When Parade of Flesh began putting on their Spillover Music Festival, the last two words of the title probably weren’t applicable.
Only four bands were part of the inaugural event in 2008, but everything has to have humble beginnings, and since then the Dallas based entertainment company has been striving to grow to their event, giving the North Texas music fans that can’t make a trip down to Austin a taste of what they’re missing.
Their annual showcase, which occurs on the Sunday after SXSW, quickly achieved a festival status, though, and this year’s installment boasts one of the largest lineups they’ve assembled (23 bands total). Some bands have played the festival in years past, others will be making their first appearance at Spillover, which will be happening both inside and outside at Club Dada, with Three Links providing the third stage.
Here’s a few of the bands I’m looking forward to catching…
Diarrhea Planet has played Dallas many times over the years; amassing a loyal following that grows with each time they grace a stage in this town. No, I haven’t seen them, though I’ve heard nothing but praise about their live shows, which can get pretty intense. Then again, you’d expect that from a band that has such a forceful rhythm section and uses not, two, not three, but four guitars. That’s what’s rather surprising to me, the fact that so many guitars doesn’t even begin to sound like overkill. Instead, even when they’re almost deafening, they complement one another.
(Listen to “Kids” & “Separations”)
(Photo credit: James Orlando)
“Too True” dropped not even two full months ago, so you can expect Dum Dum Girls to play a good dose of new material this day. It’s perhaps the best album that singer/songwriter Dee Dee Penny has written thus far. There’s a more mature sound to it, not just in the songwriting, but the music, too. There’s no questioning that it’s quite poppy, though many of the tracks are shrouded in a certain degree of darkness, which adds to the intrigue, and even creates a bit of mystique.
(Listen to “Bedroom Eyes” & “Coming Down”)
Ty Segall will no doubt be one of the biggest draws on this event, and he is one of the main headliners at Club Dada. Personally, I’ve never been a fan of the lo-fi style of music, which is the one constant Segalls’ tracks have, while he traverses an array of different genres, with some songs that are more psychedelic rock, to very gritty garage punk sounds, yet he can also pull of the more low-key singer/songwriter type stuff. Style-wise, this may not be quite my cup of tea, though I am interested to see what the live show is like.
(Listen to “Goodbye Bread”)
(Photo credit: Annie Powers)
The Pains of Being Pure at Heart were a pretty last minute addition to Spillover, and a great score. The indie pop/noise pop music the band produces is infectious, and they’ve crafted a masterful collection of songs about love and heartache. Based on that, some may call their music emo (but really, doesn’t all music focus on emotion of some type), but there are more layers to it than that, and Kip Bermans’ often raspy sounding voice adds a lot of character to it. It has been almost three years since their last record came out, and with a new one just about a month away, it would probably be safe to assume you’ll hear at least a couple of new songs, like the new single, “Simple and Sure”, which will surely get the audience dancing and clapping along.
(Listen to “Heart In Your Heartbreak” & “The Body”)
Being self-described as Flower Punk, The Orwells sound more like a group who would hail from California instead of Elmhurst, Illinois. Not that geography plays a significant part in any of that anyways. Their debut full-length (“Remember When”) captures that sound the best, as they alternate from a more aggressive style of rock and punk, to some more soupy sounds. The core sound has remained the same on the two EP’s they released last year, though you can already tell the growth and hear the expansion on this new batch of material, and the outfit as already devolved a more mature style, while maintaining their essence. I get the impression you should expect a fun and lively show from them, so get ready.
(Listen to “The Righteous One” and “Who Needs You”)
That barely even scratches the surface of the acts I’m excited about catching, but I’ll stop there.
There’s too much great talent on this year’s Spillover MF from Parade of Flesh, and I’m looking forward to sampling as much of it as I possibly can. You should be, too.
Sunday, March 16th at Club Dada and Three Links
Doors @ 1PM / Music @ 2PM
$19.99+ (Purchase advanced tickets HERE)
Now that the music portion of SXSW is getting underway, the North Texas music lovers can start indulging in all the talent that’s traveling south (and making pit stops along the way). And for that, the booking entity that is Parade of Flesh has everyone covered, with a lot of great stuff coming down the pike this week.
Perhaps the most buzzworthy and intriguing show they have will be taking place at Club Dada on Wednesday, when Parade of Flesh will give the folks of Dallas a taste of The Pizza Underground.
You can tell by the name alone that they are a bit of a comedy act, and the New York based quintet spoofs songs from The Velvet Underground, one way or another making them all about pizza.
Surprisingly, as odd, and even awful as that sounds, it actually looks and sounds rather good. In fact, in watching some of the live videos that can be found on Youtube, there’s a slight entrancing quality to this band who gets their percussion by beating a pizza box and plays an assortment of other seldom used instruments, such as a kazoo and a glockenspiel.
People will no doubt be out in droves, if for no other reason than just to experience firsthand what The Pizza Underground is like. Aside from that, how many times are you ever going to see Macaulay Culkin (yes, the actor) singing and playing songs about pizza?
(Listen to The Pizza Underground’s demo HERE)
Sure, The Pizza Underground will be the band everyone is talking about when the night’s over, but there’s some other great talent on the bill, like Moving Units.
The Los Angeles based outfit, which is led by Blake Miller, mines a more poppy genre and classifies themselves as being Nu Disco. They pull of said disco vibe without over-saturating it in electronic elements, though. Instead, it’s a nice blend of all the computerized effects with a cool and fun pop/rock sound that is bound to have most of the crowd at Dada this night dancing and moving around.
(Listen to “Until She Says”)
Starting off the show will be singer/songwriter Toby Goodshank, who has released over a dozen records in his career thus far, with his newest one due out next month. His folk stylings may differ a bit from the other acts on the bill, though he sounds to be a solid musician in every regard; and I imagine his set will prove an excellent way to start of the night.
(Listen to “Truth Jump Fall”)
So, come out on this Wednesday night and see what Parade of Flesh has cooked up for you. It’s gonna be a memorable show from start to finish, and one you’ll most likely be telling your friends about (you’re friends who aren’t lucky enough to be here, that is).
Wednesday, March 12th @ Club Dada
Doors @ 8
$13 to $15 (purchase advanced tickets HERE)
If you’ve heard of King Camel Productions (run by Jeffrey Brown) lately, it’s probably because of the Local Education shows he been presenting, having put on six in a little over a month (and, of course, they typically take place on Hump Day).
However, with SXSW coming up, those are momentarily taking a backseat so he can focus on the touring bands coming through. For example: the SW ForeplayFest that’s coming up at the Double Wide on Tuesday.
The Nashville based Pujol will be the headliner of this epic bill, and with a new album (the bands second LP) due out in just a couple months, you can expect to hear a bunch of new songs from them. I can’t say I’ve seen Pujol before, though I have heard good things about their shows, and their music, which they classify as Southern Gothic Rock, has a good sound. It’s often sludgy, which could largely be attributed to the semi-coarse voice Daniel Pujol has, which, in turn gives the music a lot of character.
(Listen to “Black Rabbit” & “Mayday”)
(Photo credit: Alison Eden Copeland)
There are some slick punk sounds mixed in with the power pop (which at times sounds rather dreamy) style of music Nightmare Boyzzz make. The result is something that you can really get in to and surely several people will be thrashing about to the Hunstville, Alabama quintet this night.
