October 2003 Show Reviews

THE MARS VOLTA
SAUL WILLIAMS
RYE COALITION
July 18, 2003 @ Irving Plaza (New York City)
By Aaron Lefkove

Friday evening, July 18th, New York City's Irving Plaza played host to a taste of the hot sounds that are now starting to come out of the underground. I arrived early at a packed house, which was surprising considering that the first band of the evening, Dirty Jerz's own Rye Coalition, was just taking the stage. Longtime fans will recognize that these underground mainstays have been chugging away for close to a decade now and that their music has undergone some steady changes. Whereas the band once played post-hardcore/indie rock à la Fugazi, now they have morphed and grown into a sound that tends to resemble a latter-day Led Zeppelin. Monster rock riffs and simmering leads come courtesy of the two dueling guitarists in a way that would make the members of Lynyrd Skynyrd grin from ear to ear. The rhythm section anchored the band through a half-hour's worth of classic rock jams, while the grizzled frontman carried the tunes like a road warrior. These guys have been getting a lot of attention recently—and rightly so after nine years of chugging it out on the club circuit. When they finally drop their Dreamworks debut, you better watch the fuck out!

Next up was Saul Williams with a set of poetry-tinged spoken word. Williams took the stage armed only with a mic, a bottle of water, and a 20-foot scroll of his rants. Although he was a one-man act for the first half of the show, his diatribes on everything from racial equality to the belittling of women to his childhood held the capacity crowd at bay. A show stopper was Williams's tongue-in-cheek spoken-word rendition of a work by the Jigga man himself, Jay-Z (whom he deemed to be New York City's "poet laureate"): "Big Pimpin'". Halfway through the set, Williams invited onstage two old friends, a percussionist and a trumpeter, for an impromptu jazz jam. The percussionist laid down the steady beats while the trumpeter jammed out in his own universe, creating a textured sonic soundscape for Williams's sometimes spoken, sometimes rapped (but always heated and urgent) words. Although I am someone who is not at all a fan of spoken-word acts, I was won over.

After an unusually long set change (how long does it take for a one-man spoken-word act to break his equipment down, anyways?), the evening's headliners took the stage. Rising out of the ashes of the now legendary At the Drive-In, The Mars Volta blend their post-hardcore sensibility with influences as far-reaching as traditional Latino rhythms, free jazz, and Afro beat. The band commanded the eager New York City masses while blasting through their latest opus, DE-LOUSED IN THE COMATORIUM, in its entirety. For those who never saw ATDI and who have not seen this mew incarnation, The Mars Volta don't just take the stage, they own it! Cedric Bixler, the band's Afroed frontman, writhes about, repeatedly throwing himself on the ground, draping himself over the drums, convulsing in epileptic fits—and all without missing a beat, slurring a lyric, or hitting a bad note. Seriously, this guy is a "for real" frontman, on par with greats like Robert Plant or Bruce Dickinson (due in no small part to his high-pitched vocal style). The band, on the other hand, comprised of ex-ATDI guitarist Omar Rodriguez and a cast of assorted musicians of the highest caliber, carry the backdrop for Bixler's onstage antics. There is a difference between seeing a band play their songs and seeing a band who have an intimate and spiritual connection to their music...and The Mars Volta definitely are of the second category. Each song bleeds into the next, and most of the time it is nearly impossible to tell if the band is playing from a set of standard changes or if they are merely letting the music carry them where it may, just as curious as the audience as to where they will end up. This was the first time I've seen The Mars Volta since the untimely death of longtime collaborator and electronics guru Jeremy Ward, and the band soldiered on with a blistering performance. Perhaps the band's keyboard player—surrounded by a plethora of effects boxes, vintage synths, and other toys—picked up some of the slack. In any case, this is a tightly-wound musical experience that should be witnessed first-hand.

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IGGY AND THE STOOGES
SONIC YOUTH
THURSDAY
August 2, 2003
@ Tommy Hilfiger Jones Beach Amphatheatre (Long Island, NY)
By Aaron Lefkove

What a strange billing: the original incarnation of proto-punk pioneers Iggy and the Stooges (except for Mike Watt (Minutemen, fIREHOSE) filling in on bass) grouped with longstanding NYC art-noise rockers Sonic Youth and emo-core up-and-comers Thursday. Something for everyone, indeed—young, old, and older.

The first group out was Thursday, who are hot on the heels of their major-label debut. Now, Thursday—and most of the emo-core genre, for that matter—has never really been my cup of tea, but the band is renowned as one of the stronger live bands out there right now, and so I figured they deserved a look. Seeing as I haven't seen them since the 2001 Warped Tour, I was eagerly anticipating seeing them now tightly honed, refined from many major tours the world over. Due to unforeseen circumstances involving bumper-to-bumper traffic all the way out of the city, I pulled up just in time to catch 'em mid-set. Of course, being the good writer that I am, I opted to bring along a camera to document the bands' onstage antics. Long story short, after getting the proper photo passes, I was all set with my camera and carrying case to go in and shoot away. Unfortunately, my new friends at the door (who we will kindly refer to as "Door Nazi") would not allow me to bring in the camera's carrying case—despite my photo credentials. So, after an altercation where more physical force than was necessary was used, I checked the bag and made it in just in time to watch Thursday breaking down their equipment. Please contact me and I will gladly send you my "Top 10 Reasons Why NOT to Patronize Tommy Assfucker's Jones Beach Amphatheatre."

Finally inside and having avoided a scuffle, I was ready for the rock. Sonic Youth, the long-standing noise-rock institution, took the stage to rabid applause from the entire venue. The band plowed through a set that spanned everything from their early CONFUSION IS SEX and DAYDREAM NATION material all the way up through their newest split EP with Erase Errata. I have seen this band many times and have never been disappointed. However, I must say that seeing them in a massive arena (instead of in the clubs I am used to) really takes away from the intensity that these guys command. Watching the band play with their bare-bones equipment on a stage that would serve as ample space for a major Broadway production or an Iron Maiden show was kind of depressing. In spite of the lack of audience/band chemistry, the band did not disappoint in the least. After nearly 20 years of playing their patented brand of rock and punk, the energy level still runs high. Kim Gordon's wail could be felt all the way up in the nosebleed section. The band was as tight, visceral, and stunning as ever.

