{"id":32809,"date":"2013-11-03T22:25:30","date_gmt":"2013-11-04T03:25:30","guid":{"rendered":"http:\/\/hardrockhaven.net\/online\/?p=32809"},"modified":"2013-11-13T07:35:10","modified_gmt":"2013-11-13T12:35:10","slug":"20-concert-highlights-of-2013","status":"publish","type":"post","link":"https:\/\/hardrockhaven.net\/online\/2013\/20-concert-highlights-of-2013\/","title":{"rendered":"20 CONCERT HIGHLIGHTS OF 2013"},"content":{"rendered":"

by Alissa Ordabai<\/span>
\n– Senior Columnist —<\/p><\/blockquote>\n

A summer in London resembles one big never-ending music festival: several A-listers playing on the same night at different venues, not to mention B-listers, C-listers, various up-and-comers, chancers, and charlatans. And just the way a festival report can\u2019t deal with each show in detail, neither can this summary. So here is a compact rundown on the London gigs that stood out the most over the past 6 months. Mind you, when our fave Americans don\u2019t come to England, the English go to America. So some New York City dates are thrown in for good measure too \u2013 the ones this writer went to while swinging by the Big Apple in August. <\/p>\n

Biohazard
\nThe Underworld Club, London
\n22 October 2013<\/strong>
\n\"Biohazard\"Kingpins of rapcore have finally completed their descent from metal\u2019s top ranks back into the general population. Some 15 years ago London was hosting them at its grandest arenas. Think sold out shows and people in the street begging you for a ticket offering crazy money. To get stuff signed you stood in line for over an hour. This time Biohazard played a 500-capacity basement club in Camden. Which didn\u2019t deter local die-hards who packed the sweatbox like this was the last rock show of their lives. After endless stream of support acts reviving that nu metal vibe with varying degrees of street cred, Biohazard hit the stage at half ten. The crowd \u2013 mostly male, overwhelmingly white, and primarily over 35 \u2013 is a fist-pumping, yelling, rowdy bunch. The band looks and sounds past its peak, but punters just want to relive their youth, so who cares if all of us are 15 years older, with our biggest dreams dashed and tattoos half-faded? \u201cIt\u2019s all in the mind,\u201d as philosophers tell us. If the crowd wants a killer show, it gets a killer show, such is the power of us humans to process external reality almost in any way we choose to. The riffs and grooves were easy on the ear, the delivery is up to code, so nothing is left but to jump and head bang. And judging by the crowd\u2019s ecstatic affray, Biohazard couldn\u2019t have delivered a better show. <\/p>\n

The Howling
\nBrixton Academy, London, UK
\n19 October 2013<\/strong>
\n\"TheBack in 2006 when Camden\u2019s spit-and-sawdust clubs were this writer\u2019s stomping ground, the word in the street was that three London bands were destined for glory: Marner Brown (an indie outfit), Red Star Rebels (glam metal revivalists), and Towers of London (punk rockers). Mainstream rock press predicted fame and fortune, lesser bands fixed them with a jaundiced eye, and legions of groupies suffered broken hearts. But after a few years the hype fizzled, and what internal squabbling didn\u2019t do, was finished off by incompetent management. Fast-forward to now, and the toughest survivors from these three gangs suddenly form a brand new rat pack. Quitters never win, right? The band is called the Howling and sounds like a weird cross of sleaze rock, electronica, and punk. Still, no matter how current this bunch try to sound, you know it in your gut they haven\u2019t given up on the dream to become the next Motley Crue. The Rev\u2019s steamy guitar solos are the most obvious giveaway (the way he aims at that young DeMartini \/ Mick Mars vibe) and singer Blacky wraps his mews and groans around those debauched tunes in a way only a sleaze rocker would. Will it happen for them this time around? Not likely. Do they put on a great show? You bet. The Howling is one of those bands you\u2019ve absolutely got to see live, but can pass on storing in your player.<\/p>\n