(Listen to “Problem Child” and “Badvibes”)
(Photo credit: Alison Kaylor)
One of several bands adding some diversity to this show will be Cobalt Cranes, which is led by Kate Betuel and Tim Foley. I’ve never been a real fan of the shoegaze genre, and while Cobalt Cranes incorporates that style into their sound, they’re aren’t one-dimensional in the sense that, that is all they are. They bring a lot of rock to the table, too; and the Tim and Kate periodically layer their voices over one another, which makes for some lovely harmonies. Intoxicating, that’s the word I’d use to sum up this band.
(Listen to “Head in the Clouds” & “Indigo”)
Honest and raw songwriting is the trait that makes Communist Daughter, which is fronted by John Solomon, such a standout act. They have more of a folk/Americana sound to their music, but can be fairly intense when they want to be. There are some gorgeous male and female harmonies woven into some of their tracks too, sounding rather ethereal at times. I have to say, out of all the great talent on this bill, it has to be Communist Daughter I’m most interested to see.
(Listen to “Speed of Sound”)
The Great American Canyon Band from Baltimore, Maryland is yet another act on the bill, and they’re more somewhere in between the two previously mentioned acts. Paul and Krystal Masson lead a group that isn’t quite shoegaze, yet has the gauzy elements of the genre sprinkled about in every aspect of their sound, and while there’s some folk styles thrown in, it can’t truly be classified as that, either. Instead, those genres are married together in a way that creates something extremely original; and the often melancholy vibe so many of their songs possess allows their music to be pretty striking with the listener.
(Listen to “Lost at Sea” & “Young Lady”)
(Photo credit: (Sarah Sunderman)
There’s a very fuzzed out sound to Douglas & The Furs, much like you would expect from a California rock trio. It’s some pretty trippy and untamed Rock ‘n’ Roll they play, and they sound to be some very proficient musicians to boot. This won’t be their first show at the Double Wide either, so they’ll surely have some fans out supporting them, while they make more along the way.
(Listen to “You’re Itching Into My Mind”)
(Photo credit: Vishal Kumar Malhotra)
The lone North Texas (or even just Texas) band on the bill is Fort Worth’s The Longshots. They’ve been busy since releasing a new album just a few weeks back, and have toured through a few states since then, and this stop in their home area will be a short one, before they travel down to SXSW and then end the month with some shows out in Los Angeles. There’s a certain garage rock style to their fun, yet intense rock tracks, making it obvious as to why they’ve gotten so much buzz surrounding them lately.
(Listen to “The Chase”)
So, if you are going to make the trek down to Austin for SXSW, come get warmed up for it, and if you’re not, at least you’ll get to experience a portion of what you’ll be missing out on. I’d also be willing to bet that King Camels’ SW ForeplayFest will wind up becoming an annual thing, so not only will you be a part of history if you attend it, you’ll also be able to brag to your friends one day that you were at the first one, before it was a big deal.
Tuesday, March 11th @ Double Wide.
Doors @ 8
$10 (purchase advanced tickets HERE)
You may not have heard of the San Antonio based rock outfit Nothing More, but there’s really no valid excuse for having not.
The band has been around for about a decade now, and has gone through a few different incarnations before finally arriving at their current – and strongest – one.
After the departure of their current singer at that time (say late ’07 to ‘08), the band was left at an impasse. They were starting to gain some pretty good momentum around Texas and now had to search for a new vocalist.
They wound up not having to search far though, as Jonny Hawkins decided to try his hand at singing. The result was something they all approved of, so he made the transition from their drummer to frontman.
Those like myself, who were skeptical about this, weren’t for long; and 2009 saw the release of their first record with that lineup, “The Few Not Fleeting”.
Turns out, Jonny had been hiding a monstrous voice for all those years, but it wasn’t just that. They had also stepped up their songwriting, making raw and emotional rock songs, like “Gone”, which chronicled the fight Jonnys’ mother was having with cancer at the time, while he was at times out on the road touring with his band mates.
It would be four long years before they would release another album, but just because they weren’t releasing any new material didn’t mean things weren’t going to happen for them.
They toured various parts of the country many times over, and just in the past year played a leg of Adrenaline Mob’s tour. I saw the Dallas stop of that one, and I can say honestly in just thirty minutes Nothing More upstaged those famous musicians (which included Mike Portnoy, Mike Orlando and more).
They also played the inaugural Aftershock Festival in Sacramento, CA last fall, where they were so well received they were invited back the next day to play the main stage.
While on the subject of their touring accomplishments, they are also gearing up for a run with Chevelle, and will be a part of pretty much all of the bands currently listed shows, and they’ll also be one of the bands playing Rocklahoma in May. All of that’s just barely scratching the surface.
Armed with a new collection of songs from their self-titled album, songs that span a variety of social and political issues, from religion (“Christ Copyright”) to infidelity (that song, “Sex & Lies”, boasts what may be one of the most clever lines ever, “I want to hear it from the whore, horse’s mouth.”). They even discuss consumerism and society’s obsession with, well, just about everything (“Mr. MTV”) and even tackle drug addiction and the struggle of helplessly watching a friend battle their demons (“Jenny”). There’s even a track that continues the story “Gone” started, as Jonny sings about his mother’s final days in “God Went North”. (They actually do have some fun songs, too, like “Fat Kid”.)
Maybe you won’t agree with some of the content in a few of those songs, but it’s things that need to be said, and Nothing More is bringing a substance back to music that has been severally lacking in recent years.
They’re not just great songwriters, though. They put on the best live show of any band that’s ever walked this earth and they have an overwhelming stage presence. Seriously, they are unparallelled when compared to just about everyone, and personally, I’ve only seen one other band who elicits such excitement from me at a live show.
They get everyone moving and singing along during their heavy rock anthems, and make sure the crowd is as involved with the show as they can be, so it becomes a real experience for everyone.
“Nothing More doesn’t take the stage, they storm it.” That’s a line from their current bio, and it’s worth quoting. Oh, they also do a sweet little bass solo that is pretty atypical and unlike any bass solo you’ve ever witnessed before. Actually, it’s one of the highlights of their show.
So, come out to Trees for NoMo’s first Dallas show since their CD release gig here last June, and witness a great local rock lineup. All of the opening bands will rock your socks off, and then it will culminate with a band who is right on the cusp of stardom; and if it doesn’t work out for them, then there’s not a chance of any independent band ever striking it big.
Friday, March 7th at Trees
Doors @ 7 / In Memory of Man @ 9 / Werewolf Therewolf @ 10 / The Raven Charter @ 11 / Nothing More @ 12AM
21+ $10 / 21- $15?
Three Links was my second destination for the night, where a truly killer bill had been assembled.
I hated that I had missed my friends in Vinyl (who are spectacular), and Mothership was just starting their final song when I arrived (it had been awhile time since I had seen them, but they sounded better than ever). A band called Crypt Trip also got the night started, but all three of them were nothing more than appetizers.
Not that the place wasn’t already packed for Mothership (and assumingly the other bands); but the most exciting thing about this show was that The Virgin Wolves were coming out of their hibernation. They hadn’t played a show since last summer; and they had been greatly missed.
Of course, it took a bit for them to get set up, though the sound check was swift. “It’s been eight months since we’ve been on stage!” declared rhythm guitarist Carson Coldiron. The guitar and bass chords swelled as he spoke, pumping up the crowd, leaving everyone wondering what their opening number would be.
I’m not gonna lie, I was hoping for “Slick Shoes”, and for a few moments it seemed like that classic from the “Bad Blood” EP might be what they burst into, but it was not.
