FEBRUARY 2004 Show Reviews

ALKALINE TRIO
REGGIE AND THE FULL EFFECT
FROM AUTUMN TO ASHES
NO MOTIV
November 28, 2003 @ Hollywood Palladium (Hollywood, CA.)
By Ian Wilkins

   Are you ready? I said: are you ready? Well, I was, and the night turned out to be a medium letdown. I had been looking forward to the show for a few weeks, but I was a little let down...until Alkaline Trio came on. The Hollywood Palladium used to be a great place to see shows, but now it resembles what I think a concentration camp would be like. After the strip search and anal probing, the "guards" usher you into the great hall, where there is no smoking of any kind (so so much for the stuff you hid in your jacket). Beers were $7 a pop (not including the tip). BUT, the one thing that the venue always promises is great sound and plenty of places where you can get some killer views of the show.

    No Motiv usually puts on a great show, but tonight was the complete opposite. The set started out okay, but it turned into a horrible train wreck by the second song. My biggest complaint was the singer; he just didn't seem like he wanted to be there. Sure, he screamed out the vocals like he was supposed to, but there just wasn't any heart behind it. The instrumentals sounded decent, but in the future I hope they might spend a few more minutes setting up for the show to make sure everything is in tune and working properly.

    From Autumn to Ashes has been around for a little while now. Every once in a blue moon I might catch them on the TV or read about them in some magazine. I am amazed at how popular they are getting, since their live show really isn't what it should be. The singer whined way too much, and the guitarist just fed the fire. On the other hand, the drummer should look for a different band, because he is the shit. I felt his double-bass beats and high-hat work in my stomach.

    After a long and delightful wait for the bathroom, I arrived to see Reggie and the Full Effect appear on stage in Santa gear (sans white beards). The band consists of five members, two of them being the "lead" singers. Sometimes the dual microphone thing can be really good when they work with each other (e.g., Dolly Parton and Kenny Rogers back in '83), or it can be horribly, horribly wrong. Reggie and the Full Effect were the latter. They did try to pull off some cool shit (like covering old Slayer), but they really fumbled the ball when they attempted to do The Ramones. At one point in the show, the Santa outfits must have become a little too warm, because there were male undergarments being worn on stage. (In my Forrest Gump voice:) That's all I want to say about that. In my humble opinion (and I am talking Gandhi humble), they should have been the second band to take the stage and not the one opening for Alkaline Trio.

    Okay, you have now read 500 words (give or take) to get to the good shit (the chronic of the review, if you will). Alkaline Trio—who is loved by fans all over the world—is now on stage. This is what the thousands of fans around me have been waiting so patiently for. It is a frenzy of cheering, complete madness, shit, fuck, crap. (Sorry, my Tourette's is acting up from all the excitement.) Adorned in their little suits, they start the night off with "This Could Be Love", following it up with "Stupid Kid" ( I think that was it. At this point in the evening I had spent almost 50 bucks at the bar). One of my favorite singers at present is Daniel Andriano, and just being able to see and hear him live was true bliss. Sure, they were here promoting the newest album, GOOD MOURNING, but that didn't stop them from playing a couple of the oldies, like "Mr. Chainsaw" and "We've Had Enough"—you know, the really good shit. To me, Alkaline Trio live sound much better than on record, a little bit more grainy not so cleaned-up. Shit, fuck, crap—it's just too much excitement for one person.

    If you are reading this and are about to gouge out your eyes because you cannot stand the fact that you just missed Alkaline Trio for the second time in a row, please don't . It's okay—there is always next time (I say, laughing as I walk away down a dark hallway).