Annihilator
\nIslington Academy, London, UK
\n13 October 2013<\/strong>
\n\"Annihilator\"A tactful, courteous audience politely head bangs its way through the set, and people immediately apologize when they accidentally bump into you. Yep, that\u2019s the Annihilator show in London last month. Somewhere between raw thrash abandon and artful musicianship, the band remains a metal outfit that at once makes you want to mosh and crowd-surf but also to stand perfectly still to watch those dazzling guitar leads. Band leader and guitarist Jeff Waters says these days he doesn\u2019t play much at home for his own enjoyment. But when you see him live, you don\u2019t believe him \u2013 the buzz and the drive are so palpably there. And when the time comes for Waters to solo, you know he does spend a lot of time thinking and caring about his music \u2013 the phrasing, the interplay of tension and release sound almost too intelligent for the genre. But the sheer high-voltage energy does show here\u2019s someone who lives and breathes metal. A combination of old hits and songs from the newly released album proves that life is just as exciting for the band as it was back in 1983, or at that mythical time when Annihilator used to share a tour bus with Pantera. <\/p>\n


\nPat Travers
\nIslington Academy, London, UK
\n11 October 2013<\/strong>
\n\"PatIs this the rudest joke on earth Travers drummer is telling the stunned audience just before the encore? Yep, it is, and I won\u2019t repeat it \u2013 both out of respect for you, reader, and to avoid various vigilantes hounding me down. Travers looks slightly flustered himself, telling the crowd in an apologetic tone this is the only joke his drummer knows. But thankfully Pat doesn\u2019t need to apologize for the set, because this becomes one of the best shows of 2013 \u2013 a full-on, firing on all cylinders ride driving home the tried-and-tested blues-rock truths. The 59 year-old vet either goes all-out or he doesn\u2019t hit the road. He last played in London in 2011, and breaks between tours seem to turn Travers into a more formidable performer each time he comes back. The singing, beautifully sustained tone of his guitar, the heart he puts in every phrase, and the way he so evidently enjoys what he does just screams \u201cAmerican blues musician.\u201d Not to mention his rip-roaring singing voice that comes through so powerful you know this isn\u2019t drinking cocaine that keeps his pipes in shape. Not that the British deliver less energetically when they perform, but simplicity and conviction of vintage blues-rock becomes a rare thing in the UK these days. Especially after Alvin Lee\u2019s passing earlier this year. The last time Travers and I spoke, he was telling me about his hilarious one-off encounter with Lee where they both didn\u2019t say a word to each other, just kept sizing each other up. Strange how Travers comes back to the UK the year of Alvin\u2019s death, as if to reassure us that all isn\u2019t lost. <\/p>\n

Alex Skolnick Trio
\nThe Jazz Caf\u00e9, London
\n29 September 2013<\/strong>
\n\"AlexNot hugely adventurous by the standards of jazz, but pretty far-out by the standards of metal, Skolnick\u2019s way of giving jazz interpretations to rock\u2019s classic numbers remains a congenial, poetic, and intelligent affair. Original pieces written in the same vein sound more interesting than covers, but overall the Alex Skolnick Trio sustains a unified, very recognizable sound. Judging by the turnout (which was modest this time), the main audience for this trip are still rock fans, not jazz buffs. When Skolnick first began his jazz experiments, the initial buzz in the rock world was huge. Now everyone knows what to expect, so the 400-capacity venue tonight stayed half-empty, although Skolnick was saying on Twitter he did a lot of press that day. <\/p>\n

<\/p>\n

Manfred Mann\u2019s Earth Band
\nThe Jazz Caf\u00e9, London, UK
\n10 September 2013 <\/strong>
\n\"ManfredA head-spinning, potent dose of vintage prog that sends you down the sweetest memory lane a classic rock fan can wish for. Unlike his unsmiling contemporaries Yes and Genesis, Manfred Mann always had a knack for a sparkly, uplifting pop tune. So his prog vibrates with both intelligence and warmth \u2013 a unique quality for a genre which never cared much for pleasing the listener. Add to this Mann\u2019s stunning jazz piano chops and a gift for far-venturing impro, and here you have the most perfectly layered cake of a show. The most amazing thing though is how young Mann looks these days. You\u2019d give him 38 tops \u2013 pretty incredible for a guy who\u2019s had his first hit back in 1964.<\/p>\n

