A Perfect Circle-Longsleeve T-shirt All American Rejects Burst v notch Jr babydoll T-shirt Angels and Airwaves Pink Angel lghtweight jr babydoll T-shirt Audioslave Audio logo Beanie Avenged Sevenfold Thermal Longsleeve T-shirt Bauhaus Girl's babydoll T-shirt Billy Idol Sleeveless Junior babydoll T-shirt Blink 182 Junior ribbed tank T-shirt Bob Marley girls lightweight babydoll T-shirt Bob Marley Zip up Hoodie Bob Marley Junior Zip up Hoodie Bon Jovi Patch junior camisole tank T-shirt Bruce Springsteen junior camisole tank T-shirt Bruce Springsteen Girls junior camisole tank T-shirt Christina Aguilera Junior zip up Hoodie Cold-Girls junior babydoll T-shirt Curious girl's jr babydoll T-shirt DC Flag Zip Up Hoodie Devil's Rejects lightweight junior babydoll T-shirt Search for merchandise on 100's of bands when you...Past concerts (109) See all Friday 20 January 2017 Los Angeles, CA, US

1234 West 7th Street Saturday 19 November 2005 Thomas & Mack Center, Las Vegas, NV, US Thomas and Mack Dr Friday 18 November 2005 Long Beach Convention & Entertainment Center, Long Beach, CA, US 300 East Ocean Boulevard See all past concerts (109) By their very nature, supergroups often tend to involve complex equations, so how’s this one for simplicity; add one part Soundgarden to three parts Rage Against the Machine, and voila! Zach de la Rocha’s initial departure from Rage didn’t dissuade Tom Morello, Brad Wilk and Tim Commerford from working together again, and when they went in search of a new frontman, Chris Cornell seemed like the perfect fit in terms of taking things in a new direction; he was keen to distance himself from Rage’s largely political outlook, and thus, Audioslave was born. The band aligned themselves, sonically, with a slightly more straightforward rock sound than Rage ever did, although inevitably they came to be defined in the same way - by Morello’s towering signature riffs.

Onstage, Morello, Wilk and Commerford remained the same tight unit they’d always been, allowing Cornell to strut his stuff as assuredly as he ever did with Soundgarden. With no political driving force, the band took the opportunity to present their live shows in much more restrained fashion than Rage, with a simple backdrop and light show allowing the music to do the talking. The band split in 2007, after Revelations met with a lukewarm reception, but with Rage and Soundgarden reunions having wound down since, to rule out a reformation would be daft.bape shark hoodie xl for sale It’s safe to say that Audioslave had more to prove than just about any other band in the past thirty years. navy midshipmen hoodiesIf anyone needs convincing then try to imagine the pressure of trying to rival the legacy of both Rage against the Machine *and* Soundgarden with every gig played, every note recorded and every lyric written. hoodie eintracht frankfurt

Imagine trying to match the influence, aggression, passion and radical spirit of not one, but two of the bands that personified alternative music in the 1990’s more completely than any other acts, save perhaps Nirvana. No band could possibly rival that. However it’s a little known fact that detatched from their pedigree, Audioslave were a truly vital addition to the rock scene of the early 21st century. costco college hoodiesAudioslave were famed for live shows that fused the thunderous riffage of 70’s Hard Rock with a quintessentially 90’s sense of iconoclasm and abrasiveness. Tom Morello’s unmistakeable guitar squeals welded perfectly with Chris Cornell’s famed vocals, welded together with style by Brad Wilk’s and Tom Commerford’s powerful rhythm section. While they may not quite catch lightning in a bottle the way that their predecessors did, remove the expectations and you will discover a band with far more to give than they were given credit for.

