Extracts of two of the B-side songs from I’m With You album that are due to be released shortly have been made available for pre-view on an iTunes site: http://itunes.apple.com/mx/album/strange-man-long-progression/id547123281?s=143455&ign-mpt=uo%3D4
But the full versions of both of those songs now appear to have made their way onto YouTube…
Thanks to Andjelka and Lucirlândya for the heads up on this!
It’s long due but here’s the first full solo interview (in a UK magazine) I’ve seen with Josh Klinghoffer since he joined RHCP; there is a lengthy interview with him in the current edition of Total Guitar (July 2012) which has just gone on sale here.
The interview mentions his guitar equipment, how he came to be in the Chilis and life in RHCP plus his life pre-RHCP and also Dot hacker. There is also a section on the changing sound of RHCP guitarists through the ages.
Read the fully scanned Josh Klinghoffer interview. This is for information only, please buy the magazine if you are interested in the whole feature e.g. the Monarch of Roses tab from Total Guitar online or from your newsagent if resident in the UK 🙂
UPDATE: Transcript now added
An interview with Chad Smith for Billboard, that’s just been released, has confirmed that John Frusciante will not be appearing with the other Red Hot Chili Peppers members when RHCP is inducted into the Rock in Rock Hall of Fame; he also confirms that Anthony Kiedis is on the mend and that the band are preparing for the release of another single off I’m With You:
That said, Smith expects the group to be on the road for most of the rest of this year. With Kiedis “on the mend,” the Chili Peppers hit the road again on March 29 in Tampa, Fla., before heading to Europe in June, with some U.S. make-up dates in August and in the fall. So a new album certainly isn’t likely until the end of 2013 at the earliest.
Meanwhile, the Chili Peppers are also prepping for the release of a another single from “I’m With You” (“Brendan’s Death Song”) as well as the group’s April 14 induction into the Rock and Roll Hall of Fame. Smith says the group, which on that night will also include past drummers Jack Irons and Cliff Martinez, will perform at the ceremony as well as host a private party the night before the inductions. Guitarist John Frusciante, however, will not be attending.
“He didn’t feel comfortable coming, which we totally respect,” Smith says. “We asked him… He said, ‘I’m just not really comfortable with that, but good luck and thanks for inviting me.’ It was all good. He’s the kind of guy, I think, that once he’s finished with something he’s just on to the next phase of his life. The Chili Peppers are not really on his radar right now.”
But, Smith adds, that won’t dampen the celebration in Cleveland. “I’m very pleased about it,” he says. “Music’s not a competition. Yeah, you like to win Grammys and stuff, but (the Rock Hall) is different. It’s not like the flavor of the month or the flavor of the year; it’s for a long career we’ve been fortunate enough to have. I’m very humbled, because the people who are in there…it’s not a joke. It’s very cool. So we’re looking forward to it. It’ll be a fun thing. There’s no pressure, like, ‘Are we gonna win?,’ none of that s***. We can just go and have a good time and celebrate with our friends and our families and our fans.”
Read the full Billboard article HERE
Thanks to Ana and Andjelka for the heads up on this article.
Red Hot Chili Peppers feature several times in the latest edition of Rolling Stone to hit the bookstands! (It’s the issue with Ziggy Stardust on the cover).
Many thanks to Melanie for letting us know about this and sharing the scans with us.
Transcript:
Red Hot Chili Peppers
The 02, Dublin,November 4th 2011
When he joined the Red Hot Chili Peppers in 2009, guitarist Josh Klinghoffer faced the tough task of convincing fans that he was a worthy replacement for the band’s recently departed slinger, John Frusciante. This Dublin stop on the Chilis’ I’m With You tour proves that Klinghoffer is highly proficient at playing Frusciante’s complex tunes, even if he never sounds as fluid as the man himself. The set list is heavy on the group’s hit period, from Blood Sugar Sex Magik-fueled early Nineties to the early-2000s standouts on Californication and By The Way. “Scar Tissue” sends the crowd into hysterics, and Anthony Kiedis wails an impressive rendition of “Under The Bridge,” whilst still finding time to tell security to go easy on an unruly fan, forward to the end, the band plays a jammed out cover of Neil Young’s 1969 classic “Everybody Knows This is Nowhere,” before wrapping with a frenetic “Give It Away.” Frusciante’s defection may have wounded the Chilis, but it hasn’t been a mortal blow.