Johnny Winter
\nB.B.King Club, New York City
\n21 August 2013<\/strong>
\n\"JohnnyA set made up mostly of covers (from old blues standards to Chuck Berry to the Rolling Stones) runs smoothly through its paces without a single glitch. These days Winter\u2019s live shows are even-handed, on-the-ball affairs, and the crowd always receives them with great affection. While other musicians age, Winter has now entered that timeless stage where his dignified stage presence and simple grace serve as a benchmark for younger players who try to tap into the genre. But where he really takes you by surprise (no matter how many of his records you have or how many times you\u2019ve seen him live before) is when he plays slide. Here the technique takes over, and the musician falls under its spell \u2013 a spine-tingling sight of a man on the service of the age-old tradition that demands he gives it his all, no matter his age, pedigree, or whatever else. <\/p>\n

George Clinton and Parliament Funkadelic
\nBeekman Beer Garden Beach Club, New York City
\n22 August 2013<\/strong>
\n\"GeorgeIf there is anyone who can turn a crowd into a dancing, twirling, vibrating, wiggling bunch of happy people, it\u2019s George Clinton. What those who say that Funkadelic sound conventional forget, is that Clinton pretty much INVENTED this convention. He cooked it up, made it hugely popular, and it\u2019s not his fault that these days you can hear it emanating from each and every appliance at Macy\u2019s home electrics department. And Clinton sure knows how it has become, taking it easy and navigating those tunes as comfortably as he wears his sharp sheeny stage suit. The vibe in the crowd matched the vibe on stage \u2013 simultaneously relaxed and bouncy. You had a choice to either closely follow the music, which keeps all of its visceral instincts while offering plenty of fine musicianship and imagination. Or you could relax and simply enjoy the vibe. Cutting edge experimentation has now given way to coolly replaying those once innovative ideas. Guitar geeks who (among many others) flocked to Funkadelic shows back in the 70s would now find the band less experimental, but times change. The mood of the show was more about dancing, eating, enjoying the weather, and admiring the view of the sun setting over the three bridges: Williamsburg Bridge at left, Manhattan Bridge at center, Brooklyn Bridge at right. For many it was a family outing, a trip down the memory lane, and for younger folks \u2013 a chance to see a legend in the flesh. <\/p>\n

Paul Bollenback
\nThe Bar Next Door, Greenwich Village, New York City
\n18 August 2013<\/strong>
\n\"PaulThe Bar Next Door is one of the smallest, coolest jazz venues in New York \u2013 a cozy basement where you sit down at a table in a tiny room, make an order, and while munching your Gorgonzola pizza try to pay attention to the music. Something a New York jazz buff doesn\u2019t think twice about, but try explaining the concept of eating while listening to live music to an English metalhead. Although the umbilical connection between live music and heavy drinking on the British rock scene would perhaps confuse an average American jazz fan just as much. Still, when Paul Bollenback \u2013 one of the most accomplished New York jazz guitarists \u2013 sits two feet away from you playing a most inspired, intelligent solo while you eat, you \u2013 as a Brit and a metalhead \u2013 end up feeling a cognitive dissonance of epic proportions. <\/p>\n

But this is the kind of music that gets you over the initial discomfort pretty damn quick. Bollenback\u2019s top-notch technique becomes immediately apparent, but it\u2019s the chops following the heart, not the other way around. \u201cI try not to overplay,\u201d you hear a lot of rock virtuosos say. But when you listen to someone like Bollenback you forget that a note can be played without meaning. Non-obsessive poise lightens Bollenback\u2019s earnest improvisation and makes him an instantly accessible, but at the same time unpredictable player. Part of it could be the fact that he used to take lessons in classical guitar from Segovia\u2019s favourite student Michael Lorimer, a fellow New Yorker. Part of it \u2013 just the innate culture of jazz musicianship and Bollenback\u2019s own sensibilities. Singer Chris McNulty who performed with Bollenback tonight sounded like his perfect partner. The exquisite dynamics where she articulates the quietest note with translucent precision, and poetic wistfulness of her style makes you believe real magic can be so very tangible. As you swallow a piece of finely cooked pizza and hear the decaying notes of a beautifully knowing voice, for a moment you believe that the infinitely remote can merge with the mundane in an easy, natural way. It never can, you realize, as you leave the club after the show is over and head back home on a D line train to Brooklyn.<\/p>\n