Between sets the venue's concession area was mobbed by at least 10,000 kids in Ramones shirts, another 1,500 girls in striped shirts, no less than four people who were convinced that they were members of Hanoi Rocks, and pretty much everyone else remotely connected with rock 'n' roll in New York City. It's like they all decided to take a trip to Long Island together. Kind of strange, but enjoyable nonetheless. After a short relief from the crowds and security Nazis, inside it was time for The Stooges—the real reason why we were all there. As Iggy took the stage, the venue erupted in a fury that convinced me that, despite its sickening corporate sponsorship, punk rock was indeed alive and well at the Jones Beach Amphatheatre this evening. The band played a set of material culled from, and only from, the first two Stooges albums. Everything from "I Wanna Be Your Dog" to the bass heavy "Dirt" to "Funhouse" to "Can I Come Over" was played with a fury that felt like a throwback to seeing the band perform at legendary venues like Max's Kansas City and Andy Warhol's Factory. For an old man, Iggy Pop still has the moves down. Dancing, running, writhing, and wiggling all over the stage, Iggy never missed a note and proved that, despite the not-so-intimate setting, he was there to rock each and every person out there. This current Stooges tour—unlike The Sex Pistols and other over-the-hill has-beens who have gotten back together of late—really shows a band who never left their prime. Perhaps this is unabashed rock fanaticism, perhaps I'm biased due to the excitement that I felt seeing a band that basically invented the sound of punk we know; but isn't that excitement the reason why we go to shows in the first place?

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THE AQUABATS WEST COAST MINI-TOUR:
THE AQUABATS
THE REUNION SHOW
FAIRVIEW
BAD CREDIT
August 8, 2003 @ the Glasshouse (Pomona, CA)
By John Woods
Halloween might be once a year, but dressing up in costumes is bound to happen wherever and whenever The Aquabats take the stage. The Aquabats are now a six-piece musical outfit that still plays some of the weirdest music you've never heard. Both young and old filled the streets of Pomona, CA, for the long-awaited show featuring The Aquabats, Fairview, The Reunion Show, and Bad Credit.
The show started off with a bang when mock hip-hopsters Bad Credit came out to lay down some rhymes down. This band was clearly the best white hip-hop group ever. Not only were they fresh and solid with their music, but their comedy act alone made them worth watching. Bad Credit hit the crowd with such tracks as "You Love It, But You Diss It" and the fan favorite "Bill Gates (Owes Me Five Bucks)". Don't hesitate to see these guys play if they ever come your way.

The bands up next were Fairview and The Reunion Show. To be honest, I did not enjoy the music being played by either and found my way outside for their sets. However, many kids seemed to be really into both of the bands—and that's all that really matters.
Finally, it was The Aquabats turn. After a long, drawn-out process of waiting for their set-up to be completed, they valiantly stormed the stage. The place was a so electric that it was ready to explode. Luckily, I found myself safely within the barricade, right in front of the stage from where I could snap some photos. The Aquabats did not disappoint (they never do). They played a nearly two-hour set. Throughout the night, everyone got to hear much more than just music: there were a few dramatized fights on stage, unusual pauses in mid-action on the projection screen behind the stage to display mock-advertisements for "inventions" by The Aquabats (such as a belt for carrying pudding packs), pool parties, and crowd-surfing races. The Aquabats battled foes such as an evil space monster, which they tied up for safekeeping. Villains with poison gas also attacked them, until the aforementioned space monster thwarted their efforts. When The Aquabats played the much-anticipated song "Pool Party", the atmosphere turned into just that: inflatable rafts filled the crowd, while tons of people came on stage to dance and sing along. A short time after, The MC Bat Commander invited two young kids to come on stage and help with the next event. The boy was given an inflatable dolphin, the girl an inflatable clam. The goal was for each of them to surf their crafts on the sea of people's hands all the way to the back wall and return to the stage before the other. In-between all this madness, The Aquabats frenzied the masses with tunes such as "The Cat with Two Heads", "Super Rad", "Giant Robot Bird Head", and "Red Sweater". This was a show not to be forgotten.

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BELLE & SEBASTIAN
BRIGHT EYES
August 24, 2003 @ the Greek Theatre (Los Angeles, CA)
By Leslie McShane

At 7:30, at a park across from the Greek Theatre, I heard the opening notes to Bright Eyes' "Method Acting", and I hurried across the street to take my seat in the then-near-empty theater nestled into the hills of Los Angeles. Conor Oberst, singer/songwriter and man behind the band Bright Eyes, was joined by his usual sidekicks. However, this show was unique because Rilo Kiley's Jenny Lewis, Blake Sennet, and Jason Boesel acted as the backing band. The buzz around this show was huge: Saddlecreek Records' sweetheart Bright Eyes opening up for indie supergroup Belle & Sebastian.

Oberst appeared to be enjoying himself in front of the sparse crowd as he performed tracks from his newest album, LIFTED: OR THE STORY IS IN THE SOIL, KEEP YOUR EAR TO THE GROUND, frolicking on stage with a zest usually only saved for shows in his hometown of Omaha, NE. He moved between keyboard and guitar throughout the set, proving his versatility as a musician and seemingly relishing the opportunity to play an opening set. With the special guest stars accompanying him, Oberst's songs gained a certain sweetness characteristic of Rilo Kiley. Lewis's presence was definitely felt when she sang back up on "An Attempt to Tip the Scales", her melodious voice juxtaposed with Oberst's harsh wail giving the song new life and a decidedly upbeat tone. Sennet was also an exuberant addition, his delicately twangy guitar playing capturing the country/alt-rock influences heard in Bright Eyes' later albums. Early on, the band stuck to crowd favorites, such as "Bowl of Oranges" and "Lover I Don't Have to Love", and "Method Acting". Later, however, four songs not yet featured on an album were played, including a cover of "Ode to Joy" and "First Day of My Life", a bittersweet love song executed with the humble skill of a finely-tuned folk singer. Another new one, "Old Soul Song", attests to a quiet acceptance of solitude. Also, the "Ode to Joy" cover conveys a mature political edge, somewhat similar to those songs of his side project, Desaparecidos. These new songs display a mature humility and humbleness not seen in his earlier works.

Known for drunken mistreatment of fans, an enthusiastic attendee took a chance when she screamed, "I love you, Conor!" He replied, "Thanks. I love you, too"—startling fans who have seen him be much less kind to those who audiblize his praises. Oberst danced, smiled, and generally appeared to be enjoying himself on stage. Perhaps it was the low attendance for the opening band or something about the cool, crisp summer night that gave this show an intimate and out-of-the-ordinary feel. Also, perhaps it was the knowledge that Scotland's Belle & Sebastian was to appear next.