Transcript:
Chilis Postpone Tour Due to Kiedis Foot Injury
The Red Hot Chili Peppers have postponed their US tour, which was set to launch on January 20th, so that frontman Anthony Kiedis can recover from multiple foot injuries. The frontman recently underwent surgery to remove a crushed sesamoid bone and correct a detached flexor tendon in his foot,” said the band. Kiedis is expected to fully recover in time for the rescheduled trek, which kicks of March 29th in Tampa, Florida. The Chilis will also be inducted into the Rock and Roll Hall of Fame on April 14th.
The scans are for your info only; if you can buy this magazine please go out and do so 🙂 You can also subscribe to an online version of the magazine HERE
Here you go- hope this makes a few more people happy! 🙂
04/27 Toronto, ON | Air Canada Centre | On sale 1/27 at 10am
04/30 Ottawa, ON | Scotiabank Place | On sale 1/27 at 10am
05/02 Montreal, QC | Bell Centre | On sale 1/28 at 12pm
05/04 Newark, NJ | Prudential Center | On sale 1/28 at 10am
05/07 Boston, MA | TD Garden | On sale 1/27 at 10am
05/10 Washington, DC | Verizon Center | On sale 1/27 at 10am
05/11 Philadelphia, PA | Wells Fargo Center | On sale 1/27 at 10am
05/25 St. Louis, MO | Scottrade Center | On sale 1/28 at 10am
05/26 Grand Rapids, MI | Van Andel Arena | On sale 1/27 at 10am
05/28 Rosemont, IL | Allstate Arena | On sale 1/28 at 10am
05/30 Pittsburgh, PA | Consol Energy Center | On sale 1/27 at 10am
06/01 Detroit, MI | Joe Louis Arena | On sale 1/27 at 10am
06/02 Cleveland, OH | Quicken Loans Arena | On sale 1/27 at 10am
06/04 Columbus, OH | Schottenstein Center | On sale 1/27 at 10am
06/06 Cincinnati, OH | US Bank Arena | On sale 1/27 at 10am
06/07 Louisville, KY | KFC Yum Center | On sale 1/28 at 10am
More info on RHCP.com
Thanks to Shalhevet for reminding me to post this!
Look Around is the latest song to be chosen as a single from RHCP’s I’m With You album and two videos have now been released to accompany the song-one the actual music video and the other a behind the scenes look (both below).
The video is based upon four rooms; one for each of the four band members. Each room roughly reflects the band member it belongs too and includes their own art and belongings among the props! The band performed with each person mostly confined to their own room although Anthony Kiedis dances through the rooms at various times. It was filmed in the round in just four takes! The video was directed by Robert Hales. Source
BTW Anthony’s son Everly bear appears in the video too!
Here’s the behind the scenes video:
Look around Video:
Many thanks to everyone who’s sent me links 😀
Ret Hot Chili Peppers have a brand new stage set for their current I’m With You tour and RHCP Brazil decided to find out more; they’ve very kindly translated their original article into English and shared the information, interview and photos they have with us.
The Red Hot Chili Peppers have started an epic world tour using the very best in the entertainment industry and a very experienced technical team.
Started in Germany on 07th October, the world tour for the new album “I’m With You” has a huge LED Backdrop panels made ??with V28 LSI Saco, a band’s logo drawn on the floor made with 30mm LED from Tait Towers and eight impressive chandeliers that move and expand itself giving dynamism, depth and a three-dimensional performance.
The new stage has an octagonal shape as a base, from the logo of the band on the stage to the trussing and was fully designed by United Visual Artists (or UVA), studio based in London and intersection of sculpture, architecture, live performance, moving image and digital installation.
The RHCP Brazilian website talked to David Bajt, d3 projects leader (UVA’s own software which you will understand more below), and he told many details about the new stage, that although it seems to be a very complex construction, it only takes 2 hours to build it up in those rooms.
Did you receive some briefing from RHCP management to build the stage or the whole creation was 100% by UVA?
It was pretty much 100% UVA design, but of course it had to be realistic in terms of touring, and the band had to like it too.
What are the sizes of the screens used at this stage?
Backdrop: 17.92m wide, 6.72m high
Floor: 21m wide, 12m.
Chandelier: 3.024m wide and high (closed), 9m high + trussing = approx. 10.5m high
Are LED Backdrop and chandeliers’ resolution the same? What’s their resolution?