Instead, they broke into “Black Sheep”, which was equally as good. It may have been eight months since they shared a stage together, but it didn’t even take a second to reignite their energy and chemistry on stage, as Carson, lead guitarist Chase Ryan and bassist Kristin Leigh began throwing down. “I bet you look good, I bet you look good, I bet you look good in the morning light…” sang Jaimeson Toon; Chase backing her up on most of the verses, giving the song a nice one-two punch.
I’ll go ahead and say this: if they had accumulated any dust over those eight months, they made sure they shook it all off during their rehearsals.
Drummer Steve Phillips quickly led them into another gritty rock number, “Crawl”, as they started making their way down the tracklist of their “Pretty Evil Thing” LP. “…Gave you just one hour to show me how bad you can be. I gave myself three cigarettes and whistled just like a bird.” Jaimeson sang in a more sultry voice on the second verse; grabbing her hair and pulling it down over her face as she did so.
As usually, they had little transition pieces worked up between most of their songs this night, stretching it out here as Carson took a moment to thank all the bands who had opened for them. He also pointed out that this Jaimesons’ place of employment. Chase then semi-slowly plucked the strings of his guitar, bringing them to my personal favorite track, “End Of The Line”. It’s arguably their catchiest song, and shows off a little different side of The Virgin Wolves, while still retaining that raw rock vibe that makes them standout. There were some issues with the microphone towards the end, which led to Jaimeson and Chase sharing his mic, while Kristin used hers as they all sang, “I can’t sleep, I can’t breathe, I can’t find the door…”.
Steve kept on delivering the beats until they were ready for one of their slightly blues infused numbers, “What You Want To Hear”. Some banter with the crowd took place afterwards, while Chase also took time to thank everyone for coming out this night. Surprisingly, the show wasn’t sold out, though there were a lot of people there, and they were all transfixed on the band.
They kept running thorough “Pretty Evil Thing”, though they did skip track five and moved on to “Lies” when they got back to business. That (at times) showed off the bands softer side, which is something that doesn’t even really exist, and they kicked things back up with their next song.
However, they first took a moment to wish one of their fans a happy birthday. “…She’s good looking. I’m just saying. Get ya some.” Jaimeson said of the birthday girl. It was after that, that they did the darker sounding “Crooked Smile”. It’s another one of their best songs, and tonight it was a highlight of their show, as Chase and Kristin stood facing one another near the end of the song, tearing it up on their guitar and bass, respectively. Then, as it drew to a close, Jaimeson approached Chase, as the two grinded against each other.
“The amount of people in here makes me happy.” Jaimeson stated after that one. They marched on with “Oh, Sugar”, before again skipping over a track on the album, because, well, you’ve got to save the best for last.
“I like it when you don’t leave.” Jaimeson said, before encouraging everyone who might want to, to buy their merch. “…We have stuff you can wear. Stuff you can listen to. Stuff you can smell in your house.” she said, then added, “That’s right, I said smell…”
“ Vagabonds” was the final, somewhat slow song they did, and from it, they jumped right into “Bad”, which was an electrifying way to end what felt like an all too short 36-minute set.
“Surely that’s not it?” I thought. Though the band did a legit job at making it appear that they were done. Then the cries for an encore started, and eventually Chase and Carson retook the stage, saying they thought they might could do one more.
“Carson, how’s my hair look?” Chase asked. “Shitty.” Carson replied. They had a friend join them on stage for this next song, and that was Chris Breland. He sings in the band Black Habits – whom I’ve seen once before – and evidently has something else going on, because Carson mentioned he was in a band. “…I don’t know if I can say what band or not, yet…” he said, seeming to catch himself before he let it slip.
Their little encore segment started with a cover of Danzig’s “Mother”, and stylistically speaking, it fits The Virgin Wolves perfectly.
Jaimeson and Chris were a force to be reckoned with as they shared the vocal responsibilities. They killed it on the song, and as it came to an end, some guy suddenly began to crowd surf, and soon took a fall that looked like it could have been way worse for him than what it wound up being.
That wasn’t it, though. Remember, I said they skipped over one of their songs so they could save the best for last, and, without question, their best is “Virtue And Vice”.
A small mosh pit even broke out during the song (something I haven’t personally seen at one of their shows before), while both Chase and Kristin shouted the line on the second verse that they’ve revamped for live shows, “I rode all night through the motherfucking rain!” “And I wound up standing at his grave.” Jaimeson chimed in.
Towards the end, Carson even grabbed a beer can from one of the fans up front, sliding it across the neck of his guitar a bit before handing it back.
That, was the perfect way to end this show, and that song allows all five of them to unleash any energy they have left, ensuring everything gets left on the stage.
I had missed seeing The Virgin Wolves more than I knew I had, and I’m glad I at least caught them a few times close together leading up to their little hiatus.
Hopefully it won’t be another eight months before they grace a stage somewhere in the metroplex, ‘cause they’re just too damn good.
They play rock music the way it was meant to be played, and they’re live show is a must-see, especially if you haven’t seen them before.
Pick up “Pretty Evil Thing” in iTUNES (it’ll be $9.99 well spent), and throw ‘em a like on FACEBOOK so you’ll know when they have another gig.
Well, I managed to catch not one, but two fantastic shows this Saturday night. I’d call that a win.
On this freezing cold night (or actually, slightly below freezing), there was a sweet show going on at Club Dada, and it was all presented by Parade of Flesh.
I’m not gonna lie; the sudden drop in temperature made me reconsider the thought of going out this night. But in the end, it sounded like it was going to be too good of a concert to miss.
For me, the guy who almost exclusively sees local North Texas bands, it was a bit of a different show; since two of the three acts were from out-of-state.
There was one Dallas band on the bill, though, and that was Dead Mockingbirds.
I had only seen them once before, and evidently was so eager to see them I arrived at Dada fashionably early (that’s a thing, right?), about forty-five minutes before what wound up being the start time. In fairness, I did think the show would start earlier than that, but at least it allowed for a good time hanging with the band.
The trio of Kenneth Everette Pritchard, Matthew Crain and Trinidad Diaz hit the stage at 8:41, as the rock music began to flow freely.
They were the odd man out on this bill, at least in terms of sound, but the already decent sized crowd (there were between twenty and thirty people there already. Not bad for the middle of the week) was very receptive to it.
Their opening song, like many of their tracks, had a fun vibe, and when he wasn’t having to do the singing, Kenneth was quickly swaying back and forth. Well, except for the little time he spent on the platform in front of the stage where the monitors set, where he tore it up on a guitar solo, dropping to his knees as he brandished his guitar.
The crowd got a few seconds to applaud them, before Matt laid into his drum kit, setting up their next track. Upon finishing it, Kenneth quickly thanked Parade of Flesh for putting this show together and putting them on it, before taking the conversation in a completely different direction. “It’ll cost five dollars to sniff us after the show.” On a related note; I don’t think anyone took them up on that offer.
They knocked out a couple more numbers, before Kenneth again addressed the crowd. “Y’all are too good looking.” he remarked, though he wasn’t looking at the audience. Instead, he was tuning his guitar. “Where the fuck did all y’all come from?!” he said, shocked by the ever growing number of people.
He then kicked off their next song with some slick sounding notes. A song that was yet another to feature a sweet, more old school sounding guitar solo. Kenneth noted that would be one of the songs on their next record.
Their 31-minute long set continued, as they seemed to pick the setlist as they went, and could be heard deciding on the songs during their breaks. “Fuck Alone and then…” Kenneth told his band mates at one point.
“Fuck yeah! We just went to jail!” Kenneth exclaimed after their next couple of tunes. He then thanked the other bands on the bill, and Club Dada for hosting the show. That brought them to the final leg of their set, which included a couple of songs I actually knew, but only after they did one more from their new(er) batch.