Belle & Sebastian (minus integral ex-member Isobel Campbell, who is gone to focus on her side projects) played a long but somewhat lackluster, career-spanning set that included favorites "Boy with the Arab Strap" and "I Don't Love Anyone". Their newest songs were reminiscent of the early Animals, and their performance brought to mind club scenes in 1960s' mod films. They paid homage to that influence with a cover from a song from the 1965 movie WHAT'S NEW PUSSYCAT? Though the band played crowd favorites, these songs were missing intensity and passion, making the whole show a bit like listening to a greatest-hits album. The highlight of the set was during the encore, when B&S frontman Stuart Murdoch brought out Trevor Horn (producer of their yet to be released album DEAR CATASTROPHE WAITRESS and former member of 1980s band The Buggles) for a rendition of "Video Killed the Radio Star" that had the audience—dense with hipsters—on their feet and dancing, a sight not seen in Los Angeles since the birth of electroclash. Forced to follow that inspiring tune, Belle & Sebastian ended the show with a version of "Judy and the Dream of Horse" that excited young fans to bound upon the stage unexpectedly and then dance and sing along. Conor Oberst and Jenny Lewis eventually joined the dancers.

This turned out to be one of those concerts that you brag to your friends in New York about, one that you can impress people with years down the line. But I'll remember it as the only Bright Eyes show I've seen at which Conor Oberst actually enjoyed himself.

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THE CHECKERS RECORD RELEASE PARTY:
THE CHECKERS
THE DEVILETTES
THE TEENAGE FRAMES
September 5, 2003 @ Spaceland (Silverlake, CA)
By Namella J. Kim

The Teenage Frames opened up the night with a promising note. The band was tight, the singer energetic (like Judy Garland's screen test for A STAR IS BORN), but, alas, the too-cool-for-school Silverlake crowd chose to stay back, as usual. The band formed in Chicago and managed to move out to L.A. with their wits about them and a modus operandi to rock. Their set was full of catchy pop-punk morsels along the lines of Teenage Head and The Undertones. Their KINGSIZED SESSION EP offers a sample of their wares for those just getting into the groove.

San Francisco's bastion of burlesque cheer, The Devilettes, teased and amused the world-weary crowd with red-fringed bodysuits and sequined devil horns to match. Their syncopated dance moves revisited drill team, but their classic garage rock pointed in another direction. The troupe of these hippy ladies shook their moneymakers as if Paula Abdul herself was choreographing Betty Page and Poison Ivy Rorshach clones in formation! They'll be appearing next at the Tease-A-Rama L.A. 2003 (the nation's largest convention of burlesque dancers) at the Henry Fonda Theatre in October.

Ladies and gentlemen, introducing The Checkers! L.A.'s own brought the noise à la early Blondie crossed with The Devil Dogs and bred on pure power pop-punk rock. Leader/chanteuse and photographer extraordinaire (responsible for The Donnas, Mr. T Experience, and a veritable who's who of indie punk album covers) Miss Julie "Vox" Pavlowski sang her heart out in that power pop-punk ingénue way that elicited the crowd to dance like court jesters on crack. The Checkers are rounded out by formidable musicians and local scene movers-and-shakers like Chris Barfield (the latest addition to infamous snack-rockers The Go-Nuts), GG King (of Radio Beat Records), and a drummer who pounds like the heart of rock 'n' roll is still beatin'. Los Angeles music-scene mainstay Jim Freek had the savvy to put The Checkers on the map with their album MAKE YOUR MOVE on his Teenacide Records imprint. They sold over 50 copies the first day of release at the popular-yet-fickle retail giant Amoeba Records in Hollywood. With so much love from the scene and such talent to back up whatever they have to offer the tired masses yearning for a quick pick-up from the drudgery of local hack/slop bands, The Checkers are ready to say, "King me!" Some of the highlights of their glorious set included such rocking ditties like "The Nerv", the poignant "Paper Crown", and a crowd-pleasing flashback to the '80s with a cover of "The Fanatic". They closed the night with a dead-on rendition of Blondie's "Dreaming", which brought frantic members of the crowd and The Devilettes back on to the stage. You can't even begin to imagine this kind of audience participation. It was like nothing seen since the heyday of The MC5. Are you ready for The Checkers? I bet you are

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THE DISTILLERS
THE BRONX
September 6, 2003 @ the Glasshouse (Pomona, CA)

The Distillers dropped by and brewed up a splendid mugful of intoxicating sonic froth. Supporting band The Bronx put on an energetic and fine performance, as well.

" I wonder if I can get an interview with Brody," I was thinking as I entered the backstage area. At that same moment, the woman herself was coming out of the doorway I was entering. Brody and I did that humorous back-and-forth dance, in which each person keeps trying to get out of the other's way but both mirror the other's movements. We both laughed, and I said, "Well, since I'm here, I am Marcus from SKRATCH MAGAZINE, and I was wondering if you would like to do a quick interview." "Yeah, sure!" was her reply, and I thought, "Wow! How cool is this?" But alas, it was not meant to be.
The Distillers have left Epitaph and have since signed on with media giant Warner Bros. Along with the increased distribution and boost in personal luxuries, the band now has at least one "minder." With fame comes more and more fans who incessantly get in the face of the talent. This is one of the reasons Warner Bros. employs someone to shoo people away from the band—and from Brody in particular. I must say that the man who kept shooing me away from her all evening was very polite and just doing his job.

It was kind of weird to have only two bands on the bill, but both made up for it by playing longer sets. First on tap was The Bronx. Despite the name, this unit is not from the East Coast, but from a tiny cholo town in SoCal called Pico Rivera. Overall, The Bronx sounds a lot like Motorhead and GBH meet Suicidal Tendencies…sort of. (Founder/lead guitarist Joby says that ST is one of his major influences.) None of the band members are cholos, but vocalist Art sings and screams a lot like Mike Muir. This is not to imply he is a macho "tough guy"; on the contrary, he is a very personable young man...who could probably kick your ass. The Bronx wasted no time and exploded right into the set. Most of the spectators lining the stage barricade were simply guarding their precious positions for the headlining act. It took some time, but the majority of the throng eventually discovered the present moment and realized The Bronx was rocking NOW. Stunned and slightly bored faces transformed into smiles, nodding heads, and shouts of approval. Image? Fuck that. Here we had a band of T-shirt- and jeans-wearin' regular guys pumping out intense hardcore punkness. Songs we can all relate to included "Notice of Eviction" and "Stop the Bleeding". Just before the song "Bats", Art kindly explained, "'Bats' is about bats." What a funny guy. Everyone in this four-man ensemble is a fine performer, but Art is a show in himself. He wraps himself in the mic chord, thrashes and stomps around, throws himself into the crowd, and often appears to be having a private and intense transcendental moment. It is no wonder that a major label (Warner Bros.?) began courting the band after only two performances. The intense and enjoyable set ended with Art throwing the microphone far into the crowd before stomping offstage. Check out www.thebronxxx.com.