Every chandelier has the resolution 336×336
The backdrop has the resolution 640×240
The floor has the resolution 700×400
There are 8 chandeliers, how they were built? Are they made using LED or another specific material?
The LED for the chandeliers are made of SACO v9 panels provided by Nocturne PRG. The chandeliers themselves has been built and engineered by Tait Towers. All movements are controlled by the Tait Navigator system, which sends all position, rotation and expansion data to d3 which automatically maps content onto them, regardless if they are open, closed or rotated.
Do they stay only above the band or they also move towards above the audience?
The screens stay on top of the band, as they form one design together with the floor and the backdrop.
I’ve seen the chandeliers expanding in some music and it looked like it was being opened above each tip of the asterisk. How does it work? Was it inspired on that screen created by Barco for U2 that expands as well?
We used the band’s logo as a key for the design – it’s on the floor, and the screens above the band reflect this in a more abstract way. Expanding screens are not new, but you don’t often see them in this versatile way. They expand using motors at the very top and very bottom of every chandelier, and all the tracking data goes into d3. d3 is our home-made integrated production toolkit, we (UVA) use it for all our installations. Using d3 we can pre-visualize the show in 3d, and use it to sequence all the content / kinetics. During the show we use it to control the video content, screens movements and live camera feeds. Both U2 and this RHCP show use 360 screens, so in that sense it is similar, although the feel to the whole show is very different. U2 also use our d3 system, so that is similar too!
What’s the speed they move?
It’s quick! It takes about 20 sec to go from completely closed to completely expanded.
About lights, animation and screen movement: Is it everything automatic? Or who is in charge to control everything? Once I heard about a control called GrandMA, I don’t know much about this product but is it used?
Yes, the video operator (Leif Dixon) and the lighting designer (Scott Holthaus) both use GrandMa desks, which are used a great deal in the live music industry, usually to control the lighting. There are a lot of things going on during a big show like this – screen movements, video content, lights – and all these elements might all have their own system behind it. We successfully integrated d3 with a GrandMA for the first time, meaning that you can use the GrandMA desk to jump to the next cue in video content, for example. This gives the show controllers a lot more flexibility.
The data from the screen positions comes into d3 automatically, but many of the screen positions and configurations have been programmed in during the production rehearsals. As soon as we get the set list from Anthony Kiedis (this is usually only 15 min before the show) we tell ‘Motion Rob’ who controls the screens to match the screen positions with the content of the songs. The lights and the video are ‘cue-based’, the video operator uses a GrandMa desk to jump to the next cue in d3’s timeline. The band is jamming and adding/reducing bars a lot so it’s impossible to use Midi timecode or similar. This is a real punk-rock band that improvises a lot, so a completely pre-made show would never fit with their musical spontaneity.
About animation and lighting design process, were they made after the stage had been completely finished or was everything planned together?
Some content was planned during the design process but the lighting was sequenced during the production rehearsals. The good thing with d3 is that you can simulate all the video design months before the show opens! These animations were sent to the management and the band for approval.
Some people complained about the fact there is no screen with live images of the band playing, that it could be good for those who are very far from stage. Why do all images have effects? Is it some RHCP decision to avoid illegal video on the internet?
This depends on the show, all of them are different – the ones in London and Germany for instance had a lot of real time camera with and without effects, but maybe you saw a different one?
Who had the idea to make the RHCP logo on the floor using LED? What kind of material have you used to make a great visual effect and also to uphold all equipment above?
It was our idea here at UVA. We only specified the architectural shapes, screen movements, and the requirements of the LED screens (brightness, pixel pitch) and of course specifying how the lighting trusses would be designed. For example you can see that the 3 lighting trusses inside the chandeliers follow the same shape as the logo. It’s all been thought about very thoroughly, you have to when you are working on this scale. Tait Towers, who are specialized in building stages, made sure everything was engineered properly and the whole set works.
But the band put a carpet on stage so it’s almost impossible to see the asterisk, do you know why? Is the surface too flat or smooth?
It’s a very practical and personal reason: Anthony Kiedis has some trouble with his knees, so for some shows they had to put a soft carpet on the floor to accommodate this. This will be replaced with a transparent screen though so the logo is fully visible. The band really like it – in fact Chad requested the elevated drum stage he’s on to be a mesh (it wasn’t at first) so he could see the floor better!