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Slow Coming Day
Metaphor Is Audio
Stereo Tragedy
Same Way Again
Gunshot Beginnings
Bobby Breakdown
December 5, 2003 @ Showcase Theater (Corona, CA)
By Heather Jagger

   I was really excited about this show, because a few specific bands I love were playing. I pulled up, and there were only about 10 people outside, but slowly the place got a bit more crowded, and the line circled around the corner of the Showcase. I went inside as soon as I heard the first band starting up.
Bobby Breakdown was a trio of teenage boys from Murrieta with surprising talent. When they first got on stage, they just looked like a few bros who thought it would be cool to start a band, but they were decent. They had a similar sound to the once-known band Silverchair and were clearly there to have fun. They played their little hearts out for the sparse crowd, which I thought was awesome. There were a few loyal friends/fans up front singing along with every word. Motivation, I guess you'd say. So, although they weren't very known, I think this band is on their way to having more than 15 fans.

    Gunshot Beginning is a bunch of kids that really stole my attention. As I watched from the balcony, I noticed a lot more people came up front for these kids from Temecula. With a 15-year-old singer, they really surprised me. They brought up the excitement of the crowd. Still, the crowd was only about 30 people up front and a few stragglers hanging out in the back, but they got the place moving. This screamo band belonged together, and they had good timing and an awesome sound, which blew people away. The aspect that stood out the most was the second side screamer. That kid has a pair of lungs on him!

    If you like good music and you were at this show, you would have definitely noticed Same Way Again, a Riverside/Corona-based band with slightly more experience and a few years more in age. In my opinion, these guys stole the show. Everyone randomly poured in for these guys. They had a tremendous amount of love for what they do, and you could see that in every second of their performance. I've seen these guys many times before, and every time they play their song "Shoe Box Memories", the crowd pees their pants. You don't see many bands with a drummer talented enough to play AND scream at the same time. Most people can't think that hard. If you've ever seen this band, you'd know about the famous moves of the bassist. I wont even bother trying to explain, but let's just say water bottles were flying everywhere. Their melodies were catchy, and these guys know how to write great songs. With the best audience reaction of the night and spazzy 16-year-old girls screaming after every song, all I can say about these guys is: "amazing!"

    I'm sure you've all heard of Falling Cycle, but have you heard about Stereo Tragedy? With some members of the big FC, they took on a few new guys—and a whole new sound. Completely different from the old hardcore they used to play, they now bust out some melodic pop-core. I could tell from their performance and the energy they gave—or rather, DIDN'T give—that they're still getting it all together, not quite sure how to play music other than hardcore. Their stage presence wasn't all it could be, but the two girls that were up front head-banging obnoxiously with their long hair flying everywhere I'm guessing would disagree. Some say they're sell-outs, some say they do what it takes. It's all a matter of opinion, I guess. But if you're all about the pop-core, then I'd definitely suggest Stereo Tragedy.

Stereo Tragedy

    I'd heard of the next band from a few people, and I had mixed thoughts about their music. Metaphor Is Audio is a somewhat local band from Redlands. I noticed they had a few catchy songs to sing along to, and they gave their all. The crowd got into it and soaked in their love for playing music. It was little too poppy for my taste, but obviously not for everyone else's. These four guys sounded like they put some time into it, and it looks like it paid off.

Metaphor is Audio

    Last, but definitely not least, was Slow Coming Day. I've heard a lot about this band, but this was my first time seeing them. These guys seemed to know what it was all about. Even though 80% of the audience left before they even took the stage, they still played, and they played well. I gained respect for these guys because they didn't seem to care too much about recognition. All of their songs sounded great and had great detail. All the guys seemed really mellow, which is just nice every once in a while. With their indie look and matching indie sound, they did awesome.

Slow Coming Day

    Overall, this show was a breath of fresh air. It was something OTHER than you're typical "my crew is gonna beat up your crew" show. The kids at this show were there to have fun and listen to some good music, not to beat someone up in the pit. I could actually walk around without being looked up and down by some scenester comparing whose clothes or hair is better. If you're looking for a show that isn't a super crowded sweaty fashion competition, I suggest going to see one of these bands.