Just before going on stage, all the members of The Distillers gathered together and proceeded to psych each other up for the performance. Brody, Tony, Ryan, and Andy all faced each other and whipped each other into the proper attitude with shared smiles and pats on the back while saying things like, "Fuck yeah!", "Let's do this!", "Right now!", etc. The "minder" once again shooed me away (I think I was breathing Brody's air), so I went out into the audience. Most of the material for this show was from the new album, CORAL FANG. The new songs display more diversity than previous releases while still retaining the antagonistic sound that defines The Distillers. Song names? I'm sorry, I could not decipher the words that emanated from Brody's sexy growl. I can tell you that the sold-out crowd at the Glasshouse lost its collective mind throughout the entire set. Newest member (former roadie and guitar tech) Tony fit in as if he had been a member since day one. The night was filled with driving buzzsaw guitar "fuck-you-core" delivered with the sweaty, spitting allure that only Brody can deliver. For those of you with genuine musical knowledge, Brody is one of the rare females who is an authentic contralto. Grrr! The new music is more creative than previous creations, with more tempo and key changes, music and vocals ranging from whispers to screams, and an overall greater sense of arrangement. The big hit, "City of Angels", was dedicated to everyone in attendance and was clearly the highlight of the performance. I could actually feel the energy in the air. Sadly, there was no encore, and the fans obediently exited quickly. Outside, about 50 people stood in the alleyway for over an hour until the band left the building. "EEEEE! BROOODEEE!" came the screams of the die-hard fame-fixated fans. Some stood there with roses in hand, an offering to their chosen punk goddess. I watched from afar and thought, "Fame is weird".

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Thursday
Year of the Rabbit
Time in Malta
The Pop Narcotic
Sept. 10, 2003 @ the Glass House (Pomona, CA)
By Adam Hudson

I was really looking forward to the Thursday show because I have never had the chance to see them live. I heard lots of good things and was totally stoked to go. I got myself to the Glass House early to avoid a crowd, but found that there had been a line in front of the Pomona venue since 3 in the afternoon. (Most of you probably know that every show at the Glass House starts outside with the line that wraps itself around the building.) There were lots of skinny boys in black T-shirts with shaggy hair and skinny girls with home-made skirts. As the doors opened, everyone rushed in to get up front early and camp out there until Thursday began; but they had a few opening bands to sit through first.

The first band of the night was The Pop Narcotic. They opened up as the crowd was filing in, and they stole the show. They were in-fucking-credible. If you arrived at the show late, you missed the best band of the night. TPN are a five-piece barrage of sound fronted by lead singer Jim (you may recognize him from Thursday's "Cross out the Eyes" video), who screamed his vocals and tried his best to get the crowd into the set. TPN have their own sound and were really very entertaining to watch. Despite most of the crowd not knowing them beforehand, they got a good response from the kids and held their attention. I defiantly recommend checking them out, as The Pop Narcotic are outstanding.

Time in Malta was the next band to play, and I was not as impressed with them. I had seen them once before, so I knew what to expect, but unfortunately I didn't make it through the whole set. TIM isn't exactly hardcore—it's more like "hardcore?" (with a question mark). The lead singer didn't exactly scream his lyrics; it was more like he was yelling them in a high-pitched, gravelly voice. The music was good and had decent breakdowns, but I couldn't get past the singer's voice. Neither could most of the kids, I think, because most of them were outside smoking until TIM finished.

Year of the Rabbit was the one band playing I hadn't heard anything about, so I hung out at the back of the room while they got started. YOTR was lots of backlighting and smoke machines, but not much else. Their set would have gone over really well were they playing the Wango Tango with some other KIIS-FM bands. They could be Goo Goo Dolls if they try real hard. I honestly don't see why they were on the bill at all. They had a big crowd watching, but I imagine most of the crowd was getting good spots for the headliner, because no one was moving aside from some YOTR fans up front. Again, I had to wait outside with the smokers until they finished.

Finally, Thursday was ready to play. I have not seen too many bands take over a room like Thursday did that night. From start to finish they owned the Glass House. Every single person in the room was there for Thursday, and the band didn't disappoint. Geoff was all over the stage and frequently in the crowd to get help with the vocals from fans up front. They played a good mix of songs from their new album and old stuff from FULL COLLAPSE. What surprised me most was they played "Cross out the Eyes" and "Understanding in a Car Crash" fairly early in the set and finished up with the single from their new album, "For the Workforce, Drowning".

Overall, the combination of The Pop Narcotic and Thursday more than made up for the lack of entertainment in between their sets that was Time in Malta and Year of the Rabbit.

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Happy Campers
The Plus Ones
Starpool
The Stereo
The Forces of Evil
September 12, 2003 @ Chain Reaction (Anaheim, CA)
By Ian Wilkins

Chain Reaction was packed, but everybody was under the age of 16, it seemed, except for their parents and me. An all-ages show means only one thing: no alcohol—which means that this review is from the eyes of a completely sober man. Of the five bands playing, I had heard only of The Stereo and Happy Campers, so I really wasn't sure what to expect from the other three bands.

Up to bat first was Happy Campers, three guys who come from Las Vegas. They opened the show with "Sixteen", and by the time they started their second song ("Make It on My Own"), they had the room filled with screaming new fans. During their set-up, I noticed that they spent forever getting the sound levels just perfect; so when they played they sounded just like their self-titled second CD. Usually with a three-piece band it can become a little boring, but these guys were fun to watch thanks to Isaac and his onstage antics between songs. Happy Campers are definitely worth leaving the blackjack table to go see. Hell, I will get out of my shower in Azusa to go see these guys.

The Plus Ones were up next. They really should have started the show. They were just short of alright and nothing really special. It seemed like it was the perfect time for everybody to go outside and grab a smoke or two, maybe three. I took this golden opportunity to get closer to the stage so I could make out what the lead singer was saying. The Plus Ones didn't really get any better (nor did they get much worse) for their whole half-hour set. This band could have been a lot better if they would stop watching MTV 2 and find their own style.

As soon as The Plus Ones were off the stage, everybody put out their smokes and filled the place with anticipation of the next band, Starpool. "Bad ass" is all I have to say. They are an eight-piece ska band, and they started the show with their horns blazing. They were a fun break from the previous band, and I regret I wasn't able to talk to these guys and at least get the names of all the members. Halfway through the 45-minute set, they stopped the music and proceeded to get everybody clapping—and I do mean everybody. The lead singer even had the dreaded back row clapping. All it took was for him to jump off the stage, force his way to the back, and show some parents how to clap again. The only problem with their set was the fact that the stage was way to small for any of the members to move around and have a good time. The lead singer was dodging horns and guitars, but none of that seemed to matter to him, as he had a smile that was only outshined by his bald head under all the lights and sweat.