How much weight each video screen has? How much tons approximately has the entire stage?
We don’t know, sorry.
How do you make this transportation from one country to another?
There’s 5-6 big trucks shipping all the kit and another 5-6 tour buses transporting staff.
How long does it take to build the entire stage on the show? There are bands that have more than one set in the next town they’d be playing in order to build it up in time, is it necessary to RHCP?
As designers, we only come up with the idea and how to get it built – so we don’t actually build up the stage. However, RHCP tour management have a very experienced and professional team that tour with the Peppers and build up the stage for their show. We know it only takes approximately 2 hours to build the entire stage!! so this is why they can travel and do a show somewhere else every day.
In terms of logistic, how difficult and expensive can be to bring this stage to Brazil?
Sorry, we don’t know this one either. This is part of the band’s management.
For next year that will have outdoor gigs, stadiums and big arenas, will they use the same stage?
Yes, at least for the US part of the tour. We are not sure what will happen next, this would be up to the band’s management.
All this structure is special for RHCP or it’ll be commercial line in the future?
Featuring the RHCP logo, it’s made especially for RHCP, so it won’t be seen anywhere else.
What are the other bands that UVA works for?
We’ve designed the stages (and content) for bands like Massive Attack and Jay-Z but our production toolkit d3 is used by many bands including U2, Kylie Minogue, Take That, Robbie Williams, Battles, George Michael and many more.
Thank you
More Photos
Credits to: James Medcraft
Many thanks to Altair at RHCP Brazil for sharing this amazing information and for translating it into English too! The original article, in Portuguese, can be seen HERE for anyone interested.
Welcome to another Red Hot year with loads more Chili Peppers concert dates planned so hopefully lots more interviews, photos and news to come!
This website hasn’t been abandonned; real life has got massively in the way this year but hopefully the worst of that is over and I can get back to updating the site.
Just a couple of things… RHCP’s I’m With You album cover was voted the best of the year in the latest edition of Q Magazine. See article HERE
And I’ve just added a gallery of images painted by a John Frusciante fan who painted an album of pictures inspired by John Frusciante’s solo music-song by song! The completed album was sent to JF and the artist received confirmation that John had received the album. Find out more and see the images HERE
On December 7th, the Red Hot Chili Peppers performed a concert in Vienna, Austria, at Wiener Stadthalle Arena.
Universally Speaking got back to the setlist but this time, the surprise was the song American Ghost Dance, from the album Freaky Styley of 1985.
Unfortunately, it was only a snippet because of technical difficulties on
stage. Anthony remembered the lyrics and the fans just loved it.
Check out the following videos and setlist of the show.
An interesting interview especially for you John Frusciante fans as it mentions him and the fact that Josh feels the two of them are unlikely to work together again:
Original Italian Version:
5 set 2011 – Uno ha i capelli viola, i piedi nudi, tatuaggi, la maglietta di Thelonius Monk: ha lo sguardo da ragazzino, ma la faccia un po’ segnata dal tempo. L’altro è tutto vestito di nero, ha una felpa con il cappuccio, un accenno di barba, il ciuffo. Ha lo sguardo e il viso da ragazzo; dimostra meno dei suoi 31 anni e sembra ancora un po’ intimidito dalla situazione.
Sono Flea e Josh Klinghoffer, ovvero l’anima ritmica (e non solo) dei Red Hot Chili Peppers e il “nuovo” chitarrista: sono passati dall’Italia oggi per presentare “I’m with you”, il disco uscito la settima scorsa (qua la nostra recensione), il primo in cinque anni e il primo dopo la seconda uscita di John Frusciante dal gruppo.
Flea è gentile, risponde ad ogni domanda senza problemi, a partire dalla scelta della maglietta – il suo amore per il jazz è noto: “mi piace, a chi non piace Thelonius Monk? Come mi piacciono i Beatles e come mi piace respirare..”. Poi si passa a parlare del disco, della nuova formazione: la sensazione che i due danno è di grande affiatamento, Josh (che aveva già in passato suonato con il gruppo in tour, per questo “nuovo” va messo tra virgolette) si è inserito alla perfezione, è in piena sintonia con il resto del gruppo: “Abbiamo un processo di composizione democratico, ognuno può dire la sua, e Josh non si è solo inserito, ha portato la sua visione”, spiega Flea. “Quando abbiamo iniziato a scrivere, due anni fa”, dice Josh, “E’ stato tutto molto naturale, abbiamo imparato a conoscerci. Non ci sono stati grandi difficoltà se non ora che iniziano le cose strane, vedere così tanta gente… Anche se poi suonare con questa band è una cosa naturale, siamo subito in contatto”.
