This past Friday, neo-classic rock outfit Dirty Honey released its new live recording, Mayhem and Revelry Live to the masses via Dirt Records. The band’s first-ever live recording, it is a mostly successful offering for established and new audiences alike. That is due in no small part to its featured set list, which will be discussed shortly. While the record’s set list forms a strong foundation for its presentation, it does have one negative, that being its limited presentation. This will be discussed a little later. Knowing that said one negative is not enough to doom the recording, there is one more positive to note, that being the production therein, which will also be discussed later. Each item noted is important in its own way to the whole of the recording. All things considered, they make Mayhem and Revelry Live a mostly positive first live outing for Dirty Honey.
Mayhem and Revelry Live, the debut live recording from Dirty Honey, is a mostly positive offering from the band. Its success comes largely through its featured set list (and the band’s performance thereof). The 16-song set pulls from all three of the band’s records, it’s 2019 self-titled EP, its 2021 self-titled debut album, and its 2023 sophomore record, Can’t Find The Brakes. That latter record gets the most nods, with eight of its songs included in the set list. The other two records receive four nods each. In other words, the band ensures audiences get a rich cross section of the band’s already evolving catalog. That in turn gives audiences a thorough example of what the band is all about, musically speaking.
The band’s performance of the set list adds to the recording’s enjoyment. From the Buckherry type opener, ‘Won’t Take Me Alive,’ to its follow-up, ‘California Dreamin’,’ which conjures thoughts of vintage Guns N’ Roses and Motley Crue, to the blue-tinged rocker that is ‘Dirty Mind’ to the gentle ballad that is ‘Coming Home’ and beyond, the band offers audiences the best of itself in each song’s performance. Front man Marc LaBelle is everything a front man should be in a live setting, his frenetic energy on full display from one song to the next in those higher energy moments. His control in ‘Coming Home’ shows such a stark, welcome change, proving and then some, his ability to capture a crowd and keep it entertained. His band mates – John Nott (guitar), Justin Smolian (bass), and Jaydon bean (drums) each do their own respective parts to add to the experience, providing the right energies in each performance. The result of the group’s collective work is equal energy returned by the audience. That is audible in each song from the loud and clear cheers coming from the crowd. To that end, the set list and the band’s performance thereof collectively do more than enough to make Dirty Honey’s debut live recording worth hearing.
While the set list featured in Dirty Honey’s new live recording and the performance thereof make for plenty for audiences to appreciate, the recording is not perfect. As was previously announced ahead of the recording’s release, Mayhem and Revelry Live is only available on audio platforms. There are no full audiovisual presentations of the concert. Why this is the case is anyone’s guess but lacking that visual aspect of the concert does detract from the enjoyment. That is because concerts are meant to be seen and heard, not just heard. Hearing the audience cheering is one thing, but actually seeing them, seeing the different camera angles, the edits, etc. gives audiences the full concert experience. Lacking that aspect meanwhile only makes the concert enjoyable to a point while still leaving audiences hoping for more. To that end, it certainly would have made a notable difference to have made this concert recording available on all platforms rather than just audio. Either way, it is not enough to doom the recording. To that end, there is still one more positive, that being the recording’s production.
As noted already, in listening to Mayhem and Revelry Live, the cheers of the audiences are fully audible, as are the band members’ respective performances. This points to expert work balancing the recording’s production. Not one aspect of the recording overpowers the others. And yes, this can be an issue (and is an issue) with some live recordings out there. To that end, the production that went into this recording is just as deserving of applause as the set list and the band’s performance thereof for its aesthetic impact. Thanks to this aspect, it does help immerse audiences into the concert even if only to a point due to that noted lack of a visual aspect. When this and the recording’s set list are considered collectively they make Mayhem and Revelry Live a mostly successful first live outing for Dirty Honey that gives hope for future live recordings.
Mayhem and Revelry Live, the debut live recording from Dirty Honey, is a respectable first live outing from the up-and-coming neo-classic rock outfit. Its success comes in large part through its featured set list and the band’s performance thereof. The set list pulls from each of the band’s three studio recordings, giving audiences a relatively rich picture of the band’s catalog. While the set list and the band’s performance thereof gives audiences much to appreciate, the limited presentation of the band’s performance detracts from the recording to a point as it limits audiences’ immersion into the presentation. It is not enough to doom the recording, though. To that end the production works with the set list and performance to help maintain audiences’ immersion, and in turn engagement and entertainment. Each item examined here is key in its own way to the whole of Mayhem and Revelry Live. All things considered they make Mayhem and Revelry Live a mostly positive first live outing for one of rock’s next big names.
Mayhem and Revelry Live is available now through Dirt Records. More information on the recording is available along with all of Dirty Honey’s latest news at:
Website: https://www.dirtyhoney.com
Facebook: https://www.facebook.com/DirtyHoneyMusic
Twitter: https://twitter.com/dirtyhoneyband