Up next were The Stereo. I have been looking forward to seeing them for a while now, so I was more than excited to finally get the chance. But The Stereo should probably go to Las Vegas and find work in a lounge. The music was dull, and the show reflected it. When the lead singer has to ask what is the matter with the half-filled room in the middle of a song, then it might be that your band probably shouldn't take it out belittling your audience. The music was alright, but with there being so many bands out there that sound exactly like this, at least drink a couple of Red Bulls and pretend you're having a decent time.

I can't say enough about this next ska band, The Forces of Evil. They were great. This band has seven members in it, and lead singer Aaron looks like he just left the new Pearl Jam tour to come sing with this group. The four horn players danced in unison while popping off some serious notes. Chain Reaction was once again packed, and there were two small ska pits going nuts in the middle of the room. I put my pen down right after the second song, because I already knew what I was going to write: fantastic, great, finally a reason to get out of bed again in the morning. They finished a 45-minute set, only to play a 15-minute encore, which the fans begged for. Hell yeah! Thank whomever is in charge of this cosmic universe for The Forces of Evil.

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LAST TARGET
THE DISASTERS
THE UNSEEN
DROPKICK MURPHY'S
September 13 @ Curly's (Tulsa, OK)
By Brian Meredith

With a bill like this, you can't go wrong. Hot off the heels of this year's Warped Tour, Dropkick Murphy's jumped headfirst into their first national tour in support of BLACKOUT. And as usual, they were sure to bring along good company.

Opening the show was Last Target. Those familiar with the sounds of Thug Murder will know what Last Target are about. From Tokyo, Last Target played a rousing set of energetic street punk. As they took the stage, I was anxious to see how the crowd would respond. While often hard to understand due to heavy Asian accents, the music was tight and was very well-received. Everyone from the skins to the punk kids were chanting along and pumping their fists as ex-Thug Murder vocalist Ryoko Naitoh uninhibitedly used the whole stage.
Giving the kids just long enough to catch their breath, Roger Miret and crew jumped in to knock the air right back out of them. It had been about a year since I had last seen The Disasters, and their relentless tour schedule of late has left them with a much tighter set. After touching on pretty much every song from their debut album, Roger won the crowd over with a cover of Agnostic Front's hardcore anthem "Gotta Go". There wasn't a soul that wasn't singing "From the East Coast to the West Coast…."

With the torch being passed on to Boston's The Unseen, the leather jackets and Mohawks found their way from the bar to the front row. Also fresh off Warped '03, it was refreshing to see the band off of the big stage and back into the familiar rowdy, sweaty, and (sometimes a little too) intimate club environment. The Unseen mixed it up with old and new, completely kicking everyone's ass before turning things over to the almighty Dropkicks.

As the lights dimmed and "The Foggy Dew" gradually got louder over the P.A., the size of the crowd seemed to instantly double. The infamous chant "Let's go Murphy's" soon drowned out the P.A., and flags waved throughout the venue. "Boston" immediately washed over the crowd, followed by "Gonna Be a Blackout Tonight". The set continued with both Dropkick standards (such as "Barroom Hero" and "John Law"), as well as plenty of stuff from their newest release, BLACKOUT. In true DKM fashion, they finished of the night with "Skinhead On the MTBA". All of the skins in the house piled on stage, only to be followed by anyone else brave enough to hazard the frenzy. There wasn't a more fitting way to end a great night of such talented bands.

DKM, The Unseen, and The Disasters are all separately touring throughout October and November, so be sure to check their Websites for dates, and pick up a show.
www.dropkickmurphys.com
www.thedisasters.com
www.unseenpunks.com
www.punkfreak.com/lasttarget/index2.html (last target)

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TAKE ACTION TOUR:
AVENGED SEVENFOLD
EIGHTEEN VISIONS
FURTHER SEEMS FOREVER
THE DILLINGER ESCAPE PLAN
POISON THE WELL
September 19, 2003 @ the Electric Factory (Philadelphia, PA)
By AC Lerok of Philadelphia

Let it be said that the Electric Factory is a pretty big venue, comparable in size to the Palace in Hollywood. It was a little strange seeing acts like Avenged Sevenfold and Dillinger in such a place, but I soon got over any misgivings. The night started off with an intense set by Orange County locals Avenged Sevenfold. They kicked off at 7:30, so the crowd was still a little thin, but those in attendance got their money's worth. In the half-hour set (which was far too short), Avenged brought out the arsenal, playing "Darkness Surrounding", "Desperate Through Reverence", and "Eternal Rest". The set was pretty reliant on the new release WAKING THE FALLEN, but they did satisfy the crowd with a couple of old favorites.

Eighteen Visions took the stage next, along with a life-sized sculpture of Humphrey Bogart draped with a Les Paul (for whatever reason). The set left a little to be desired. Despite the fact that more people were there, there was very little dancing. All in all, Eighteen Visions was a little disappointing.

Further Seems Forever, although a little out of place considering their bill-mates, definitely made up for the energy void left by Eighteen Visions. The emo vets took care of business with "How to Start a Fire", "The Sound", and "Insincerity as an Artform", to name a few. Further brought a great show, although, The Dillinger Escape Plan wiped clean memories of any other band on the bill with an explosive 40-minute set. Honestly, the only way to describe it is absolutely disgusting. With songs from both the IRONY IS A DEAD SCENE EP and CALCULATING INFINITY, Dillinger left a lasting impression on everyone in attendance. During the set, lead singer Greg Puciato jumped on top of one of the stage cabinets and started shaking the house cabs (which were hung dangerously by a chain in groups of eight). Security tried to get him to stop, but hey, he's in the band.
Poison the Well frontman Jeff Moreira also joined Dillinger onstage for the last two songs. Speaking of Poison the Well, their set was preceded by the message of the tour from its organizer, which basically consisted of: "Kids, don't commit suicide." That's good advice. When Poison the Well did get started, they didn't mess around. Getting straight to the point with songs from their new release YOU COME BEFORE YOU, They vied with Dillinger for best set of the night. Accompanying the set was the best dancing I have seen since my arrival in Philly. The entire floor became pit, which was impressive, given the size of the floor. The 40-minute set was over far too soon, and it took the encore-expecting crowd a little while to clear out.

All in all, the show in itself was pretty intense. I think those there with me would agree.

HELLA
TFT
September 19, 2003
@ the Knitting Factory—Main Space (New York, NY)
By Davie Kaufmann

There's something incredibly endearing about Hella's lack of stage presence. They know not of the ways to work a crowd or what to talk about while tuning up. "This song is called…" and "Thanks for coming" are the only phrases in their banter stash. Not that there's anything wrong with that. In fact, it's a good thing that their energy is so focused. What better use for it than to create some of the most mind-blowing instrumental geek rock since, well, ever?