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Stretch Arm Strong
The Bled
The Kinison
The A.K.A.s
With or Without You
December 11, 2003 @ Chain Reaction (Anaheim CA)
By Luke Skywalker

    After finishing my last final for the semester at 3:30, I packed up my laundry, guitar, and CD collection and headed for Anaheim. Luckily, I hit rush hour, so I was able to ponder both my failing grades and relationships while listening to the CDs I was sent to review. I drove relentlessly to see the band who has escaped my viewing for far too long, Stretch Arm Strong.

    As I stood in line for the doors to open to the club, I began to feel the crisp night air and regretted leaving my jacket in the car. Close to 100 kids shivered against a wall, waiting for the security guards to pat down each person. I struck up a conversation with a girl wearing a Comeback Kid T-shirt—who, coincidentally, was a friend/photographer for the first band With or Without You. Though they were the opening band, With or Without You was one of the most appealing bands of the night. Hailing from Bakersfield, CA, the hardcore quintet was able to get some of the early arrivals to slam dance. In jest, they did an Inside Out cover, in which the lead singer screamed more than he had before. And this wasn't normal hardcore screaming, but like metal screaming. I half-expected to see some headbanging, especially from the bass player, what with his AC/DC T-shirt and shoulder-length hair.
Shortly after With or Without You, I was confronted by the punk-rock sounds of The A.K.A.s. I was leaning up against the side of the building while tapping my foot. The singer asked the crowd to start moving, but I was content to stay right where I was—and so was the rest of the crowd. The quintet played songs from their debut album WHITE DOVES & SMOKING GUNS (released by Florida-based label Fueled by Ramen), and their "eclectic live show" (as its described in their online biography) was not so memorable. I do give The A.K.A.s credit for their style, though: all of their outfits were matching.

    Similar in sound to the International Noise Conspiracy, The Kinison blared political anthems to the audience. Thankful for them putting me on their guest list, I was determined to watch their entire set. But after waiting for them to set up, I grew bored and decided to bear the brunt of the wilderness outside. Only lasting through songs "American Collectable" and "No Talk", I give The Kinison an E for effort.

    Probably the most anticipated band of the night was The Bled. I have heard many good things about the band from friends of mine, and I have been played selected songs. My first encounter of The Bled was from a free CD sampler of Fiddler artists in ALTERNATIVE PRESS with "The Sound of Sulfur". Before they started their set, fans began crowding in close to the stage, and I even overheard a petite girl say, "Do you even know how freakin' awesome this will be?" I had no idea. As lead singer James began their first song, the audience roared in approval, and the largest pit I have ever seen at Chain Reaction widened from the front of the club to the back. Throughout the band's set, the crowd exhibited their admiration by throwing their highest roundhouses and flailing their arms like windmills. I just hoped the same display of dancing would continue for Stretch Arm Strong. As the younger fans of The Bled stepped back to catch their breath, an older crowd of Stretch Arm Strong fans moved forward in their stead.

    My jaw dropped and my fist rose as the crowd began chanting for Stretch Arm Strong. Playing old favorites from A REVOLUTION TRANSMISSION like "For the Record" and "When Words Escape" encouraged both pitting and hardcore dancing from old fans, and new songs from ENGAGE like "Double Shoots Double" brought in new fans. Lead singer Chris McLane's stage presence and exciting lyrics only fostered more enthusiasm for SAS's music. The South Carolina group chatted it up some, as well, promoting charity for the homeless this holiday season and asking people to express unity by introducing themselves to the person next to them. The band continued playing their music, including my personal favorite, "Second Chances".
The overall performance of Stretch Arm Strong was superb, and the entire night was equally good. My night was made even better as I exited the show and was given a demo of a new band, Broken Front. A bitterly cold night turned out to be the warmest evening I've had all season.