“Josh è una persona molto differente da John”, spiega Flea. “Ero molto abituato a lui, abbiamo suonato assieme per tanto di quel tempo che avevamo ormai un nostro linguaggio. Con Josh ho imparato un nuovo linguaggio: ho dovuto lasciarmi indietro il passato e immergermi nel presente”.
Flea ha un rapporto sereno con il tempo, e si vede, lo ripete in continuazione: “ Cinque anni?”, dice all’inevitabile domanda sulla lunga pausa. “Siamo stati in tour per ‘Stadium Arcadium’, ci siamo presi una pausa, abbiamo ricominciato a scrivere, ed eccoci qua. E’ stata l’attrazione gravitazionale dei nostri cuori: ci siamo ritrovati a suonare musica. Se penso alla nostra tradizione, a come abbiamo iniziato negli anni ’80, e a dove siamo ora, con i palazzetti, gli stadi… Do un grande valore al nostro modo di fare le cose. It’s fucking awesome! Poi non so se ci vorranno altri cinque anni per un disco… So a malapena cosa farò domani, sono che sono grato di stare in tour e di comunicare le mie idee, di poter parlare con la gente. Poi vedremo.”.
Quanto al passato, Flea non ha né rimorsi né rimpianti. Anzi la sua vena mistica viene fuori anche qua: “Ho un ottimo ricordo di quello che abbiamo fatto: eravamo così stupidi, dei cazzoni che non sapevano cosa facevano, che andavano in giro sfatti…I nostri angeli custodi ci hanno permesso di sopravvivere, di trovare qualcosa dentro di noi che ci ha fatto crescere. Nessun guru, nessun psichiatra ci avrebbe potuto indicare una via migliore”. Un tema, quello del passato, che ritorna anche in uno dei momenti più intensi del disco, “Brendan’s death song”. “ E’ dedicata ad un nostro amico, un promoter di L.A. che fun uno dei primi a darci un ingaggio: a quell’epoca non eravamo nessun e lui avuto un grande ruolo nella crescita della band, con quello che ha fatto. Ci ha dato fiducia, ci siamo sentiti rispettati. Il primo giorno che abbiamo suonato con Josh è stato quello in cui abbiamo saputo della sua morte. Abbiamo improvvisato ed è nata quella canzone”.
La vena mistica di Flea ritorna quando racconta il suo rapporto con la musica: “Sono un fottuto hippie… la musica per me arriva da un posto divino. Quello che posso fare è mettermi nella condizione di farla scorrere, di farla arrivare, per vivere la mia vita in un posizione vicino a questo posto divino. Ma non sono religioso…”
Josh guarda, sorride, ogni tanto interviene con una battuta, in maniera molto educata, timida, ma non troppo. Quando Flea si assenta per andare un attimo in bagno, dice che lui non ha problemi a suonare le canzoni che la band ha inciso con gli altri chitarristi: “John aveva un problema con i brani di ‘One hot Minute’, quelle che la band aveva inciso con Dave Navarro. Io quel disco l’ho comprato e l’ho amato, quel tour è stata anche la prima volta che ho visto i Peppers dal vivo. Ma tanto so che neanche gli altri amano particolarmente quei brani”. Dice che vuole continuare la sua carriera solista: “Nelle pause del tour farò la mia musica. Ma non credo che suonerò ancora con John”, dice – Josh ha suonato in molti dischi solisti di Frusciante, ne ha inciso uno a doppio nome e due sotto il nome Ataxia. “John è abbastanza concentrato sulle sue cose, ultimamente”. Quanto al suo ruolo futuro nei RHCP, dice ridendo: “Sarò incosciente, diventerò tossico, ruberò macchine. Non vedo l’ora”, e poi manda un saluto ai suoi amici italiani, Marlene Kuntz e Afterhours, con cui ha suonato dal vivo qualche volta.
Per vedere dal vivo i Red Hot Chili Peppers, invece, bisogna aspettare Dicembre, il 10 a Torino e l’11 Milano.
