, and they sounded killer, so zero complaints here. I was just happen to have even had the change to check them out finally.

After the show I decided to snag merch from everyone to just help kick off the tour and give them a bit more room in their van too. Everyone was friendly as hell and not an ounce of disappointment was seen. I think having that relaxed evening did everyone some good.

I will say I had an old man moment and could not remember if I have [LAUGHS] already on vinyl. I even made mention to John Garrison, the drummer that I for the life of me could not remember if I had it. He was quick to reminder me I can always hit up their Bandcamp, Well, I checked this morning, and sure as hell I do not have it. So looks like I will need to be securing a copy of that soon.

It certainly was a night that will not be forgotten anytime soon. I am just glad the show went on and everyone enjoyed themselves. That is what it is all about, right?

Guest Blog, Interview, Music, Punk, Rock

[Guest Post] Interview: Kody/Bruzzy (SACK, Teenage Bottlerocket, The Lillingtons)

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Today marks the 14th year that Brokenheadphones has been in existence. It is kind of a cool milestone, so to celebrate I am letting someone else post some content.

Recently I reviewed the bad ass SACK album and Matt from The Witzard reached out saying he recently interviewed Kody and was hoping I could share their conversation on my site. Well of course I said yes.

It was a good read so I hope y’all enjoy it! I can confirm now that I share something with Kody now – getting Covid during the tour. haha.

Take it away Matt:

Straight outta the slums of Northwest Denver, Colorado, SACK is a mysterious band of Party Punks complete with songs about bongs, bikers, and brothels. Like any disreputable gang, they’ve had a series of rotating members over the years, but on Ripper!, it’s Bruzzy (Teenage Bottlerocket, The Lillingtons, The Hybrids,) a couple shredders from Peru (Father Fil & Joe Camel,) a gym teacher, and the neighborhood electrician (which comes in handy, believe it or not!)

They recorded 12 songs at Descendents/Black Flag drummer Bill Stevenson’s The Blasting Room and now these headbangers plan on touring (read: crashing house parties) across the land. SACK’s Ripper! Is now available on Red Scare Industries and is recommended Ffr fans of Turbonegro, FEAR & Lee Ving, The Dwarves, Iggy & The Stooges, and Motörhead.

We got a chance to send some questions over to and conduct a completely wild interview with SACK’s resident dipshit Bruzzy (aka Kody Templeman). Check it out below, if you dare!

Witzard – Who are the various members of SACK and what is each member’s role within the band?

Bruzzy – Dipshit, Joe Camel – Weed, Father Fil – Ears, Chuck Steak – Punctuality, Coach – Motivational Speaker, It – Compassion, Davey Crocket – Smokes, [and] Crash – Hype Man

Aside from SACK, what other note-worthy bands are each of you part of currently or previously played with?

Bricheros, Sleights, Teenage Bottlerockets.

Who or what would you readily cite as of some of your major sources of inspiration and influence while creating your aptly-titled sophomore album, Ripper!?

Alcohol, weed, Dayglo Abortions.

How did you come up with the band name, SACK, and album name, Ripper!, and what do each signify and/or mean?

We used our imagination.  Neither stand for shit

What did your writing, recording, production, creation, etc. processes behind Ripper! typically entail?

Bruzzy wrote a good chunk.  Fil wrote the music on a few.  Bruzzy wrote the lyrics.  And the rest of SACK helped tweak the songs.  In the studio Coach gave pep talks and pushed the performances further. 

How did you guys end up linking up with Tobias “Toby” Jeg, Brendan Kelly (The Lawrence Arms) and Red Scare Industries to ultimately release Ripper!?

They were the only suckers dumb enough to put it out.

Why do you “Hate” The Beach Boys, one of America’s most beloved bands, so much?

We love The Beach Boys!  Honest!

How did the headlining SACK tour you guys just recently wrapped up end up going?

We broke down, Bruzzy fucked up his ankle, two of us got Covid.  Support band (Flamingo Nosebleed) broke down, singer lost his voice, one dude got Covid, shredded a brand new pair of front tires… I’d call it a win!

When not Ripping! it up as part of SACK, what do each of you guys do for day jobs?

None of your fucking business!  Oh, Fil has a recording studio called Green Door in Denver.  It’s the best.  Your band should record there.

How would you say SACK’s overall sound, style, musical mindset, and approach has changed and evolved since your 2005 debut, Get Wrecked?

Who gives a shit?

Matt Horowitz is a D.I.Y. writer and life-long music lover. He runs his own site, The Witzard and has written for NO ECHO, IDIOTEQ, The Find Mag, post-trash, GrownUpRap, and The Punk Site.

Matt enjoys attending Punk/Hardcore & Hip-Hop shows with his friends and beautiful wife, Caroline. His favorite pastimes include writing, discovering new bands, re-discovering his favorite Punk, Hardcore, Emo, and, yes, Pop-punk bands from high, school, drinking iced coffee, craft beer, and fine wines, and hanging out with his energy-filled 2-year-old son, Peter.