\nAndy Timmons and the Les Paul Trio
\nThe Iridium, New York City
\n12 August 2013<\/strong>
\n\"AndyAnother New York show where you are supposed to eat while following the music. And another guitarist who helps you get over the conflict of stomach and heart in no time. Timmons started his career in the 80s, and just like his fellow rocker Alex Skolnick pretty soon began expanding into all kinds of things, including jazz. Tonight he played with the Les Paul Trio \u2013 a resident band at New York\u2019s Iridium, which since Les Paul\u2019s death in 2009 invites various guitarists to join them on stage. Over the past 4 years they have been joined by guitar heroes ranging from Jeff Beck to Ted Nugent. And Timmons doesn\u2019t pale in comparisons with those bigwigs. He can be a showy, flashy guitarist which is a part of his temperament on par with his exuberant stage presence. But he also delves for meaning so deeply, and with such solid musical knowledge \u2013 as this evening on standout jazz number \u201cAutumn Leaves\u201d \u2013 that you instantly learn to appreciate this rare combination of ostentatious showmanship and profound self-search. Although for some artists profundity ends when the last note fades out, after which absurdity sets it. While introducing the band to the audience Timmons suddenly forgets to mention the drummer, who on the night is Anton Fig \u2013 a session player of great repute, noted for his work in David Letterman\u2019s house band, the CBS Orchestra. The audience \u2013 despite everyone having a full meal \u2013 is not distracted by the food, and immediately calls Timmons out on this gaff. <\/p>\n

<\/p>\n

John Lee Hooker Jr.
\n100 Club, London, UK
\n25 June 2013<\/strong>
\n\"JohnJohn Lee Hooker isn\u2019t the only guitar icon whose son bears his full name. From the top of my head, Jimmy Page is another one. Although Page Jr. \u2013 from what I hear \u2013 is more interested in film-making than music. I don\u2019t know what would have been the outcome had John Lee Hooker Jr. had any interest in making films. But his legendary father\u2019s legacy does dwarf Junior\u2019s music endeavors. And this was one of those shows where nothing is wrong and equally nothing is exciting, which makes you wish something was indeed wrong so you could write something interesting about it. One of the blandest, most inoffensive, most forgettable performances I\u2019ve ever seen. <\/p>\n

Taj Mahal
\nUnder the Bridge Club, London, UK
\n29 July 2013<\/strong>
\n\"TajMore resembling a collective psychic force than a single individual, Taj Mahal barks and growls from the bowels of the Earth like a soothsayer, a prophet, and a primal archetype rolled in one. It\u2019s scary to be in his presence when he invokes things we all know about but prefer not to approach in our everyday lives. But he also is a master forger of ethereal, multi-layered realities. He can do both \u2013 pull the great metaphoric root out of the depth of the Earth for all to see and gasp at, but also weave dream-like mirages of the most ethereal kind. In one word \u2013 a wizard who makes Aleister Crowley seem rather tame. If this man ever plays near you, go see him. He\u2019s a shaman of the highest order and will probably even heal you if you are ever in need of being patched up and put on your feet again. <\/p>\n

Suicidal Tendencies
\nThe Electric Ballroom, London, UK
\n7 July 2013<\/strong>
\n\"SuicidalSometimes no matter how old the songs are, a band plays them live as if they\u2019ve just been written. Granted, ST haven\u2019t been around for as long as the Stones, but the Stones in 1996 (after having been in this biz for 32 years) were sounding utterly mechanistic compared to the manic rave-ups ST put up after THEIR 32 years in music. How Mike Muir and Co. manage to store up so much energy and then discharge it with such an overwhelming hullabaloo remains an enigma. But this was perhaps the craziest show of the year so far \u2013 the crowd going berserk and the band not letting a single bum note slip into their bouncy, tight wall of sound punctuated by sniper-sharp, utterly virtuosic guitar leads. <\/p>\n