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SUPERJOINT RITUAL
DEVIL DRIVER
INTENTIONAL RAGE
December 13, 2003 @ the Ventura Theater (Ventura, CA)
Words and photos by Mark A. Whitaker

   Touring in support of its newest album, A LETHAL DOSE OF AMERICAN HATRED, Superjoint Ritual made a stop in Ventura to get the word out to the non-believers that Superjoint Ritual was here to stay and you'd better get used to it. I was scheduled to interview Phil Anselmo, but due to scheduling conflicts (Phil is an avid boxing fan), we ended up not being able to conduct the interview. I was also doing a show review, so I hung out and watched the show and got a great first hand experience of the black-metal assault Superjoint Ritual brings to live shows.

    After getting something to eat, I went inside to see what the evening would bring. Right as I walked in, Intentional Rage was already on stage tearing it up with a fast style and hard edge to its music. Intentional Rage's singer (who was also on guitar) was keeping the crowd moving with his deep voice and animated singing presence. Not content to just hold the mic, Ray would gesture and shake his fist with passion as he performed. The drummer was pounding out the tempo and smiling as she sang along with the music. That's right: the drummer is a she—and she can rock just as hard as the boys. Bringing the mandatory guitar leads and metal wails was the second guitarist, who would really lean into his playing to make the guitar wail even louder as he played.

    Taking the stage next was Devil Driver, whose name is rooted deep in the black arts of witchcraft. I had not heard of this band before but was really pleased with its performance. Lots of heavy bass and drums, intense and fast with periods of old-school metal head-banging fury. The singer would take time out in between pacing the stage to standing still, letting the power of his words sink in to the hungry minds of their fans. The guitarist and bass player were awesome. They would just get into the music and lose themselves among the shredding breakdowns. It was a great set, very much alive with energy and power.

    There was small delay as the mics were checked and re-checked to make sure that they were at their optimum settings to handle the lethal dose of American black metal. Once everything was adjusted for optimum performance, the lights faded to black, and out of the blackness came five shadowy figures: Phil Anselmo on vocals, Kevin Bond and Jimmy Bower on guitars, the man simply known as III on bass, and Joe Fazzio on drums. It seems all the time living in the Louisiana bayou has not really affected Phil too much. I hadn't heard the new CD yet, so I had only my previous exposure to Superjoint Ritual to base my opinion on. It was cool that Phil loves to talk in between songs, explain things to people, and give fans an insight about what a song is about. This works for me because Phil has a very unique view on things and isn't afraid to speak his mind about them. Superjoint Ritual's style of metal is unique: it's heavy, but still has some fast guitars to throw you off. It's a cool combination that really works. I don't know if III believes in drop-tuning or not, but his bass has a good low-end rumble. The two guitarists complement each other, because one guitar is slightly higher-pitched and crunchier, while the other guitar is lower and sounds fuzzier. This really works with the vocals, which alternate between low, guttural growls and high-end screams. After a few songs, I could tell fans were enjoying the show, because they were crowd-surfing and moshing like crazy. After several songs, security kicked all of the photographers and media out, but then one of the security guards motioned me to hand him my camera bag, which I did, and then he extended his hand and pulled me on stage. I thought that was the end, but I was able to hang out backstage and watch the show. At one point Phil mentioned something about a heavy breakdown. For all the hardcore bands that pride themselves on heavy breakdowns, sorry, but Superjoint Ritual has you beat. I just heard a low rumble that quickly progressed to a heavy, churning breakdown that you feel in your chest. It was intense. After the last song, Superjoint Ritual waited in the wings, deciding whether the crowd was worthy of an encore. With shouts of "Superjoint! Superjoint!" Superjoint Ritual played one more song, then retired backstage. The crowd wasn't satisfied, though, and kept yelling for another song. Phil went over to the drums, picked up the drumsticks, and played a few beats, set the sticks down, went over to Kevin Bond's guitar and played a few notes, set the guitar down, and then declared that he was multitalented. I found that to be really funny, and the crowd loved it. Then the rest of the band joined Phil for one final song. It was good to see Superjoint Ritual play again. I now have a better appreciation of the music.