Give Matt a Follow on Twitter (@SharpCheddar856) and Instagram (sharpcheddar856) and check out his website, TheWitzard.com.

Music, Music Video, New Release, Punk, Review

Album Review: Broadway Calls – Sad in the City

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It’s refreshing as hell to find something to distract you when the world seems like it is on the verge of caving in.  2020 can suck all the butts as far as I am concerned, but then again if this crap year were to somehow disappear, we would all miss out on Broadway Calls dropping the greatest pop punk album I’ve heard this year.

Released on July 10th on Red Scare, I opted to listen to this a few times throughout before tossing my thoughts on this here ol’ blog.  Sometimes you just need to take in something this good to appreciate it even more.  The album made me think, pulled on the old heartstrings, and even invoked a childhood fear of mine.

“If my country collapses, can I crash on your couch” started the album off on “Never Take Us Alive.”  This plaintive reality of a track basically was a full-forced promise of not giving up fighting what’s right.

“You Gotta Know” is easily one of my favorite songs currently.  I adored this track for all it was worth.  Might have to borrow this one to prove to the wife she still drives me crazy in a good way.  I seriously can not get this song out of my head.

Album title track “Sad in the City” was just so likable as it tore into the blatant imbalance causing pain and sorrow.  With talking about bombs and death in the street, this was not intended to be tongue-in-cheek but more so a nod at hope for change.

“Radiophobia” was an 80s nightmare regarding nuclear meltdowns (check out the video below).  Turns out, the track was based on actual events from Ty Vaughn’s childhood as he grew up around reactors.  I actually grew up fearing the Perry Nuclear Powerplant in Ohio, so I get it and sided with this track a ton.  Those smokestacks still freak me the hell out.

“Meet Me on the Moon” was an amorous tune eluding to not wanting to give up the night with a special someone.  Looking deeper into this one, it’s possible no one wants to be alone during a time like this.

Album closer “Went Dyin'” catered to my old punk rock self so much.  I appreciated the suffering in this one as it reminded me where I came from, what I’v been through, and where it has taken me.  My mentality was molded and healed from tunes like this because, as cliche as it might sound, punk rock saved my life.  True story.

It’s been 7 years since these Oregon punkers have dropped something and as far as I’m concerned, Broadway Calls saved this year.  Sad in the City is just perfect from start to finish, full of catchy jams, and just begs to be heard.  That’s not to say this is a happy, joyful collection of anthems.  This album hits at the bullshit reality thats been draining our collective mentality.

Missing out on this album would not be in your best interest, especially if you fancy punk tunes.  Trust me on this.

Acoustic, Folk, Music, New Release, Punk, Review, Rock

Album Review: Sam Russo – Back to the Party

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Being cooped up because of some asinine virus has not been my favorite thing as of late.  I really shouldn’t complain though, as I know many pals of mine are hurting severely because of this pandemic.  If I could help everyone, I would.  Trust me on that.

I offer a distraction to anyone who needs it right now via music.  It’s the least I can do.

My pal Toby from that punk label out there called Red Hair Bimbo Trees or something sent me a message today reminding me that the great Sam Russo has new material that just dropped and encouraged me to stop sitting there and do something.

Who is Sam Russo you ask?  He’s a UK punk rocker who honestly could put his back up these days to a young Frank Turner when it comes to musical style and craftsmanship, but that’s being a little lazy for comparison.  Said differently, if you love when punk lead singers do their solo thing and get all Revival Tour on your ass, you’ll love this dude.  I guarantee it based on his storytelling ability.

Russo has actually been around for a while now and Back to the Party is his third release on Red Scare Records.  I was lucky enough to get a good taste of him thanks to 2015’s Greyhound Dreams and have really been waiting for the day he dropped some new tunes.

“I took a lot of risks on this record and I’m so glad I did because it came out sounding really original and totally true to what I was trying to say for so many years.” – Sam Russo

“Purple Snow” started off the album a little personal and a tad incoherent in terms of the story within the song.  I adored this track upon first listen.  Russo honestly has never sounded better.  Perhaps a personal memoir, this track carried enough emotion to have me thinking of some of my past history.  I am curious though, was the snow purple from Mad Dog 20/20?  One can hope…one can hope.

“Good and Gone” I think was taken from my own personal memory of most of 2009.  This song hit the heart hard, as it sung of hurt and triumph.  These are the tunes that make me happy exist because the show me where I’ve been, where I can from, and what I’ve become.

“Darkness” followed and continued to tug on forced-in feelings with an apologetic excuse on interpersonal communication, or the lack thereof.  Wholesome and pure, this track probably will be relating to a lot of folk.

There’s so much that can be said about “Young Heroes” based on how the listener took it in.  Given the current situation, this track speaks volumes to those who are working harder than ever based on some stupid pandemic.  Not trying to sound cliché at all, but there’s a lot of heroes in my book right now.