It was one I really enjoyed, and Trinidad and Matt gave it a real cohesive rhythm sound, complimenting one another nicely. Then you had the wickedly good guitar solo, which was just the icing on the cake.
The first of their next two songs was “Omega”, the b-side from their record. A fact Kenneth pointed out after they played it, before pointing over to their little merch suitcase, where they had that 7-inch vinyl record for sale. That brought them to “Munich”, which was a little more up-tempo than the recording is, as they blazed through it. The beginning was extra good, though, as Trinidad and Kenneth stood facing one another as they rocked out the intro.
Clearly excited to be here; Kenneth again thanked everyone who had a hand in putting this show together or was on the bill as the song trailed off. While he was doing that, Trinidad walked over the drum kit, kneeling by the bass drum as they bridged it into their final song of the night.
Like I said, this was only my second time seeing Dead Mockingbirds, and they were better than I even remembered.
It was an onslaught of raw rock music they cranked out this night, and their stage show matches their snappy sounding songs. And along those lines, the quick pace they gave their set this night ensured there was never a dull moment.
You can download a few of their singles –for free- over at REVERBNATION. You can also catch them on February 27th or on March 17th at the Double Wide in Dallas. Both of those shows are being presented by King Camel.
They may not have had the country elements to their music like the next two bands did, but they had something better; pure, quality rock music, in a vein you just don’t hear much in the music these days.
In fact, their show was so great, that after seeing the band that followed them, I found myself wondering if the show had already peaked.
The second band up this night was Promised Land Sound, who hails from Nashville, Tennessee.
They hopped on the bill a little more last minute, after the original booked band jumped off, but after checking out their music online, I liked it. They were certainly the most country-sounding band on the bill, with not as much rock flare to their songs as Futurebirds had, but they still fit.
Their 38-minute long set was made up mainly of songs from their debut full-length, which is self-titled and was released last year; though they threw in some other songs, as well.
Take for instance their first song, which was pretty good, but already had me feeling mixed emotions about the band.
I had only given their record a couple of listens (on Spotify), but there was one song that instantly stuck out to me, and that was “Empty Vase”, which was what they did next. The catchy song was as good live as I had hoped it would be, and it just has a fun vibe, with some strong beats from Evan Scala, and nice riffs from lead guitarist Sean Thompson, as well as Sean Cotton.
Singer and bassist Joseph Scala informed everyone that their next song was a cover, though I had trouble hearing who he said did it, and was unable to figure out what it was. All the same, it sounded quite good. It was followed by “Wandering Habits”, while the song that was billed as their slow one, which came after, was without question their best track of the night.
They were on fire while performing “Make it Through the Fall”. “I can’t keep myself from moving on. I can stand to do you any wrong. There’s a warmer season out there for us all. We’ve got to learn to make it through the fall.” Joseph loudly sang on the chorus of the song that could have easily been a sing-along, if only they had, had any sort of fan base here.
They truly killed it with that one, especially at the end, when the noise level rose up, commanding everyone’s attention. However, that was the only moment of their set where I felt that feeling.
They knocked out a couple more, one of which was “Fadin’ Fast”, before Joseph asked everyone if they wanted to hear a brand new song. Of course, everyone was indifferent to it, but nor did they mind it. It was a good one, one of their top three from this night, in my opinion.
Before calling it a night, Joseph put a feeler out, asking if anyone might have a floor they’d be willing to let them crash on, before going into their final song.
I mentioned I had mixed feelings about these guys, and my main qualm came with their performance/stage presence.
It was rather dull and boring, even lifeless. I hate to even say that, ‘cause even when I don’t like a band, I still don’t like to be negative. But at the same time, I have to be honest.
This isn’t even about their music, as I did like it. It’s just that they never grabbed the audience. They never captivated me, and I never felt any type of connection with the crowd on their part. Rather, it seemed like four dudes just happened to show up there and thought, “I guess we’ll play some music for a bit.”
That just doesn’t work, and I know they’re a newer band, but still, I expected more from a touring act.
All the same, you can find their music (an LP and a EP) in iTUNES. And while I can’t find a page that has their tour dates (otherwise I’d list some), just check out their FACEBOOK PAGE to see when they might be coming to a town near you.
See, that was why I thought the best band of the night may well have been the first one, and I wasn’t sure if Futurebirds would be able to wash that taste out of my mouth or not. Spoilers, they were.
The six-piece outfit got their gear set up, before retreating back to the greenroom to prepare for the show.
It was 10:31 when they stepped back out, and the anxious crowd – which numbered probably 80 people or so, at least - made their way closer to the stage.
They may have put out a brand new record just last year, but their set this night was a nice spread from all of their albums, and getting their show going was “Battle for Rome”, off of “Hampton’s Lullaby”.
“…And the sun it won’t save my life this time.” sang Thomas Johnson, who was one of the groups guitarists; his band mates, guitarists Carter King and Daniel Womack, the latter of whom played an acoustic, backing him with some amazing vocals.
It only took a minute or two to realize what you were watching was something special; from the harmonies, to just the explosive performance they were already putting on, quickly proving that the stage is where they belong.
“It’s good to be back in warm, sunny Dallas.” Carter stated, so sarcastically he seemed dead serious. He then thanked the audience for “braving the cold” to come out to this show.
The lead vocal duties were tossed around a lot this night, though the bulk of it seemed to go to Carter, who sang lead on “Serial Bowls”. The lengthy instrumental section at the end allowed them to really let loose, even Brannen Miles, who I believe was the bassist, and pedal steel guitarist Dennis Love.
At this point, the momentum was flowing, and after some roaring applause, Carter spoke into his mic; “I guess we’ll play another.”
Thomas started jumping up and down as he started “Johnny Utah”, his movements quickly escalating, to the point he was springing around all over his portion of stage right. His vicious shredding on his guitar came at a price, though; it cost him a string. It didn’t seem like that big of a deal however, and they powered through the tune, which had Thomas adding some wonderful backing vocals on the chorus, hitting an extremely high falsetto tone I never would have guessed was within his range.
Towards the end, Carter dropped to the floor and laid back on the stage, quickly plucking the strings of his guitar, and as he gave in to the music, it created one of those perfect concert moments.
Their drummer brought them right into their next song, which finally gave Daniel, who had an American flag bunched up and attached to his acoustic axe, a chance to show off his singing chops. The song was “Happy Animals”, and Thomas was left out of the first few minutes of it, as he now had to worry about repairing that broken string, which was a task he got done quite quickly.
Once he did get that remedied, he returned to the front of the stage, but his strap wasn’t secured. Of course, he wasn’t going to let his guitar fall off, though, and instead held it vertically in the air, picking away at it until he had a break so he could get it fastened. That got him back in action with some time to spare for the epic ending they gave that one, absolutely throwing down at the end. The three singers turned their backs to the crowd as they took the chance to interact a little more with their other band mates, while slinging their guitars around and banging their heads in time to the mighty drumbeats.
The spell had been cast by this time, and everyone in Club Dada had fallen under it, and were completely glued to this band who hailed from Athens, Georgia.
“We’re gonna play a brand new one.” Carter informed the crowd, who loudly cheered in support of the idea. “Don’t cheer just yet. You haven’t heard it…” he joked. True, it might have been premature, but once the song was done, they were still worthy of the cheering they had already received, and got even more now.
“That was hyper speed!” Carter exclaimed, looking at his band mates with a smile on his face; giving the idea that they had done it a little quicker than they should have.