__________________________________________________________________________
English Translation (Sorry it’s late here and I’ve just run it through Google translate but it will give you the idea; I’ll try to get a proper translation of it if I can but most of my Italian friends have been running around Germany/are about to go to see RHCP at the weekend).
September 5, 2011 – One has purple hair, bare feet, tattoos, T-shirt of Thelonius Monk: a kid has the look, but do a little ‘marked by time. The other is dressed all in black, has a hoodie, a hint of a beard, a tuft. It has the eyes and face as a boy, looked younger than his 31 years and still seems a little ‘intimidated by the situation.
Flea and Josh Klinghoffer are, or the soul of rhythm (and not only) Red Hot Chili Peppers and the “new” guitarist from Italy have gone today to present “I’m With You”, the disc out of the seventh last (our review here), the first in five years and the first since the second exit from the group of John Frusciante.
Flea is gentle, smooth answers to every question, from the choice of shirt – his love for jazz is well known: “I like it, who does not like Thelonious Monk? As I like the Beatles and as I like to breathe .. “. Then you need to talk about the disc, the new formation: the feeling that the two damage is of great harmony, Josh (who had previously played with the band on tour, for this “new” should be put in quotes) was inserted to perfection, is in full harmony with the rest of the group: “We have a democratic process of composition, each can have its say, and Josh has not only entered, brought his vision,” says Flea. “When we started writing, two years ago,” says Josh, “It ‘was all very natural, we have learned to know each other. There were great difficulties if not now starting things strange to see so many people … Even if they play with this band is a matter of course, we immediately got in touch. ”
“Josh is a very different person from John,” says Flea. “I was very accustomed to him, we played together for so long that now we had our own language. With Josh I learned a new language: I had to leave the past behind and immerse myself in this. ”
Flea has a peaceful relationship with time, and it shows, repeats all the time: “Five years?” Says the inevitable question about the long pause. “We were on tour for ‘Stadium Arcadium’, we took a break, we started to write, and here we are. It ‘was the gravitational pull of our hearts: we ended up playing music. If I think of our tradition, as we started in the ’80s, and where we are now, with arenas, stadiums … Do a great value to our way of doing things. It’s fucking awesome! Then I do not know if it will take another five years for a hard … I know hardly what I will do tomorrow, I am that I am grateful to be on tour and to communicate my ideas, to talk to people. Then we’ll see. “.
As in the past, Flea has no remorse or regrets. Indeed, his mystical streak comes out here too: “I have great memories of what we did: we were so stupid, the fuckers who did not know what they did, who went around mushy … Our Guardian Angels have enabled us to survive , to find something within us that made us grow. No guru, no psychiatrist could have indicated a better way. ” A theme, that of the past, who returns at one of the most intense moments of the album, “Brendan’s death song.” “And ‘dedicated to our friend, a promoter of LA that one function of the first to give us a gig: at that time were not any and he played a major role in the growth of the band, with what he did. Gave us confidence, we felt respected. The first day we played with Josh was one in which we heard about his death. We improvised and that song was born. ”
The mystical vein of Flea returns as he recounts his relationship with music: “I’m a fucking hippie … for me the music comes from a divine place. What I can do is put in a position to slide, to get her to live my life in a location near to this divine place. But I am not religious … ”
Josh looks, smiles, occasionally intervenes with a joke, in a very polite, shy, but not too much. Flea when we go away for a moment in the bathroom, says he has no problem playing the songs that the band has recorded with other guitarists: “John had a problem with the songs ‘One Hot Minute’, the ones that the band was recorded with Dave Navarro. I’ve bought that album and I loved that tour was also the first time I’ve seen the Peppers live. But I know that not even particularly like these other songs. ” He says he wants to continue his solo career: “In the pauses of the tour will my music. But I do not think that will play with John again, “he says – Josh has played in many of Frusciante solo albums, he has recorded a double name and two under the name Ataxia. “John is quite focused on his things, lately.” As for his future role in the Red Hot Chili Peppers, he laughs: “I will be unconscious, become toxic, steal cars. I can not wait “, and then sends a greeting to his Italian friends, Marlene Kuntz and Afterhours, with whom he played live a few times.
Live to see the Red Hot Chili Peppers instead, you have to wait in December, 10 in Turin and Milan 11.
Many thanks to Alex for the heads up on this!