I can not really talk about a certain track on here in great detail, but if you know me, you know it totally kicked my ass by the title alone.  The past will always sting back when you least expect it.  Maybe I need to appreciate it more than I give myself credit for seeing how it shaped me, but still, that shit hurts.  Nice job Russo, you jerk – I might have had a tear or two let loose…

Just when you think there’d be a slight let up of sorrow on the album, “Tears” kicked in.  This really was a beautiful track overall, but not to be reckoned with if you’re trying to lift them spirits high.  I mean, that chorus alone gave me chills.  Add lap-steel guitar playing that sparked a slight country feel made for my favorite track of the record.

“The Basement” ended the album with symbolism at its finest.  Russo came to terms with life due to rummaging around and only could sit back and reflect on where things went wrong.  Putting a lid to the album with this track just made so much sense.

Russo is a storyteller as much as he is a musician.  Personal tales might make you want to hug your drink a little harder when you listen to this album, but let’s be real – sometimes it is nice to remember you’re human.

Back to the Party is a must listen for any music fan.  Although some songs were full of ache, there really was a  silver lining in terms of hope.  I feel like I am trying to be motivational here, but let’s face it, times are weird as hell right now.  We can all use a distraction.

Hang in there folks.

Music, New Release, Punk, Review

Album Review: Various Artists – Red Scare Industries: 15 Years of Tears and Beers

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***Punk rock grandpa rant moment warning***

I remember back in my day when the internet was not readily available at your fingertips.  Streaming music was unheard of.  Kids were not sucked into their so-called smart phones looking like a bunch of goddamn zombies.  People actually talked to one another.  Hell, you had to actually leave your house and go to a record store to buy music.

I remember I could buy punk compilations left and right on cassette by tons of labels  for the cheap.  Like 8 bucks cheap.  I had a plethora of said cassettes to play in my ’86 Dodge Shadow.  Because of that, I have always had a soft spot for comp releases most likely because I relied on them to learn about new bands and just have a nice mix of tunes to get lost in.

Why I am I sitting here telling these tales of yesteryear you ask?  I guess my question is why are you still reading this?

Truth is, it’s been a long time since a comp album hooked me in to the point I found myself listening to it on repeat.  That’s exactly what Red Scare Industries: 15 Years of Tears and Beers, a 15 track compilation celebrating the iconic label’s 15 year anniversary, did.

To reach such a milestone as an independent label is just outstanding especially in this day and age.  Most labels however are not credited with dropping so many amazing releases.  Seriously, this label is responsible for so many of my favorite releases over the years.

It is almost as if Toby has a special gift for finding the best talent in the punk world knowing he one day may need to say goodbye in the nicest way possible with limited middle fingers.  Some of the roster I speak of include no-name talent like The Menzingers, Teenage Bottlerocket, The Sidekicks, my fav dudes MakeWar, and even those dicks Masked Intruder.  I could go on, but this is a review about a comp album, right?

The Copyrights, a band who released an excellent album with Kepi Ghoulie earlier this year (check it out!), started the comp off with the fast-paced “Maine or Oregon”.

Ol’ (rather, young) Sincere Engineer held back nothing with “Dragged Across the Finish Line”, a track clearly about putting up with other’s shit in a good way.  Deanna Belos and crew really have a good thing going for them and, to me, are years ahead of their time musically.

Broadway Calls covering “Sunday Morning” by The Menzingers was actually a great idea.  It’s probably the last cover I would have expected on this comp, but here is was and I admired their take.

Punk rock sweethearts The BombPops kept my attention with “East and West”.  I hate to say it, but it won’t be much longer until this band is a mainstream wonder.  They have been getting so much attention as of late and it is well deserved.

“Dead Body” was the track on this comp that totally won me over.  In fact, for the last few days I have been sining this song to myself.  Creepy, I know.  Garrett Dale (Red City Radio) went all Stand By Me with this incredible track that even tossed out a sax-solo that just brought the whole song together.  The best part was Garrett being out “this is the dumbest song” in the middle of it.  Perhaps he is right, but it ruled.

Leave it to Brendan Kelly to do something completely out of the norm – actually no – these days I expect him to.  He took a perfectly good Lillington’s song, “All I Hear Is Static”, and turned in into a synth-heavy cover that just totally worked.  You can not hate this cover because it’s just brilliant.

“TJ” by MakeWar begged to be played over and over.  This band is one of my favorites and seemingly has a way to make songs so catchy and likable but when you actually really listen to the words, the mood shifts to a more somber approach.

I was thrilled to see The Lippies on here.  “Acid Head” was a killer song and a reminder on how much I love this band.  I hope this means there is a new album to follow.  I know they have been touring as of late.

I really could sit here and say something about every single song on the comp, but honestly I would rather you check it out for yourself.  Personally, this is the best comp I have heard since the days of Survival of the Fattest Vol. 2 and Vagrant Records: 5 Years on the Streets.  For those of you who grew up around me, you’ll now how bold of a statement that is.

I don’t know if Toby blackmailed the bands on this comp by threatening to exploit them with their collective photos of them at Staind meet-and-greets, but whatever he did worked.

Hats off to Sir Toby and the Red Scare Industries crew for 15 years of excellent releases.  This comp is a celebration of an impressive accomplishment and deserves to be heard and purchased by all.