AUDIOSLAVE Rock Band Logo Plain colour t-shirts are 100% Cotton, Heather Grey is 90% Cotton/10% Polyester, Charcoal Heather is 52% Cotton/48% Polyester Slim fit, but if that's not your thing, order a size up 4.2oz/145g, but if that's too light, try our heavier classic tee.Before Chris Cornell sang a note, or even spoke a word, he got a standing ovation. The Soundgarden frontman glided across the front of the stage, shaking hands and giving high fives. Seven acoustic guitars were lined up behind him in front of a mural featuring an anatomically correct heart, which glowed under certain light. He’s far from the shirtless visage on the Screaming Life/Fopp album cover, looking much more tame in a gray sweater and jeans. Yet, the atmosphere felt like what might be expected for an arena performance, not a low-key acoustic set. The crowd’s screams were unquenchable. Everything about the night was quintessential Seattle, bordering on stereotype. Despite being held at Benaroya Hall, home of the Seattle Symphony, most audience members were dressed in flannel and hoodies.

During Philadelphia songwriter Hemming’s opening set, the crowd even started a Seahawks call-and-response chant that boomed vociferously with the concert hall’s acoustics. Hemming laughed it off, saying “Sports!” when the crowd finished. We hold on tightly to our hometown success stories. This puts Cornell on the level of some sort of living Emerald City deity. He doesn’t even need to strike a Jesus Christ pose! The excitement of Cornell’s homecoming felt mutual. He seemed to revel in the crowd’s enthusiastic energy. Before he played opener “Before We Disappear”, from his new album, Higher Truth, he addressed the crowd and said, “You guys be as loud as you want.” His raspy and piercing voice filled the room, seemingly not having aged since he debuted on the scene with Soundgarden’s Ultramega OK. It quickly becomes clear that these weren’t just Soundgarden and Audioslave fans wanting to hear “Black Hole Sun” stripped down (although the crowd erupted when he played the hits).

Throughout the set, people shouted out deep cuts from Cornell’s four solo albums, with a special inclination toward his first record, Euphoria Mourning. Cornell obliged and then some, playing 30 songs over the course of nearly three hours. What’s even more remarkable is how rapt everyone stayed throughout the performance, calling out song titles till the very end. Early on, Cornell reminisced about how when he first started performing, Seattle was a tough crowd that “didn’t lay down for audiences.” Now, he doesn’t have that problem at all. For the most part, he performed alone. He brought in multi-instrumentalist Brian Gibson for a few select songs to perform cello and mandolin when appropriate. But the appeal of the night was hearing Cornell in his purest form, taking away the shroud of fiery, electric guitars that he typically performs with. Before playing “Fell on Black Days”, Cornell joked about there being three guys in the building who knew how to play the song, then afterward revealed that the other Soundgarden members are in attendance.

Kim Thayil, Matt Cameron, and Ben Shepherd never approached the stage, but their mere presence sent everyone into a frenzy. Cornell did, however, bring in one famous friend: Pearl Jam’s Mike McCready. He stayed on stage for two songs, Mad Season’s “River of Deceit” and Temple of the Dog’s “Hunger Strike”. When Cornell went for the famous high note on the chorus, the room felt sacred and still. Both songs with McCready served as a beautiful homage to the early days of grunge and the spirit of collaboration that made the old Seattle scene so enthralling. There was one other bit of unexpected accompaniment. Before performing “When I’m Down”, Cornell talked about how the last time he performed the piece in this space was with pianist Natasha Shneider, who passed away in 2008 from cancer. He was deliberate in pointing out how important her arrangement was to him, as a musician and as a friend. “I don’t want to play [the song] to anything else, so I pressed her performance to vinyl,” he said, turning his chipper tone toward reverence.

He walked to the side of his stage setup and dropped the needle, sending her beautiful and vibrant piano chords ringing throughout the building. Gibson accompanied again on cello while Cornell for the first and only time all evening performed without an instrument. The moment spoke to a larger theme within Cornell’s set: giving thanks to those who’ve helped and inspired him along the way. There were plenty of covers of Bob Dylan and Led Zeppelin, songs written for his wife (“Josephine”), and even a chance to bring his daughter onstage. For a songwriter who’s fronted some of the most successful alternative rock bands of the past two decades, Cornell has a lot to be thankful for. Seattle was eager to show their respect as well. As he looped his guitar and went into a spiral of distortion and wailing vocals with closer “Higher Truth”, it felt like a montage of the mayhem that got him here and the insanity he’ll surely delve in again with his band. The hometown hero hasn’t forgotten his history, and it feels good to hear him fully embrace his roots.