Drummer Zach Hill has built a cultish following around his lightning-fast chops. His single-stroke alone inspired audience members to dance, drop their jaws, or motion for their neighbor to procure them a diaper—and sometimes all three. Guitarist Spencer Seim played anything but second fiddle, however. Hunched over and often facing his sole bandmate, he approached furiously dissonant tunes like "1-800-Ghost-Dance" (as well as new, unreleased material) with technique so delicate and precise that had he been muted, he would have easily passed for a classical guitarist tooling around with a cool new electric axe.

Openers TFT played bouncy, continuously down-strumming numbers that were enough to tie a crowd over, but hardly enough to get most of them excited. Perhaps they would have been better off in another setting. Hella are just too damn hard of an act to precede. There's no room for a lullaby when you're ready for an ass-whipping. Sorry.
Hella don't put on a traditional rock show in any sense: two guys—neither of them a singer—both with an "aw, shucks" attitude. See them and more than anything else you'll feel like you're peering in on the practice you told your neighbor to "tune down a notch." Excuse me while I pray that someday the guys next door to me get this damn good.

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Mind Driver
The Silence
The Deal
The Scarred
Megababe
September 20, 2003 @ Chain Reaction (Anaheim, CA)
By Luke Skywalker

For this show, I actually arrived punctually, giving me time to catch the set of the first band, Megababe. I could hear a few of the songs from the parking lot, and I could tell the set would be a memorable experience. Entering the building, I was greeted by high-pitched punk rock straight from Japan. Megababe—a three-piece, all-girl punk band—was thoroughly exciting. Playing songs such as "Bite Me", "Time Goes By", and "Make up My Mind", they also played crowd favorite "Speak Japanese or Die". The girls are talented musicians, especially bassist Ako. Guitarist/lead singer Miyu can also hold her own, and she allowed the crowd to hear her complete vocal range with every song. After every song, the crowd was thanked (in broken English) for rockin'. The girls finished their set, and the house lights came on, but Aki Nakabayashi, the band's producer and promotion manager, ran on stage and asked if we "want to hear one more song." Megababe returned to the stage and played their fantastic rendition of Metallica's "Fuel". I am very happy that these girls crossed the Pacific to play in California. If you want entertainment, see Megababe.

The Scarred (formerly known as The Discarded—same members as before) rocked the house like past performances I've seen with (as their Website says) "Punk Rock, done well, and done the old fashioned way, and not in the rip-off sense." Unfortunately, not much of the audience was familiar with original punk rock, so the crowd wasn't into it as much as some of the gutter punks there. The band opened with "Sabotage", played old favorites like "Follow This", and finished with "Grand Finale". I haven't seen them play such a good set in a long time.

The Deal played next. I sat at the bar and watched. Normally I would pit with the rest of them, but I felt obligated to uphold my journalistic duties and take notes on the band. I wish I weren't so professional all the time, because The Deal was awesome—and so was the crowd. From the back of the room I was able to see my photographer friend John pass up taking pictures to make a couple rounds in the pit. It seemed as though The Deal may have changed their image, but their music is still the same. The guys covered both Minor Threat's "Screaming at a Wall" and Operation Ivy's "The Crowd", but also played their original songs "The Attack" and "Songs of Yesterday".

The Silence then played. The night would serve the purpose for a DVD of the band in the future. All attendees were required to acknowledge the filming and possible use of their image. I hope I didn't get taped. I waited around in front of the stage with the rest of the fans. Not familiar with The Silence, I was eager to hear their sound. I guess I wasn't really surprised to discover that they played popcore (that's right, I just coined a new classification of music). Decked out in black, the band dramatically took the stage with strobe lights and the sound of rain and thunder. Their set was all right, and their fans were mediocre. A few kids attempted hardcore dancing, while others stood around the circle. Most kids, pushed their way towards the front of the stage in hopes of touching the lead singer's sweaty flesh.

Finally, headliner Mind Driver came on. Having never seen them before, I was interested in seeing what they had going on. Like The Silence, Mind Driver played POPCORE. The only song I've ever heard by Mind Driver was a cover of Bad Religion's "Generator". They played a pretty decent set, which included "Walk", "Anywhere but Here", and "The Process". New to the line-up was guitarist Mark Yaeger, who was playing his first show. The crowd was getting kind of annoying, and I felt I'd had my fill, so I left early to get into bed by midnight.

I don't feel I sufficiently saw Mind Driver, so I might try to see them again; but I don't think I'll make an effort to see The Silence. I will tell you this: the next time The Deal, The Scarred, or Megababe is in town, I'll be there.

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THE EXPLOITED
TOTAL CHAOS
SPLIT DECISION
September 21st, 2003 @ the Galaxy Theatre (Santa Ana, CA)
By John Woods

The big question is: what DIDN'T happen at this show? This was one crazy night of pure punk rock. As The Exploited put it nearly 23 years ago with their first studio album PUNK'S NOT DEAD, punk wasn't dead on this night. There was a glimpse of that spirit that broke free and spawned a fury on the stage and in the crowd.

After a long ordeal of trying to get into the show and not being on the guest list, the security guards around the side felt pity for us and snuck us in the back. (If you happen to be reading this, thank you very much!) The first band up was a four-piece punk-rock band from Oxnard whose name I didn't catch. Their style reminded me of '80s punk, especially with the sloppy vocals and the stage presence coming of a singer who looked more like a gangster. It didn't seem as though most the crowd adored them too much, because heckling began quite quickly. Shouts and yells of "YOU SUCK!" and other choice words that were a bit more "descriptive" came from the mouths of many people. The drummer didn't take too kindly to these words and decided to use his microphone to have a friendly chat with the crowd. Meanwhile, the singer took notice and spit on a bunch of people in the front, then jumped the barricade and knocked some people around while going in the pit. They finished up their set and left the stage with a lively goodbye from the drummer
Split Decision took the stage next and started pumping out faster and more harmonic punk rock. These guys were pretty tight musically and got the crowd pumped up. They sort of reminded of some older Epitaph Records bands, with political tones and harder edges, yet still melodic punk. They were a good overall addition to the show.
Total Chaos was up next, in all their street-punk glory. They were very intense and in your face, both with their music and behavior. People were now finally starting to get energized. One thing that did get old was how they pretty much never stopped telling someone or something to "f##k off." However, it was priceless when the singer dedicated a song to the LAPD and told them (them being the LAPD) to "f##k off" while there were two cops very near the stage. I also have to give them credit for being around long enough to write a song about the first Gulf War and then being able to explain how pissed off they were that it's happening again 12 years later by another President Bush. Total Chaos scorched through the rest of their set, which included favorites such as "Riot City", "Unite to Fight", "Complete Control", and an awesome rendition of The Misfits' "Attitude". Near the end of their set, there was almost a fight in the pit, and shortly thereafter two girls started getting in each other's faces and throwing fists.