Paco Pe\u00f1a
\nSadler\u2019s Wells Theatre, London, UK
\n10 July 2013<\/strong>
\n\"PacoAt 71 flamenco vet Paco Pe\u00f1a remains a guitarist of formidable depth. He may not play as much during his shows as he used to in his heyday, but two other star attractions — guitarists Paco Arriaga and Rafael Montilla — make up for that. This being a guitar-and-dance troupe, the focus constantly fluctuates between the musicians and the dancers. But even if you are not a dance fan, you can\u2019t help gawping at the swaggering poise of Pena\u2019s male and female dancers, and appreciate the richness of the culture that gave us the guitar as we know it. <\/p>\n

Van der Graaf Generator
\nThe Barbican Hall, London, UK
\n30 June 2013<\/strong>
\n\"VanDerDo people still have the stamina and the head space for such far-out reality-bending excursions these days? Apparently they do. Prog rock and that rare, old brand of English eccentricity fuse together so intimately in this band, you don\u2019t longer know where pop music ends and Blakean visions begin. At times heavy, clumsy, and ponderous, and at times airy and transparent in its fragile, otherworldly beauty, this epic trip made the crowd yell \u201cBravo\u201d ad infinitum, begging for an encore. Turning a concert hall into a planet where the most outlandish signals are transmitted by the band and received by the audience without a glitch is Van der Graaf\u2019s unique specialty. A case of skillfully construed telepathic connection? Perhaps not. But what they were putting in the water in England in the late Sixties still works its magic both on musicians and fans. <\/p>\n

<\/p>\n

Faster Pussycat
\nThe Underworld Club, London, UK
\n3 July 2013<\/strong>
\n\"FasterHere\u2019s a sort of band you can imagine doing a secret Nazi-themed magick ritual to obliterate anyone who calls them a bunch of never-beens lead by a has-been. Either that or what else would be the purpose of these assassin outfits, Third Reich hats, and the dude\u2019s leopard print burka — apart from serving as some sort of creepy warning? Never the best songwriters on the planet, Faster Pussycat at one time still put up great shows on the sheer power of their cocksure chops and stage presence. Plus looking good has always had its value on the glam metal scene. They don\u2019t call it glam for nothing. These days the band finds itself in a limbo: the tunes don\u2019t take off, the new recruits don\u2019t convince, and the look has been done earlier with bigger aplomb by someone with bigger balls. Specifically by Marilyn Manson, whom Downe tries to emulate these days \u2013 and who himself is neither a great looker, nor a songwriter, and not even a singer, but who became a cultural phenomenon on the sheer power of his guts. The lesson Manson teaches is to go all the way through. Half-hearted attempts at emulating someone else\u2019s grotesque look while playing your own old tunes don\u2019t get you any further than a half-empty club. <\/p>\n

ZZ Top
\nHammersmith Apollo, London, UK
\n24 June 2013<\/strong>
\n\"ZZYes, we all know it\u2019s all commerce and old ideas rehashed on the new album to legitimatize a fresh tour, but boy does the band sound awesome live! Punters pay 75 bucks for a ticket not to hear \u201cHeartache in Blue\u201d off the new CD, but \u201cLegs\u201d and \u201cSharp Dressed Man\u201d, and that\u2019s what they get. And every single person in the crowd looks so grateful for a chance to hear those gems live, the euphoria hangs thick in the air, even at those rare moments when no one is clapping or yelling. A show played with class, humour, and preceded by the great Ben Miller Band (who despite their emphasized homeliness draws from the same well as the headliners) \u2013 what else can you wish for? For just 75 bucks? <\/p>\n