They got back to “Baby Yaga”, their newest album, with the lead track, “Virginia Slims”. Thomas was back in charge on that intoxicating number, which was one of the truest country sounding tracks they did, and at times, Dennis played some gorgeous notes on his pedal steel guitar. As it ended, their drummer kept the beat going, and he and Brannen had a little jam session, filling the gap in between songs.
After those more intense songs, they slowed things down ever so slightly with “Sam Jones”. “This sure brings me down. No one’s here to stay. We’ve got nothing to lose. And we’ll take it to our graves.” Daniel sang on the chorus of the more melancholy song. Despite the sad vibe it has though, it was far from being depressing.
He would continue to sing, but only after Carter thanked Promised Land Sound and Dead Mockingbirds for opening up the show. He also shouted out a printing company, who had printed up some silk-screened posters of the show poster for this show. “…Come buy something and we’ll give you one free.” Carter encouraged everyone.
If their show had a lull, it was the song they had just done, as well as “M J B”. That latter song worked to kick things back into high gear, though, and was just another song of theirs that had a dynamic ending. Carter spun in a circle, only once, his hands a blur as he played his guitar. After doing that, he and Thomas stood back-to-back with one another. They didn’t just lean against each other, though. Instead, they were pushing against one another, quite forcefully from the looks of it, making it look like they were trying to hold one another up.
“Sending you pictures from the naked beach, but all I want is you here naked with me…” sang Carter at the start of what had already become a personal favorite Futurebirds song of mine, “Tan Lines”. A lot of other people seemed to like it too, a few of whom were even singing right along to it.
After finishing it, banter again turned to the cold weather. “We were in Montana few weeks ago and it wasn’t even this cold.” Carter told everyone, again thanking everyone for enduring it.
Continuing with music from “Baby Yaga”, they went on into “Dig”, which, for a majority of the time, was one of the most authentic sounding songs they did, complete with Thomas singing in a very twangy voice. You could tell not everyone was very familiar with their music, because as they eased up at the end, the room was filled with applause. They even held the silence for a moment, before ripping back into the song, delivering one of their most dazzling displays of the night yet.
“I don’t know this song.” Thomas could be heard saying as they prepared for the next one. “Pay close attention to Thomas’s guitar playing.” Carter instructed the crowd, perpetuating the joke. Okay, of course they knew it, but it was one of a few songs they did that I didn’t, nor could I figure it out after the fact. All the same, it was a nice song.
Throughout their set, there had been a woman standing in front of the stage, often shouting out different songs she was wanting to hear. One that had been repeated was one I was also hoping to hear, “Heavy Weights”. “This isn’t Heavy Weights.” Carter informed her, while Thomas added, “Don’t get your hopes up, either.”
Instead, they did another song that required the heavy use of their three-part harmonies, “Death Awaits”. It might not have been that other song, but it was a great one. I’ll even admit, in listening to their stuff, that was one track that didn’t do much for me, but live, live it was something else entirely.
It was again time for some more thanks now, which this time went to Parade of Flesh for putting this show together. They then broke into a cover, and one you probably wouldn’t have expected them to do.
They put their own twist on Stevie Nicks’ “Wild Heart”, which was arguably their best song of the night. And the end, the a capella end where Daniel, Thomas and Carter crooned, “Where is the reason? Don’t blame it on me, blame it on my wild heart.”, that was to die for.
I think they only did one more song after that. I say “think” because a.) it was another I didn’t know, and b.) it sounded like it could have been a few songs mashed together. It made for one helluva way to end their 81-minute long set, especially because the further they got into the song, the more amped up they got. And by the time it was all over, no one was really ready for them to be done.
“Thanks. We’re Futurebirds.” said Carter before they jumped off stage.
Some people went on their way, either leaving, or going over to the bar to get a drink, accepting the show was probably over. Others weren’t ready to believe that though, and the chants of “One more song!” could be heard.
Is what was funny, it happened in small groups. Like, a handful of people would shout it, then, since the band wouldn’t have come right back out, they’d quit. But another group would just be joining in at that time, and keep it going for a moment, before some more people began chanting.
Eventually, it paid off.
“…Aw, shit guys!” Carter exclaimed as they retook the stage, getting ready for one last song. It added about four minutes onto their show, and I’m not 100% what this encore was, but I’m thinking it was “Yur Not Ded”. Whatever it was, it was the perfect way to end this performance, bringing it to a stellar finish.
I don’t really know what I was expecting from Futurebirds, but I wasn’t prepared for what transpired.
Their music may have some more country undertones to it, but they put on as solid a rock show as I’ve ever seen.
Their highly energetic performance made sure you couldn’t pull your eyes off of them even if you wanted to, and having three vocalists to alternate between kept things constantly fresh.
On that note, even though all three of them might have different tones and textures to their voices, they can also all sing. Damn well at that, and they all have just a subtle twang to their voices that serves as a binding characteristic between them all.
I’ll restate what I said when I posted the picture of them I took on Instagram. “This band; this band was something special to watch.”
They, all six of them, impressed me, turning me into a full-fledged Futurebirds fan with ease.
You can check out their tour dates HERE. And if they’re coming to a town near you, you shouldn’t hesitate to go see them. I know I’ll be trying to catch them next time they come through Dallas. Also, right here in iTUNES is where you can find all of their albums.
Couldn’t have been a better way to spend a Wednesday night then this, and I also need to give one more shout out to Kenneth of Dead Mockingbirds for getting my cover into the show. Thanks again, man!
Three Links was my second destination of the night, for another show I had put a fair amount of consideration going to.
Sealion was headlining the place this night, and while I won’t recount the whole story, I didn’t start out as a fan of theirs.
Actually, even now I wouldn’t consider myself a true fan, but after trying to give them more of a chance, I found myself slowly warming up to their 2010 debut album. Then, after seeing a small portion of their set where they opened for the Toadies in Denton almost a couple years back, I found myself enjoying their music a bit more.
That said, I hadn’t seen them since April of 2012, and this seemed as good an opportunity as any to see them again and give them another shot.
They were setting their gear up when I arrived, preparing for a show that was a mix of material from last year’s “Kenneth” album, along with some new songs.
The punk sounding quartet raced through their 49-minute set, beginning with what I believe was a couple of newer songs (admittedly, I didn’t recognize everything they played this night.)
And since I am honest, their first couple of songs, which were segued from one into the next, were ones I didn’t care for. Singer and rhythm guitarist Hunter Moehring screamed more than sang on those tracks, using a throaty sound I hadn’t heard him utilize before, and that’s just not something I care for from any band.
Drummer Alex Poulos then rolled them right into a song from their latest release, “Spruce Moose”. I did enjoy that one much more, as it was more along the lines of the bands almost surf-rock infused brand of punk, which is an interesting blend to say the least. Their eager fans were happy to hear it, too, shouting along while Hunter sang, “…I don’t to be like you…” That quick little tune started the process of reeling me in, and I have to say, it was a fun track.
They followed it with another (presumably new) song, after which Hunter informed everyone that they would soon start recording on album number three.
“Dudes, grab a dude. Ladies, grab a lady…” he instructed after saying they were going to slow things down with their next song. It was different from anything else I’ve ever heard them do, simply because bassist Samantha Villavert sang it. She’s a new addition to the outfit since I last saw them, and aside from being a good bass player, she brings a great voice to the table, and while this one did have a different sound for a Sealion song, it was still Sealion.
Samantha later acknowledged that her parents had come out to this, their first ever Sealion show, and she thanked them for staying up late to be there. They kept things going with a couple more songs, one of which was called “A Good Dream”, and, as Hunter said, was about “lying in bed all day”.