About an hour later (at least that's what it felt like), a crew of people finished setting up for The Exploited. Legendary frontman Wattie and the rest of The Exploited stormed the stage and immediately began churning out songs. Their attitude and sheer presence made the atmosphere intense. Whether it was the deep-throated screams, the pounding rhythms, or even Wattie's snarls, it all gave off the vibe of a true punk show. One could tell that The Exploited has been around the musical block just by how crushing, heavy, and mind-blistering their music was. The downside to all this was when Nazi skinheads showed up and took over the pit. Wattie lightened up the mood by making fun of them. At this point, The Exploited was mercilessly smashing out songs such as "Let's Start a War", "Dogs of War", and what seemed like part of "Exploited Barmy Army", among many, many others. All this was accomplished while slaughtering the eardrums of both young and old. I don't know what else to say about these guys. They put on an incredible show and have been doing so for over two decades.

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AVAIL
DARKEST HOUR
JERICHO
September 26, 2003 @ the Knitting Factory (New York, NY)
By Janelle Jones

A great line-up of Virginia-based bands was on the menu at the Knitting Factory, that nice, sweaty, intimate club you can always count on for great shows (e.g., Subhumans, A Global Threat, The Queers, etc.). Plenty of disparate styles were featured on this night: hard yet catchy punk of Jericho, death metal/hardcore as fashioned by Darkest Hour, and Avail's blend (destruction?) of genres. As the night wore on, the venue only got more packed (and sweatier). This was the first stop on the bands' short stint on the East Coast, and if all the dates are as charged as this one, then plenty of people are in for a hell of a show.

First up was Jericho (a Virginia import via Boston), on the road in support of their recently re-released EP on Iodine, WORKER'S UNION, which came out just days prior to this show. This four-piece simply plays plain good punk. Highlighted by great guitar work and strong, emotional vocals, it's obvious Avail is a big influence on these guys' sound. And although their set was teeming with hard rockers, the (unfortunately) sparse crowd just was not getting into it. The vocalist even had to beckon the crowd to move forward towards the stage. Some people who were in attendance, however, were members of The Casualties, including Rick and Meggers, supporting a band they've toured with in the past and seemingly like very much. Some songs we were treated to off the aforementioned EP included "Sunday Pints", "Running in Circles", "Oxygen", and "Fifty Cent Hearts", during which Rick pulled down a mic off the stage in order to add his vocal stylings. I'm happy to say that as the set wore on, the crowd did start to enjoy themselves more—which is good, because these guys definitely put on an impressive set.
Next to take the stage was Darkest Hour, that sick death-metal five-piece who've been around for about eight years now and just keep getting better and better. This was the second time I saw them, and their set was just as feral as the first time (back in July). They tore into "The Sadist Nation", the first fiery offering from this year's HIDDEN HANDS OF A SADIST NATION—which I just CANNOT praise enough. Full of metal riffs, hardcore breakdowns, maniacal speed, and some of the most incendiary socio-political commentary to be found, this is a great record. And live, the hellish fury and anger can't be overlooked, as frontman John Henry growls lines like "One nation under the gun / Where forward thinking is shunned" and "The myth of protection is a sick fascination / A culture of violence is what you are feeding," making clear what he and his band mates think about the present state of affairs in this "holy plastic empire." Their new material is definitely their most thought-provoking to date, as exemplified in songs like "The Patriot Virus" and "Marching to the Killing Rhythm". Darkest Hour's set was brutal. John's delightfully harsh vocals enveloped in the dual-guitar onslaught of Kris Norris and Mike Schleibaum, all anchored by Paul Burnette's bass prowess and the sick drumming of Ryan Parrish (referred to appropriately as an "octopus" by Jericho's frontman). Oh, that double-bass mayhem! And the sticker that read "Blame Canada" on his kit was a nice touch. While mentioning unimportant tidbits, John, in all his barefoot glory, must have relished the stage's lush carpeting. The band performed bludgeoning songs off their three LPs (2000's classic THE MARK OF JUDAS ("Eclipse", "Escape Artist"); SO SEDATED, SO SECURE; and the aforementioned HIDDEN HANDS). Rightly, the crowd (markedly larger for Darkest Hour) at least had a pit going throughout the set...albeit a shamefully small one. (Sidenote: I do believe someone in the audience handed the band some money. Not too long ago they lost a substantial amount of cash when their van was robbed.)

Finally it was time for Avail, Richmond's pride and joy. At this point the place was packed and antsy in anticipation of the night's headliners. The energy was there. the band was spot on, the crowd loving every minute of it. Avail opened with the upbeat "Black and Red", the first track off their latest release, 2002's FRONT PORCH STORIES (their second for Fat Wreck Chords and sixth full-length overall). Other newer offerings included the true tour de force "Blue Times Two" and the powerful "The Falls". Avail didn't let up the entire set, playing a nice mix from their ever-growing catalogue that had the crowd singing along during the entire set. For the first time that evening, there was crowd-surfing in order to get up onstage and sing along with vocalist Tim Barry. All the while, Beau Beau, the band's insane "cheerleader" (comparable to The Mighty Mighty Bosstones' resident skanker Ben Carr) riled up everyone even more. The key word here is "energy." This band is unbelievable live. Chances are that even if you're not a fan or have never heard Avail's eclectic brand of hardcore punk tinged with a bit of the old Southern flavor, you would enjoy their live set.

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Q AND NOT U
BLACK EYES
ANTELOPE
September 30, 2003 @ 51 Buckingham (Pomona, CA)
By Tiffany Chow

It is really amazing to me that a band or a certain type of music that is so far under the radar of the mainstream and the consciousness of the masses can still be so well-loved and almost worshipped. That is exactly the kind of show this was. The night was compiled of three major elements: three as-indie-as-it-comes bands, an overly artsy venue, and a large crowd of "scenesters." This scene tries so hard to stay under the radar, to stay unpredictable and non-stereotypical—and in doing so they become terribly prosaic. Ironic, isn't it?