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MISSING 23RD
MADCAP
THE GOD AWFULS
GUTTERMOUTH
December 28, 2003 @ the Glass House (Pomona, CA)
By Ian Wilkins

    The Glass House is one of my top five places to see a show. I think it is probably fourth on the list, but it could easily be number one if they started serving alcohol. Usually, if the band really sucks, I will sneak across the street to the local jazz bar to get a $2 beer and let my ears mellow out for a second. Tonight's review is coming straight from a sober guy—and, for once, it was my choice. The show was so good that I couldn't leave, not even for…well, on with the story...I mean, review.

    I arrived at my desired location roughly around 8 p.m. To my surprise, the line in to the show was only halfway around the block and consisted of mostly adults, which is always a surprise at the Glass House since it is all-ages. Stepping into the half-filled venue, I arrived in time to check out Missing 23rd a very good pick for the opening band on a night of great bands. Missing 23rd played their upbeat, poppy punk for about a half an hour. They played the type of punk where everything is fast, even the slow songs. By the time they finished their set, they had the now-almost-filled room going loco. If I had to say anything negative about Missing 23rd, I might say they were a tad too refined. Loosen up the ties, guys, and have some fun.

    I think I went to school with Madcap. I am still not sure. (For the first time ever I regret not buying a yearbook.) Madcap has been around for a while now, and yet they still seem to keep it on the down-low. For being such a good band, I am surprised when people in the circles I hang out in don't know who they are when I am talking about them. But now I have my chance to get on my soapbox and shout about them. Madcap has so much energy behind them that they don't need electricity to plug the amps into. Playing another 30-minute set to a packed house, Madcap rocked the joint. Fast punk and good stage demeanor always make for a good time—and a good time I had.
Okay, if you're sitting on the toilet reading this and smoking a fat doobie, I need you to put the white cocoon down. Now, push really hard. Feel that relief? That's how you're going to feel when you go and buy The God Awfuls' new CD that comes out in February. Now, pick up that doobie and take a coughing hit. Feel that? That is how you're going to feel when you see them live. Well, I did, anyway. The God Awfuls have played with so many great bands that it would make you jealous if I were to name just one. Ah, what the hell—here are three to drive you to insanity: Dead Kennedys, Youth Brigade, and Guttermouth. (Enjoy the now-necessary lobotomy.) The God Awfuls played for at least 45 minutes, which never really seems long enough. The set consisted of some new songs off their next CD and, to the delight of 10 billion screaming fans, some of the older stuff. If you haven't seen or heard of The God Awfuls, then you have been smoking way too much pot on the can, and that is just plain sad.

    Thanks to a really good friend of mine that we shall name "John," I was able to see Guttermouth from the top of the stage. That's right: I was on stage right next to them as they played. Can I say that seeing Guttermouth is far better than just hearing their CDs? Being on stage is probably the safest place to be at show of this caliber. If you were standing in the middle of the floor when Guttermouth came on, then I feel really sorry for you. The floor became one of the biggest pits I have ever seen (and I have seen a lot). There was stage-diving, spitting...hell, I even watched guards pummel people in the head with a Mag Light just for trying to get on stage. (That was going a little overboard, Mark the lead singer commented.) Seeing Guttermouth at the Glass House is like a vertically-challenged person getting the 20-piece chicken McNuggets and then supper-sizing it: way to much for one person to eat, but because of your gluttony you somehow still try to make it fit…then you explode with gut-wrenching bliss. The show was only over after Guttermouth played for and hour-and-a-half—and that didn't include encore.

    The whole evening was unbelievably great, and if you weren't there, then I guess there is always next time. Sorry you missed this one. (Well, not really.)

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ATREYU
HIMSA
TO SEE YOU BROKEN
NIGHTFALL
SACRIFICIAL SLAUGHTER
December 28, 2003 @ the Showcase Theatre (Corona, CA)
By Beth VanBoxtel

    Lucky for me, my small car was among a vast sea of gridlock on a typical Orange County evening as I made my way northeast to the Showcase Theatre in Corona. Once I had arrived at the venue, I slipped into the wondrous, dark, and noisy establishment. As I muscled my way through the crowd, my lack of height allowed for seeing about 90% males who boldly proclaimed their favorite band across their chest (or at my eye-level) on their black shirts.