“If you wanna dance, we’ll dance with you.” he told the decent size crowd-, before he, lead guitarist Cole Denton and the rest knocked out “Finks”, which started another string of songs (three to be exact, back-to-back-to-back.) What came next I found to be their best track of the night, and there was one point during it where Hunter knelt beside his amp, tearing it up on his guitar, before creating some excellent feedback.
They brought it into their next song, one that was so new Hunter couldn’t even remember when they wrote it, first saying Wednesday before correcting himself, “No, Thursday.” By the time it was over, the fans who were gathered in front of the stage were feeling it enough they decided to start a small mosh pit while the quartet cranked out another track.
Their set was almost done by this point, and the fans were vocal about their displeasure for this, just not wanting the night to end, as they did what I believe was “T.V. Land”, another song off “Kenneth”.
Hunter then announced they were going to close with a cover, and though I didn’t understand who he said originally did the song, it was one they put on their album, and that was “All We Know”. It was as if everyone knew this would be their last chance to let it all hang out until the next weekend, with plenty of the fans getting into a semi-frenzied state as they got another mosh pit going.
Hunter even jumped out in it closer to the end, and just because he was part of the band didn’t make him impervious to getting caught up in the body slamming, and he held his, even bashing in to a few people, while never missing a note on his guitar.
That was quite a way to end the show; a show that made me a little more of a Sealion fan.
Like I said, there were a few songs I just flat-out didn’t like, but overall, from the music aspect, I enjoyed it.
The main qualm I had a few years ago was with Hunters’ voice, a voice that has both grown on me and gotten better with time. And though it’s not the best voice ever, it fits with what they do, and by no means does he come anywhere even close to being the worst singer I’ve ever come across.
As for their show, these talented musicians put on a good performance, while also keeping it light and fun. Actually, that was what I enjoyed most about them this night; it was all about having fun and just enjoying yourself.
No, they won’t be one of those bands I go see every chance I get, but I’ll try to see them again sometime, and probably much sooner than another almost two years.
They’ll be at the Double Wide in Dallas on Thursday 27th, as part of a show that is being presented by King Camel. You can also find all of their music on their BANDCAMP PAGE, either for free, or very cheap.
Overall, I was glad I decided to come over to Three Links for Sealion’s set, as they made it worth it.
This night was going to be a busy one, and it was starting at my favorite venue, The Curtain Club, for the second night of the venue’s 16th anniversary weekend.
Like the night before, a couple of younger bands with teenage members were playing first, beginning with a band called The Neverending.
I walked in at not the best time, as they were having some technical issues.
“It’s usually our drummer who breaks everything.” joked their frontwoman, as it was now one of the bands guitarist who was having some trouble and had broken a string.
It seemed almost like a curse, seeing as the first band from the night before also suffered from a broken guitar string, and this guy in The Neverending just made the best of it and played through.
Getting back on track, that made for some long silence as they figured things out, and I never really thought they got any momentum going after that.
It’s not that I disliked them or anything, I just simply never got into it.
The same could be said about the next band, The Bombs.
I just never got into their darker brand of punkish sounding rock, though for what they did, these three girls (plus their fill-in drummer), did it well.
On another note, about both of those bands, not only was it good to see a younger generation of musicians down here, but it was especially nice to see they had brought out there friends/fans, who, for a short time, outnumbered the twenty-one and older crowd.
After them, was the band I was there for, seeing as they had requested my presence and given me a ticket to the show, and that was Alterflesh.
“In the incomprehensible vastness of the universe, how strange we’re even here…” singer Dayvoh could be heard saying, as the curtain began to open and reveal them. It goes along with spiritual, otherworldly aura the band strives so hard to create at their live shows, and like all the little speeches Dayvoh makes like that, it sets up the next song, which in this case was “Megahub”.
Once Kevin Mills came in on the track, Dayvoh, bassist Paul Kubajak and even guitarist Ben Schelin began jumping around, before Dayvoh entered frontman mode and started working over the audience as he began singing the song. “Most will go their entire lives without even understanding it. I recommend a much closer view of practical experience…” goes the bridge of the song, which, like all their other tracks, is supposed to make you stop and think about life.
“Welcome to the Curtain Clubs’ sweet sixteenth, take two…” Dayvoh said to the audience once the song had ended, and, like in that song, he continued delivering his words at a lightening pace to minimize the time spent talking. He went on to say how good it was to see some “young blood” down here and named the two opening bands, before also pointing out some of the other bands who were out supporting them, just a few of whom were The Circle (who had played the night before), Solice, 26 Locks and New Voodoo. Speaking of New Voodoo, Andrew Lewthwaite was lending his guitar skills to Alterflesh this night, serving as the bands second guitarist. Dayvoh finished with, “Support your scene.”, before hopping down on one of the steps in front of the stage while Paul started their next song, “So Much More”, with some sweet bass licks.
It features some knockout drumming from Kevin, and once it was done, Dayvoh continued to reel the crowd in and get them engaged. “Are you awake, Curtain Club?! Let me hear you!” he shouted, before doing another transition for their next song. “Mystics all around the world say we all slowly burn in time… This one’s called Embers.” he declared, as they went into one of their newest numbers.
“Brothers and sisters, everyday is a gift. Live it to the fullest.” were the encouraging words that preceded their next song, “Start Over”. As the name suggests, it’s a song about beginning anew, specifically without someone who used to be a part of your life, and as Dayvoh repeated the first line of the track, “Light a fire, burn it all away…”, Xtina, the singer in Solice, made her way on stage.
At their last show they had gotten her to join them on that one, and lightening struck this night as she again lent her voice to it, making a great song sound exceptional. As they hit the second chorus, both Paul and Dayvoh leapt in the air, in time with the drumbeat, then, as the song wound down, Dayvoh knelt down on the stage, as did Xtina, their voices sounding incredible as they intertwined with one another on “…Light a fire, burn it all away. Start over again without you.”
She and her band got some props thrown their way as she exited the stage, before Dayvoh turned his attention to the Wall of Fame. “…On these walls, you can see the marks of all who have come before…” he said, pointing at the dozens and dozens of plaques, ranging from those who were never more than local legends to those who went on to achieve national fame. “This next one’s a fun one. It’s a political rant. ” stated Dayvoh as they got ready for “Watch Rome Burn”. In short, this “rant” focuses on how this “Information Age” isn’t all it’s cracked up to be, and after the second chorus of the track, Andrew, who had already brought a lot to the table, went off on a several seconds long guitar solo, which sounded killer.
I’m going to get off topic for a minute, now. Since Alterflesh had started, there was a great energy from out in the crowd. You could feel it and tell that everyone was enjoying what they were watching. At one point a small mosh pit of three or so people started, which was no big deal, until one guy accidentally slammed into a woman, knocking her to the floor and causing her to lose her drink.
That was a couple songs prior to the one they had just done, and that changed the whole mood of the crowd. For starters, the tension was palpable. The only reason a fight didn’t break out between that guy and the woman’s boyfriend/husband was because other people stepped in between them to make sure nothing happened. I won’t get much more into to it, but basically, the guy who hit the woman didn’t feel he owed her a replacement beer, while the other guy believed she was owed at least that.
Getting more on topic, this still persisted even now, and after that song, Dayvoh said something about he knew this was a rock show and he wanted everyone to have as much fun as they possible could. After all, that is the point of a concert. “…But the next girl I see fall, ‘cause some guy hits her and doesn’t help her up. I’m gonna jump down there.” he said firmly, earning raving applause from pretty much everyone in there.
