A 93x Nutcrackin' Holiday Spectacular
Review By Adaline & Scott Cornell | Photos by Scott Cornell
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If the 93X Nutcracker at The Armory on December 8 was a holiday party, then Sleep Theory was the band that brought the festive spirit, Memphis-style. Decked out in their signature plain black tees, this four-piece ensemble proved that you don't need ugly sweaters to rock the stage.
Vocalist Cullen Moore was not content with just center stage – he decided to explore the subwoofers like they were his own musical playground. It was like watching a kid on Christmas morning, only this time, the gifts were bass vibrations and pure rock energy.
The interaction between the band and the crowd was like a playful banter at a family gathering. The band, consisting of Moore, guitarist Landen Terry, bassist Paolo Vergara, and drummer Ben Pruitt, clearly enjoyed each other's company, and their jovial on-stage chemistry was contagious.
As Sleep Theory unleashed their sonic holiday treats, they made sure to use the stage to its fullest. Whether it was Terry shredding on the guitar, Vergara laying down the bassline, or Pruitt keeping the beat, each member had their moment in the spotlight. It wasn't just a concert; it was a musical feast, and Sleep Theory was serving up a delicious setlist.
Speaking of the setlist, the band decided to throw a live debut into the mix with "Put Me In." It was like unwrapping a present you didn't know you wanted but ended up loving. The entire set, including "Fallout" and "Enough," was a rollercoaster of emotions and head-banging fun.
In the midst of the musical celebration, Sleep Theory decided to play a little game with the audience. They polled the crowd for SiriusXM Octane listeners and proudly announced that their next song, "Numb," had hit number 1 a few times. The crowd erupted in cheers, feeling like they were part of the band's success story.
"Numb" became a sing-along anthem, with Sleep Theory encouraging everyone to join in. But they didn't stop there – during the bridge, Moore playfully suggested that the audience "grab the person next to you and throw them across the room." It was the kind of suggestion that turned The Armory into a giant, gentle mosh pit, complete with a lone crowdsurfer riding the wave to the barricade.
The night wrapped up with a bang as Sleep Theory closed their set with the recently released single, "Another Way." It was the perfect ending to a musical adventure that left everyone in high spirits and wanting more.
In just 25 minutes, Sleep Theory delivered a tight performance with no obvious mishaps. From the playful interactions to the unexpected surprises, they proved that a concert could be both a rocking spectacle and a playful holiday gathering. From Memphis, with love and rock – Sleep Theory made sure Minneapolis felt the warmth of their musical fireplace.
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In a festive twist to the 93X Nutcracker, Daughtry hit the stage like a musical snowstorm, bringing holiday cheer and rock 'n' roll spirit to Minneapolis. Donned in sleek all-black attire, they were the holiday rebels we didn't know we needed.
Led by the charismatic Chris Daughtry, the six-piece ensemble set the stage aglow with an abundance of strobe lights, creating a winter wonderland of dazzling visual effects. The stage was a playground for musical mischief, and Daughtry and the gang were ready to spread some musical joy.
During the performance of "World on Fire," Chris Daughtry added a playful touch by singing into a megaphone. It was like he was caroling to the crowd, spreading the warmth of his vocals in a festive fashion that added a unique holiday flair to the performance.
Adding to the playful atmosphere, one of the guys wielded a holographic guitar, casting magical lights that danced like snowflakes in the winter wind. The stage became a shimmering spectacle, turning the Armory into a rock 'n' roll holiday light show.
In the midst of the musical revelry, "Crashed" took an unexpected turn as Daughtry playfully transitioned into the iconic "Kashmir" by Led Zeppelin. It was like unwrapping a surprise gift, a musical treat that added a touch of classic rock to the holiday festivities. The crowd was caught off guard in the best way possible, enchanted by the unexpected musical journey.
Throughout the 45-minute set, Daughtry and the band delivered a playlist that had everyone rocking around the Christmas tree. The ladies in the crowd couldn't contain their excitement during "Over You," letting out cheers and spreading the holiday joy. The entire crowd joined in a festive sing-along, belting out every lyric of the chorus like a collective choir of holiday revelers.
As the set progressed, Daughtry continued to spread the musical merriment with hits like "It's Not Over" and the recently released "Artificial." The stage antics, including a short guitar solo, added a playful touch to the performance, keeping the holiday spirit alive.
The grand finale came with their cover of Journey's "Separate Ways (Worlds Apart)," wrapping up the night with a bow on top. The audience was left in awe, as Daughtry effortlessly prepped the crowd for the upcoming act, Falling In Reverse.
In the end, Daughtry didn't just perform; they curated a holiday rock extravaganza that left the crowd jingling all the way. As they left the stage, the echoes of their tunes lingered in the air, creating a musical memory that would last throughout the holiday season.
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The 93X Nutcracker took a festive turn as Falling In Reverse hit the stage, transforming The Armory into a chaotic yet exhilarating holiday spectacle. With Ronnie Radke at the helm and a lineup of talented musicians, Falling In Reverse unleashed a musical storm that had the crowd on the edge of their holiday sweaters.
As the anticipation reached a fever pitch, bodies started falling over the barricade during the high-energy opener, "Zombified." The risers lining the front of the stage elevated Radke a whopping 18 inches above the crowd, turning him into the rock 'n' roll Santa Claus everyone wanted to get a glimpse of. Running around on the platform in the front, Radke threw and caught the mic multiple times, turning the stage into a playground of musical mischief.
The stage was bathed in myriad of colored lights, accompanied by an abundance of strobes that created a festive yet slightly chaotic atmosphere. Radke, the maestro of madness, was a whirlwind of energy, animated and unpredictable, keeping the audience on their toes.
Bantering with the crowd between songs, Radke showcased his playful side, connecting with fans in a way that felt like a wild holiday party with an old friend. The setlist was a rollercoaster of fan favorites that kept the crowd engaged and singing along.
With 6,000 plus in attendance, the stage was backed by an enormous depiction of a Radke-esque Godzilla-like creature towering over a destroyed cityscape. It was a visual feast that perfectly complemented the sonic mayhem unfolding on stage.
Despite the rhythm guitarist, who can only presume to be Christian Thompson, being decked out in an all-black outfit consisting of a sequined biker jacket and a spiked gimp mask which hid their identity. Only the lead guitarist, Max Georgiev, ventured onto the platforms during solos, joining Radke in the musical madness. The setlist included past hits and favorites like "I'm Not a Vampire," "Losing My Mind," and "The Drug in Me Is You."
The excitement reached new heights as Radke trolled the crowd into splitting for what seemed like a wall of death, only to unleash Smash Mouth's "All-Star". The crowd sang along, caught in the holiday revelry orchestrated by Radke.
Radke continued to playfully engage with the audience, asking if anyone knew an asshole and if that asshole was them. This cheeky banter clued fans in about the upcoming surprise, followed by “Just Like You“. The crowd consistently sang along, becoming a chorus of holiday rebels, singing “I am aware that I am an asshole!“
In a surprising move, before the last song, Radke called out The Armory for trying to take a cut of their merchandise profits. In response, he decided to pull the Falling In Reverse merchandise, directing fans to the website instead. It was a bold move that spoke to Radke's dedication to the fans without breaking the bank.
As Falling In Reverse left the stage, the echoes of their festive rebellion lingered in the air with echos of “Popular Monster“ & “Voices in my Head. The Armory had been transformed into a musical playground, and Falling In Reverse had successfully orchestrated a holiday rebellion that would be talked about long after the 93X Nutcracker lights dimmed.