    Upon arriving, I discovered Sacrificial Slaughter had already played their set, and Nightfall was in the middle of theirs. To my dismay, the crowd had not quite gotten into this band's music. Few were cheering, as most were more interested with familiar faces they could identify in the crowd. As I focused all my attention at the stage, Nightfall was quick to move on their feet. It was quite an impressive spectacle to see the drummer, girl guitarist, frontman/guitarist, and occasionally the bassist taking turns on vocals. Hailing from Yorba Linda, these metal rockers were relatively tight with their music, but not quite strong enough to boast an original riff or catchy sound. If I were to see them play again, perhaps I would give them another chance. You can decide for yourselves by checking out their songs online (www.nightfallca.com) or at the end of January with Nodes of Ranvier and Arms Bend Back.

    As Nightfall finished up their set, Himsa and To See You Broken had just pulled into the venue as a result of a van breaking down. Seattle's To See You Broken burst into the venue and set up without delay. As the five-piece, all-girl band was taking the stage, the onlookers around me were quick to judge and make comments, comparing them to The Donnas and joking as if they were setting up for their boyfriends. However, I noticed a few of their arms were covered in tattoos, and the bassist looked so tough that she could probably kick my butt in a fight. I'll admit that I was taken aback as soon as they unleashed their first song. Classically trained in piano and violin, these girls played their guitars and drums exceptionally well. With hardcore influences drawn from Trial and Walls of Jericho, TSYB enticed several people to start moshing. I thoroughly enjoyed watching these girls play and am looking forward to their album release later this year. For more information on TSYB, visit www.toseeyoubroken.com.

    With as much positive hype as Himsa has gotten in the previous few months from people such as Iann Robinson of MTV, I was ready to form my own opinions about the band. The crowd was getting antsy as the long-haired, harmless-looking guys from Seattle took center stage. To begin their first song, the lead vocalist lurched into the tight crowd, only to be carted back to his original location. Excitement was mounting as the drummer played heavily on the crash symbols along with superior timing on the drums. Minor technical difficulties ensued, but the band quickly continued. I was impressed by the intricate guitar work that carried each song to its fullest capacity in the sold-out venue. Kids from the crowd were violently getting floated closer to the stage, while others dove off the balcony. During the set, Brandan Schieppati of Bleeding Through shared the stage and sang backup vocals to the captivated crowd. Himsa played "Cherum", "Girl in Glass", and their most popular song, "Rain to the Sound of Panic", filled with fast-paced melodies and explosive breakdowns. Look for them on tour with As I Lay Dying in February. Website: http://www.himsa.org.

    For a crowd this size, there was little breathing room once Atreyu started playing "In the End We're Optimists". Most in the crowd knew the lyrics and took every waking opportunity to get seemingly closer to the man grasping the microphone. The vocalist had a creative way of having curse words come through the pounding speakers by shoving the microphone in fans' faces as they belted out the word. Further into the song, sweat beaded up on the band members' faces, as well as everyone watching them, due to the sauna-like conditions. "Crimson Kiss" was the first song they played off of their upcoming album. The crowd celebrated it. Atreyu went on to play crowd favorites, such as "Someone's Standing on My Chest", "Ain't Love Grand", and "Dilated" flawlessly. The singer's sharp vocals were released with much passion and agony, as he delivered them over the rampant bass lines and chilling guitars—a combination so volatile that every journalist bends over backward to try to describe it. "Bleeding Mascara" and "You Eclipsed by Me" was Atreyu's one-two punch for this power-hungry crowd. The chaotic guitars and acidic vocals came together to create a newer and heavier melodic sound. The lyrics were seemingly more poetic, yet still had the dark edge that had played a part in their previous albums. Atreyu finished off their nine-song set with "Lip Gloss and Black". During that four-minute-and-27-second blast of airy guitars, strong drumming, and bass, the crowd was hypnotized by the resonating sounds of "Live, love, burn, die." Be on the lookout for the upcoming album THE CURSE (June 15) and DVD: www.atreyurock.com.