Joe Satriani
\nShepherds Bush Empire, London, UK
\n17 June 2013<\/strong>
\n\"JoeWhat will happen when guys like Satch no longer play? One thing is certain \u2013 we\u2019ll be left with much, much lower performance standards in rock. For sure, guys like Herman Li and Ben Wells could probably shred their way out of a buried coffin, but when it comes to sheer musicality, nuance, and gripping articulation, rock music knows no match to players like Satch and Vai. And I\u2019m not even talking about Satch as a composer here. The new album may not match Surfing with the Alien or Crystal Planet in terms of writing, but seeing Satch live lays at your feet such treasures in terms of technique and musical sensibility, it becomes a must to anyone even remotely interested in the guitar, jazz and classical music fans included. <\/p>\n

Megadeth
\nBrixton Academy, London, UK
\n6 June 2013<\/strong>
\n\"Megadeth\"Go see Chris Broderick live and become instantly impressed by the frightfully accomplished automaton who seems to be able to play virtually anything. Is he an alien in disguise or a trial version of a cyborg secretly developed at some Matrix-style lab? In truth, I think the alien mantle rightfully belongs to Satch, as his gift is just unfathomable. And I lean toward the robot theory when it comes to Broderick. His machine-like body language and the faces he makes serve as further evidence \u2013 the big, cartoonish smiles to punctuate the proceedings, the bionic way he angles his head toward the cameras, the action-figure perfect poses. This robotic efficiency practically saves the otherwise lackluster show. While Mustaine sounds tired and burned out, Broderick keeps going like clockwork. Sometimes the saving grace for an aging metal god comes in the form of a young recruit with impeccable work ethic such as Broderick\u2019s. He evidently doesn\u2019t let emotional dispositions get through to him and treats his job as a job. As we know, when people start taking things too much to heart, all sorts of bitterness can ensue, just ask Poland or Friedman. And right now Broderick seems like a perfect recruit and Mustaine \u2013 a lucky boss. <\/p>\n

Skid Row
\nIslington Academy, London, UK
\n13 April 2013<\/strong>
\n\"SkidWhere did it all go wrong for this once-brilliant band? When did Dave Sabo \u2013 with his tremendous gift \u2013 give up on progressing as a guitarist? When did the band start drawing ideas from what they see on TV instead of digging deeper and wider? Contrary to the common view, Sebastian Bach\u2019s departure had nothing to do with this band\u2019s downfall, but complacency and unwillingness to learn new things did. A series of new EP releases now coming out after a 7-year break explain Skid Row returning to the UK. Before this the band played in London 6 years ago. And that 2007 show stays in memory as such a brilliant, high-spirited event that this time around the 700-capacity Islington Academy sold out in no time. London\u2019s been missing Skid Row, and didn\u2019t expect such an underwhelming performance. But downgrading to a part-time band, leaving long gaps between albums, living in different cities, and generally not aspiring to much apart from continuing to self-release occasional new material, does take its toll even on such fab players as Sabo and Hill. Compared to their last London show, the band sounds limper, crowd-pleasing oldies \u201c18 and Life\u201d struggle to draw you in, and teenagers are nowhere in sight – it\u2019s a nostalgia act for the 80s generation, a shadow of its former self. <\/p>\n","protected":false},"excerpt":{"rendered":"

by Alissa Ordabai – Senior Columnist — A summer in London resembles one big never-ending music festival: several A-listers playing on the same night at different venues, not to mention B-listers, C-listers, various up-and-comers, chancers, […]<\/a><\/div>\n","protected":false},"author":10,"featured_media":32858,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6971],"tags":[439,5478,8069,562,5570,393,1953,7763],"class_list":{"0":"post-32809","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main-articles","8":"tag-joe-satriani","9":"tag-johnny-winter","10":"tag-manfred-manns-earth-band","11":"tag-megadeth","12":"tag-pat-travers","13":"tag-skid-row","14":"tag-suicidal-tendencies","15":"tag-zz-top"},"_links":{"self":[{"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/posts\/32809","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/comments?post=32809"}],"version-history":[{"count":0,"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/posts\/32809\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/media\/32858"}],"wp:attachment":[{"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/media?parent=32809"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/categories?post=32809"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hardrockhaven.net\/online\/wp-json\/wp\/v2\/tags?post=32809"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}