The Show and Tell Tour performance was hosted at the Marquee in Tulsa, OK.
One thing I always enjoy about the Marquee is that it is just the right size, it
allows for a good crowd of people to come, but also keeps it small enough to set
that feeling that the band is only there to preform for you. I always prefer the
smaller venues over the larger ones and especially the big arenas. This concert
was ran on Assimilation night also and as always the Assimilation crew were very
nice and helped me out when I needed it. This by far is one of my favorite
venues to work with.

The concert started with the opening band Dommin. I
for one had not even heard their music. I only knew their name from being on
this tour with the Birthday Massacre. I will have to admit that I was surprised
at how good this California band turned out to be. They had a sound that was ll
their own. Their stage set up was great, you can’t go wrong with roses. The band
was dressed really well and went with their sound well. After their performance
they came down to hang out at their booth. They were very nice and approachable.
They all signed their autographs for me and took pictures with me.Over all I
really enjoyed them very much.
I Am Ghost followed and did not let people
down either. I did enjoy them, but to be honest I was not so much into their
sound as I was Dommin. But they were still a very good band. My husband enjoyed
them more than I did. He had heard of them before and already knew that he liked
their stuff.

Then their was the headlining band The Birthday Massacre.
They were really great! I had interviewed the singer before the concert and she
said they would have a lot of energy and they did not let me down. They put
their all into this performance. They were also very interactive with the crowd.
Chibi (the lead singer) more than once reached into the crowd to grab a hand or
hug someone. You could tell that they were one band that was there not only
because they had to, but because they truly enjoyed the fans. This show was all
for the fans, even if it came at the expense of the band being worn out and
Chibi losing her voice even more than she already had. The band also portrayed a
sense of just having fun with each other. At one point Rainbow (guitar) was
pretending to pout because Chibi had accidentally hit him in the head and she
hugged him and tried to comfort him. They just really showed that they had a lot
of heart during their performance.

After the show you would not blame
them for going to the back and resting with all that they put into their show,
but like troopers they came out for the fans and signed autographs and let
people take pictures with them. Rainbow even continued outside the club when the
club urged people to go so they could clean up. I recommend that you put this
band on your must see list.

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Cascada were formed in Germany when Natalie Horler joined forces with DJ Manian and Yanou. Natalie’s love of music came from her jazz musician father — she used to practice singing Disney numbers and copying jazz classics in the home studio before rounding out her performance skills with dance lessons and acting. This portfolio no doubt helped in the crafting of Cascada’s famously high-energy live performances. They are best known for their hits “Miracle” and “Everytime We Touch.”
- Nicholas Baker

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Studio assistants turned superstars, London’s Henry Bins and Sam Hardaker are now finding their cool and sexy tunes played all over the world. Prior to their highly acclaimed debut album, Simple Things, Zero 7 started making waves with a series of EPs and remixes, including Radiohead’s “Climbing Up The Walls” and Lenny Kravitz’s “If You Can’t Say No.” Soul vocalists Mozez, Sia Fuller, and Sophie Barker take their downtempo sound into the mainstream, yet their music shows no inclination to sell out.
- Nicholas Baker

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The Dolls set the stage for punk to turn rock ‘n’ roll on its head in the late ’70s. Their wild, burly, cross-dressed image together with their rough-and-tumble sound created an unforgettable rock ‘n’ roll Style-with-a-capital-S. Always teetering and stumbling, the Dolls’ music, like the band itself, was in constant danger of falling on its face. David Johansen’s howling vocals perfectly matched the ragged, dueling guitars of Johnny Thunders and Sylvain Sylvain. They twisted the ’60s girl-group aesthetic to their own seedy purposes, steamrolling the lost sound into over-the-top performances. Their sneering attitude and rule-breaking sound spawned legions of admirers and detractors, gave birth to the New York punk scene, added flash to glam and fuel to early heavy metal.
- Mark Murrmann

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Led by the therapeutic vocals of Chris Carrabba, Dashboard Confessional have earned a fair amount of popularity with heartfelt, unplugged emo for those who can do without the genre’s typically hard-hitting guitar theatrics, but value the music’s sincerity. And sincerity is where Dashboard Confessional excel: Carraba’s heart-on-sleeve vocals and songwriting exude feeling and melody, much to the delight of melancholy teens in search of a like-minded voice. It’s a long way from Rites of Spring (or even Sunny Day Real Estate), but it’s obvious why so many take this to heart.

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Although Filter haven’t abandoned the Industrial Metal formula that broke them big — the combination of aggression and catchy riffs continues with songs such as “Welcome to the Fold” — they offer quite a bit of diversity in their music. “Take A Picture” is dreamy and poppy, opening with acoustic guitars playing a progression that’s positively folksy.
- Will Lerner

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Despite the fact that they started out as a more pop-oriented goth band, Ministry’s unspeakably abrasive, endlessly negative music remains pretty much definitive industrial metal. On top of that, we have singer Al Jourgensen to thank for the whole post-apocalyptic biker-cowboy look that led to sales of millions upon millions of full length black leather coats in the early 1990s. But more importantly was when Ministry released their 1988 album, The Land of Rape and Honey, it was clear that the music was genuinely unique in the mainstream and that they had created a sound as powerful and heavy (if not more so) than any alternative or metal band of the period. The band crossed those alternative and metal lines, drawing hordes of fans from each camp and helping along the eventual blurring of those traditionally opposite styles that occurred in the late ’80s and early ’90s with the onset of grunge rock and alternative metal. Ministry’s influence (which can be felt even today in the industrial scene) was both musical and stylistic and the albums they put out during their peak (Land Of Rape And Honey, The Mind Is a Terrible Thing to Taste and Psalm 69: The Way to Succeed & the Way to Suck Eggs) actually stand up over a decade later. The band continues to release albums today and, to its credit, remains as Satanic and sex-obsessed as ever — an aesthetic Nine Inch Nails may have taken to the top but Ministry invented.
- Mike McGuirk

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