That still didn’t quite settle it, though, and it only ended before the guy removed himself from the situation. But before that happened, one of the guys from The Circle went and grabbed an Alterflesh poster off of one of the walls here in the club and hung it on the monitor, right in front of the guy. They had used a quote on this poster, and it read, “Kindness… It doesn’t cost a damn thing. Sprinkle that shit everywhere.”
That’s what made this so ironic. Dayvoh is all about being a peaceful, kind individual, as really everyone should, and Alterflesh more or less preaches that exact message in their music.
The downside from all that, is all that energy that was going in the audience was no dead. Don’t get me wrong, the band themselves hadn’t lost any momentum, but with all that negativity leaving people wondering if they might have to jump in and break up a fight, it killed the carefree atmosphere, as everyone just stayed almost perfectly still and watched.
They were almost done at this point, and in regards to the next track, “Into the Sun”, Dayvoh said something about how we (collectively) are “…Like every other element, forged in the heart of a supernova…” It’s another newer one, and a great one at that, and it was also their final original track of the night.
“…If you’ve listened to the radio at all in the last ten years, then you’ve heard this song…” Dayvoh told everyone in preparation of the first ever cover song Alterflesh would do. It would a rendition of Staind’s “For You”, though of course they put their own unique spin on it. Ben and Andrew had been feeding off one another all night long, facing each other as they picked away on their guitars, and such, and the two again rocked out on this one, while towards the end Paul dropped to his knees and flat-out tore it up on his bass.
It was fun way to end their 39-minute long set, and this was one of the best shows I’ve seen these guys do.
Where to start…
How about back to Andrew and Ben. Yes, Dayvoh does play guitar on some songs, but he still has to focus on being a frontman even then, so he can’t interact as much with Ben. But like I said, he and Andrew had some real chemistry going.
That also freed Dayvoh up to really work the crowd for the entire show, and you could really feel the rapport he had going with everyone.
And for those who may not know, he spent many years as a spoken word poet, and brings that flare to his singing in Alterflesh, creating something that is purely original and different from anything you have ever heard before.
Then you had Kevin and Paul, both of whom were in the zone this night.
They’re one of those bands who doesn’t play too often (every few months), yet they’re tighter than a lot of bands out there, and they brought their A+ game to the stage of the Curtain Club this night.
They don’t have any music to buy at the moment, but you can sample several songs over on REVERBNATION. You can also see them right back here at the Curtain Club on March 8th as part of 26 Locks CD release show. They also have a show booked at O’Rileys in Dallas on April 4th.
I didn’t stick around long after they finished. It’s not that I didn’t want to see some of the other bands on the bill, but I had already committed to go cover another show, and headed out for the other venue.
I seldom make a two-night stand at a venue, but Three Links had some incredible things going on this weekend.
That said, I neglected to mention in my previous post how much I like what has been done with this space since they reopened it (for anyone not aware Three Links re-opened the space that used to be LaGrange, which shuttered its doors about a year ago now.)
Until this weekend, I hadn’t been here since July, and they’ve made some improvements since then. It may have been my imagination, but it seemed like the stage had been extended even a little more than what it had been when I was last here, and that was always one of the drawbacks to the former venue, ‘cause even four-piece bands were crammed on the stage. However now, there’s ample room for even quintets to move around. Aside from that, a variety of paintings and concert posters now adorn the walls, serving as some nice décor that gives a real inviting touch to the venue. It’s all aesthetically pleasing, and the sound even sounds a little better than before, too. Taking all that into consideration, I’d even go as far as saying that this is now my second favorite spot in Deep Ellum, right after a certain long running club located over on Main Street.
Getting to the show, a newish band by the name of Patriot, who hailed from Fort Worth, was kicking off the night, doing not only their first show here at Three Links, but also their first Dallas gig.
They played a lengthy set for the first band (close to close to 40-minutes), and had no trouble filling that time, typically knocking out the songs in rather quick succession. Most seemed like quite lengthy songs too, with some well thought out instrumental parts being placed in between the verses, though it never felt dull or boring to me. Instead, it highlighted the superb musicianship that lead guitarist Tyler Brown, bassist, Austin Kroll, drummer Pete Wierenga, and singer and guitarist Jake Paleschic were all capable of.
They classify themselves as being a mix of rock and country, which is appropriate and was on display this night, leading to some slower, more relaxed songs, but they could throw down when necessary, especially Austin, who really let loose at times and rocked out on his bass.
I wouldn’t say I was smitten with them, but I did enjoy it, particularly all the intricacies of the music, which really was something else.
I would like to see them again sometime, and it will be well worth keeping tabs on them and seeing where they take this.
You can download a couple of their singles for free on their BANDCAMP PAGE, so do check that out. As for shows, you can see them December 20th at The Grotto in Fort Worth, and they’ll also be playing The Where House in Fort Worth on New Year’s Eve. Then on January 17th they’ll be back in Dallas, this time at the City Tavern.
Second up was a band called Rise and Shine, who surprised me a bit by being a duo, consisting of Jordan Cain on drums and Brandon Pinckard playing a guitar, while both shared the vocal responsibilities.
Both are fairly well known musicians, backing one of Dallas’ hometown heroes, Jonathan Tyler (of course of Jonathan Tyler & The Northern Lights fame). They’ve no doubt honed and near perfected their musical chops in all the time spent with that band, a fact that was readily evident when the two set to work on their all too short 28-minute show.
They performed a mix of songs from their debut album, “This is Your Captain Speaking”, as well as some non-album cuts, though it was one from the former category that came near the start of their show, and that was “Riverbottom”. A mix of country, rock and blues all collided on it and just about every other song they churned out, and it was purely intoxicating. And it was only made better by the smooth, rich and slightly twangy voice Jordan (who did do a majority of the singing) had.
“…This next one’s called Dead On the Vine.” Brandon informed everyone a couple of songs later, as he did the singing on that, the final song from their 2013 release. Upon finishing it, he went to reach for his beer, halfway tripping as he stepped from the back towards the front of the stage, but managed to save himself form an embarrassing fall. They then went into “Leavin’ Oklahoma”, which Jordan stated was simply about “leaving Oklahoma”, and at times featured a nice dose of each of their voices, which blended well together.
After another number, they ran through the insanely soulful “Shine On Me”, which surely won over any remaining holdouts, and had much of the crowd moving around, before the ended with the blistering, “She’s So Mean”.
I have to say, I was blown away by them simply because I was not prepared for a duo this night, and certainly not one that boasted such a full and fleshed out sound.
If you’re were just listening to their music, you never would have guessed that Rise and Shine wasn’t a full band, and even with their live performance Jordan and Brandon packed in as much energy as many four and five piece bands are capable of.
In the end, Rise and Shine were a dynamic force to be reckoned with and wound up being my personal favorite act of the night. Here’s to hoping they have a long career in the North Texas area music scene.
Keep a check on their FACEBOOK PAGE for future shows from the band, and hit up iTUNES to preview/purchase “This is Your Captain Speaking”.
Serving as the main support band this night was the only band who had no real hint of country/Americana to their music, and that was The Hanna Barbarians.
It’s hard not to have heard about the Fort Worth based rock outfit, who have been around for a little way now, but they were yet another band on this bill I had never seen before, and frankly, I had never gotten around to checking out their music, either.