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Slick Shoes
Three Bad Jacks
Tokyo Rose
Still Life Projector
Love Equals Death
January 3, 2004 @ Chain Reaction (Anaheim, CA)
By Luke Skywalker

    Chain Reaction brought five bands together, making for likely the most diverse show I've been to, a concert featuring punk, rockabilly, rock, and emocore. Unfortunately, I missed Love Equals Death due to the fact that I didn't make it on the guest list, and so it took me a while to find a way to get inside of Chain.

    Upon finding a means to get into the venue free of charge, I found myself in a throng of rockabilly fans, hardcore kids, and trendy scenesters wearing cute cotton gloves with the fingertips cut off. Still Life Projector was halfway through their set when my ears adjusted to the volume and I found a wall to lean up on. After hearing just a few songs, I quickly found my critiques of the band. To become a memorable band, SLP will need to come up with a more unique sound, rather than regurgitating the same music out there right now. Towards the end of the set, I recognized a tattoo and realized it was the lead singer of Papa Roach, Coby Dick. Tempted to punch him in the stomach for selling out, I chose to refrain from violence and realized a newfound respect for him. I mean, he was attending a small rock show.
With a melodic pop/rock sound, Tokyo Rose performed their set, yet I was not in a melancholy mood for their insightful lyrics. Lead singer Ryan Dominguez claimed illness hindered his vocal range, but from what I heard in the flawless songs like "Saturday, Everyday", "Word of Mouth", and "Phonecards and Postcards", he must have had only a slight cough. And to the band's credit, they were able to get the crowd moving.

    And as the diversity continued through the night, the rockabilly fans grew restless for their boys, Three Bad Jacks. Frontman Elvis Siussa is a god to the large Hispanic group of followers, enduring cheers and applause for just setting his gear on stage. And as bassist Brett Williams set his massive stand-up on stage, the crowd roared equally. Rumor has it that Williams occasionally ignites his own instrument mid-set. Though Williams did not feel compelled to spark his bass on fire this show, Three Bad Jacks set was no less than amazing. "Hellbound Train" and "Ace of Spades" inspired kids in the pit to enthusiastically beat each other up, and I've never seen so many fat violent girls before. In a song dedicated to Norma Jean, midway through Williams stood up on his leaning bass, continuing to play. And if this wasn't impressive enough, Siussa found room for himself to stand up on the bass and enhance the balancing act. As the time flew by, their set was completed, as the concert gods allowed for the band to play an encore. Dedicated to his pregnant wife Kathy, Siussa played a crowd favorite "Drinking Whisky".

    For the grand finale of the show, Slick Shoes appeared in front of a less-than-full house, as most of people to see Three Bad Jacks did not stick around for the last band. But the SoCal punk band strived to please those who did stay. Performing classics "For Better, for Worse", "Parting Ways", and "Angel", but also new songs like "Darko" and "Now's the Time", Slick Shoes' set of songs is always dynamic. Also including a 7 Seconds cover of "Clench Fist, Black Eyes", lead singer Ryan Kepke seems to have the persona to get his listeners involved. I'm not sure if this common at all their shows, but the past two times I've seen the band Kepke has incited "the BRAVEHEART charge," separating the audience in two sides and having them charge into one another. After a few more huge circle pits and a rowdy fan being kicked out of the club, the show ended in an encore with "East on Tracks".

Slick Shoes

    Slick Shoes continual touring has only helped them to become one of the best live bands on the circuit, and if Three Bad Jacks keeps up their showmanship, they could easily headline their own tour as well. Tokyo Rose and Still Life Projector have great potential, and I'd be willing to go see them again.

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