Wednesday, Aug 12, 2009
all photos (C) 2009 Heather Harris. Do not link or dupicate.
From the top and in chronological order, legendary Detroit rockers The Dogs at the Troubadour opening for (next pic) Alejandro Escovedo, roots rocker extraordinaire, who then jammed an encore with Loren from the Dogs. Next night Nikki Z, singer, with guitarist Trip of the Trip Trigger studio shots posted in an earlier blog.
Then downtown for punk moshing with the fabulous Mike Watt (fireHOSE, the Minutemen, The Stooges) and his Secondmen. Watt's highspeed power trio featured all bass, all organ, all drums all the time at 200mph with Watt's humorous, spirited delivery. Headliners The Zeros, reuniting for the second time after three decades with all original members including Robert Lopez ("El Vez!") sounded great and inspired an active crowd of fans old and young slamming around happily. Fortunately this photographer found a perch on the roadies' equipment table (I only took up half) and was spared excessive camera-shake by selfsame moshers. I also bounced all flash off the ceiling, unlike another photographer who preferred directly blinding the bands from 18" in front of them.
From the top and in chronological order, legendary Detroit rockers The Dogs at the Troubadour opening for (next pic) Alejandro Escovedo, roots rocker extraordinaire, who then jammed an encore with Loren from the Dogs. Next night Nikki Z, singer, with guitarist Trip of the Trip Trigger studio shots posted in an earlier blog.
Then downtown for punk moshing with the fabulous Mike Watt (fireHOSE, the Minutemen, The Stooges) and his Secondmen. Watt's highspeed power trio featured all bass, all organ, all drums all the time at 200mph with Watt's humorous, spirited delivery. Headliners The Zeros, reuniting for the second time after three decades with all original members including Robert Lopez ("El Vez!") sounded great and inspired an active crowd of fans old and young slamming around happily. Fortunately this photographer found a perch on the roadies' equipment table (I only took up half) and was spared excessive camera-shake by selfsame moshers. I also bounced all flash off the ceiling, unlike another photographer who preferred directly blinding the bands from 18" in front of them.