Anyway, on with what is really important—not the fashion or the hair or the art, but the music! Antelope took the stage after a lot of set-up time and began to play the style of music we'd hear all throughout the night. Heavily influenced by the DC scene popularized by Fugazi and others, the sound of Antelope is characterized by vocals dripping with an attitude that sounds like condescension, sharp twangs of guitar, jazzy bass, and rapid drumming. They were really very similar to the headlining act for the night, Q and not U. The structure of the music was very monotonous, with no real chorus/verse set-up. They were interesting to watch, though. The guitarist liked to dance around like a robot, and the whole band took turns playing each other's instruments. They had that whole brilliant music theorists look about them that is so common in the indie/college radio scene.

By the time Black Eyes finally came on stage (as they took forever to set up, as well), the crowd had swelled to a pretty considerable size. I could tell that as many kids that had come out to see Q and not U, there was probably an equal or greater amount there to see Black Eyes. I was really unfamiliar with this band, but by the end of their set, I was blown away. They had two drummers (sometimes three), and a saxophone player who looked like Santa Claus on crack. They played a variation of chaotic, spazzy post-punk. At one point, there were two bassists playing. The vocals are even harder to characterize, as they were a flurry of indistinguishable squeals, screams, and yelps. In one of the songs, the guitarist (well, he was most of the time) played a snare drum and his guitar at the same time—with one drumstick. The crowd was SO into this band.

Q and not U! I was so excited. This is the band that epitomizes that whole amazing concept I talked about in the very first line of this review. They are so underground, but so loved there. They played their lovely DC-influenced indie rock, as kids danced and sang along. They livened up the set by breaking between some songs and talking passionately about their anti-Republican/anti-recall/anti-Bush sentiments. Having set up a voter registration table in the back, they strongly encouraged the crowd to sign up and vote against the impending recall. The singer declared his desire for us to vote to get "Arnold out of your neighborhood so we could get Bush the f**k out of ours." Even though I am proudly Republican, I still love them. That's how fantastic they are!

I am glad the show had only three bands and ended early. As great as the music was, I don't think I could have handled any more of the fashion show the night was slowly turning into.

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THE PIETASTERS
VOODOO GLOW SKULLS
RIVER CITY REBELS
October 2, 2003 @ Knitting Factory (New York, NY)
By Janelle Jones

Usually at any venue you go to, the opening act isn't that great of a draw. It's just the way it is. But this was certainly not the case this night at the Knitting Factory. Right from the get-go, things were definitely heating up inside when River City Rebels took the stage. Never having heard these guys before but having heard MANY good things about them, I was interested in finding out what all the fuss was about. Well, from their opening number "Aborted" through their entire set, it was apparent that the Rebels are something special. The room was packed for these guys, with a circle pit forming almost instantaneously. And no wonder: the band's great sound (and fashion sense) that really hearkens back to the glory days of '77. With flashes of The Clash and The Dead Boys evident in their brand of streetpunk, this stuff would please anybody who enjoys energetic, gritty punk. What sets this tough band apart from other great streetpunk bands like Plan A Project and U.S. Bombs is the inclusion of a horn section, which gives the Rebels a ska vibe. Additionally, they seem to have a penchant for glam. Vocalist Dan O'Day (a.k.a. the Bopper), who has a confrontational stage presence, was even sporting a very fine New York Dolls T-shirt. Their set included a bunch of songs off their latest record, 2002's NO GOOD NO TIME NO PRIDE (their third on Victory), including "Drunken Angel", "No Good", and "Pass the Basket", the last being a number the frontman provocatively introduced by saying it's "a song about priests fucking little boys." Yeah, that's another plus: their material is drenched in social commentary. Anyway, another highlight was "Small Town Pride" off 2001's PLAYIN' TO LIVE, LIVIN' TO PLAY. It was great to see so many people rushing the stage this early in the night, trying to share the mic with Dan.

With those telltale green glow skulls strewn about the stage atop amps, it could only mean one thing: Voodoo Glow Skulls, those purveyors of that maniacal ska/punk/hardcore sound, would be up next. And we knew it was go-time when vocalist Frank Casillas (in his ornate, tiger-like mask) and the rest of the crew broke into "Human Pinata" off 1998's BAND GEEK MAFIA. From the first note, the crowd went nuts, equaling the six-piece's intensity, as there was much skanking going on. VGS' set was full of both new and old material, and quite a few live staples like crowd-favorite "Insubordination" (the first track off their classic debut WHO IS, THIS IS?) and their psychotic rendition of "Charlie Brown" (from 1995's FIRME). And you knew it was time for "El Coo Cooi", that Spanish number, when Frank was spotted wielding his skull torch. No matter how many times you witness this, it never gets old. As always, VGS played every song at frenetic speed, with horns blaring, bass and drums pounding, shredding guitar riffs, and Frank's unique vocals cutting through the chaos. Some newer material included "Voodoo Anthem" (with its great sing-along chorus) and "One for the Road", both off 2002's STEADY AS SHE GOES, the band's Victory debut. VGS ended their fine set with "Band Geek Mafia", during which their roadie (I'm guessing) pranced around the stage decked out in the old green, bug-eyed mascot costume, pulling unsuspecting victims out of the crowd onto the stage.

With a bill featuring three bands that could headline any show, that distinct honor went to The Pietasters, a band that although being quite energetic and upbeat, is much mellower than their predecessors on this night. Still promoting 1992-1996, a three-CD set that chronicles the band's earliest material (it includes their first four albums, along with plenty of rare and unreleased tracks) on VMS, they began their set with an oldie, "Dollar Bill", off their s/t debut LP (affectionately referred to as PIESTOMP). Classics were the order of the night, with the band cranking out tunes like "Without You", "Biblical Sense", the riotous punk-tinged "Freak Show", the good-time romp "Maggie Mae", and "Girl Take It Easy" (the last four all from their 1995 masterpiece OOLOOLOO). However, they also played some new stuff from their most recent (and soulful) record, TURBO, including "Rachel", the quirky "Malmo", and the reggae-infused "Drunken Master". Now, if you're familiar with that last song, you're aware that midway through Selah does some toasting with the guys. Well, on this night, there was no Selah, but rather a random kid who made his way on stage, dancing like crazy, took the mic...and, to tell the truth, wasn't too bad. He definitely gained the crowd's respect—and from the playful grins on some of The Pietasters' faces, the band's, as well. And what Pietasters show would be complete without the booze? Unfortunately, this time around keyboardist Erick Morgan didn't pass around shots to the other guys in the band, but instead, at mid-set one of the "barmaid beauties" brought up some Bud for them. In any case, they played a long set and returned for an encore, which included a couple of coversæBad Habits' "Night Owl" (for the older folks) and Oi! gods The Business' "Drinking and Driving". Seriously, it's not a Pietasters show if they don't bust out that little gem. The final song was the (somewhat) instrumental "Factory Concerto" (off their debut). Infectious and spirited, it was a great closer.

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