I wasn’t too sure about them when they started their first song, which was one I wasn’t a fan of. Mainly it was the pacing of the song that I disliked, and it had me hoping things would be different soon. Soon came with their next song, which they segued right into, and that was “Basement Shooter”. They had me with that dark track, which was a full blown assault of rock, and was one of many songs this night that saw frontman Blake Parish racing about the stage while screaming, almost as if he were a demented preacher, and the audience his congregation, who were hanging on his every word.
I don’t recall exactly what Blake started to say as they took a break, though he did trip up over his words, before finally getting something understandable out. “…Drinking will affect your ability to say sentences.” he remarked, before they soon tore into another song. During it, Blake got so into the song he unknowingly pulled the microphone cord, then looked puzzled when his next line was inaudible. He quickly realized and fixed the problem, though, and the rest of the song went off without a hitch.
Another song followed, and then came the heavy hitter, “13”, with some blazing guitar licks from Alex Zobel and Kris Luther, while Brady Hamilton and Joe Prankster, the drummer and bassist, respectively, also commanded attention. Joe did become the center of attention afterwards, and as the song ended, he climbed atop his bass amp, eventually leaping off it shortly into their next number, which was one of a series of three they did, hitting their stride during them, before their 39-minute set concluded.
I can’t pinpoint exactly which one it was, but I do know one of those songs I was unsure of was a track from “Spaceway Sessions, Vol. 2”, and that was “Oh, Spirit”, which is perhaps the best song in their arsenal, and was my personal favorite.
The Hanna Barbarians may have gotten off to what I thought was a rocky start, but they quickly won me over, and there’s little doubt that the band perfectly embodies the Rock ‘n’ Roll spirit.
They were a well-oiled machine throughout, and put on one helluva performance. And in that respect, they were definitely the best band of the night.
You can and by all means should check out their music (especially their most recent EP) over in iTUNES. Also, throw ‘em a “like” on Facebook to know when their next shows will be.
Dead Flowers was closing out the night, and having only seen them once, back in May, I was looking forward to finally seeing them again.
Their epic 76-minute long set, which I think only ended because Three Links had to get ready to close for the night, was filled with old and new originals, some covers, and even a Christmas song the band had recently released.
It was one of those new ones that they began with, as singer and rhythm guitarist Corey Howe quickly announced the name of it, before they started the slower song. Despite being so different from much of their other material, it sounded great, acting as a nice way to ease everyone into their show. Eventually, it did peak, though, turning into an excellent alt/country/rock number that was on par with anything off their “For You” record, and Vince Tuley could be seen viciously shredding on his guitar.
“Let’s have a party!” Corey shouted as they went right into another song. Things picked up even more with it, though the best moment of the song came shortly after a strategic pause that made you think it was over, and once some people started to applaud them, Corey did a little curtsy, before they ripped back into it.
They are serious about the music, but this night they were just as much about the laughs, and the show had a real relaxed mood to it. So, while tuning his guitar (something that had to be done often this night, thanks to the cold weather), Corey mentioned the Santa’s who had invaded Deep Ellum, and more specifically Three Links. Many had disappeared, presumably out to the patio, which led him to ask for “more Santa’s in the side wedges.” Afterwards, drummer Ed Chaney started them in on one of their tales of revenge, “You’re Wrong”, which is somewhat haunting at times, and in the best possible way. “…Yeah, you heard the shots and the bodies fall…” Corey sang on the final verse of the song, and as he did so, Vince hoisted his guitar up, holding it to mimic a gun he was shooting.
They switched things up briefly with the next number, which saw Corey lay his guitar down and do a pretty good job of being a full-time frontman. “Does everyone remember that song, ‘John Jacob Jingleheimer Schmidt’?” he asked once that song had come to an end, getting a mixed amount of “yes” and complete silence from the audience. “We’re gonna need your help singing it.” Corey informed everyone. It was help they didn’t really get, but all the same, it was humorous hearing him, Ed, Vince and bassist Evan Winston Johnson sing the short tune, which they suddenly rolled into “Murder Shuffle in a (Minor)”. And quite flawlessly at that.
That one’s about the only specific song I really remember from the first time I saw them, and it’s a personal favorite of mine, being a near perfect mix of rock and some outlaw country. “…Be hip and buy our CD.” Corey told everyone during the next break, while promoting the merch they had for sale. He corrected himself, though, that the “hip” thing to do would probably be to pirate the album. “…But please don’t do that.” he urged, before they knocked out another new one, titled “I’m Leaving”.
They were only around halfway finished at this point, making it a good time to pull out their Christmas song. “I don’t know all the words yet.” remarked Corey. They made the song, and much of the remainder of their set pretty festive, by inflating a snowman yard decoration, which was placed on far stage right, and stood probably about six foot tall once it was fully inflated. As for the song, it seems like not too many bands (at least on the local level) every try their hand at writing an original Christmas song, but with “A Lot Like Xmas”, Dead Flowers have crafted a good one, and one that’ll probably be a classic for those who do add it to their collection of music.
After another number, “Pieces of Me”, they did the title track from their debut album, “For You”, which became a clap along for a few short seconds, and nearly everyone enthusiastically joined in. A slew of other songs followed, most of which I believe were covers, though I didn’t recognize any. (As I’ve said in various posts before, I pretty much only listen to local artists.)
Things got crazy after one of the songs, and during the next one the snowman went crowd surfing, being pulled off the stage as he made his way around the crowd, being batted around to stay in the air before eventually winding back on stage. Of course all the air had left him at that point, though. The snowman wasn’t the only one who was going to join the crowd this night, and at the tail end of their next song, which Vince broke a string during, Corey suddenly laid his guitar down and rushed off the stage, just barely being caught by some of the fans. It was just another of several fun moments this show had, and after another track, Corey admitted, “We’re playing a bunch of stuff we shouldn’t play.”
He had already said shortly before that they had two songs left, which meant the next one would be it, but it wasn’t. Before their final song, he thanked Three Links and everyone involved with it, noting that they don’t do headlining shows all that often, and just wanted to have some fun this night. Then, as the sound guy reinforced the fact that they were running out of time, they launched into the lead track from their record, “I Won’t Go”, which truly did end their set. It was also during that final song that the snowman (which had been re-inflated) was thrown out to the crowd, again being tossed around almost like it was a balloon that everyone was trying to keep in the air.
A fun time was had by all this night, and yes, that includes the members of Dead Flowers, who were in just as much a state of glee as any of the fans were.
And their show didn’t seem nearly as long as it was, either. I happened to look at the time once while they were playing and was surprised they had already been on stage for an hour.
They really are an incredible band, even better than what I recalled them being, and the lengthy set this night allowed you see their full potential.
If you like your rock music with some underlying country qualities to it, then you have to check them out.
They have more than a few opportunities to do that, too, and on December 20th they’ll be playing a free show at the large side of the Prophet Bar in Dallas. You can catch them at Adair’s Saloon in Dallas on New Year ’s Eve, and then they’ll be back here at Three Links on January 18th. They also have a show at Trees in Dallas on January 4th opening for the Murder City Devils. However, the can’t miss show (in my opinion) will be on January 24th at the Doublewide, where they’re opening for Somebody’s Darling and Kentucky Knife Fight. As for their music, head over to iTUNES to purchase “For You”, or even BANDCAMP just to listen to the tracks.
Thus ended two great nights here at Three Links, and like I said at the start of this post, I really like what has been done with the venue. Has me even more excited about the other few shows I plan on seeing here within the next month.
Serving as the main support band for Cults at Trees this night was the fellow New York based band, Sacco. The group seems relatively unknown at this point (based on the “likes” they have on Facebook, which numbers 160 at this time), but it quickly became clear they aren’t long to be an obscure act.
The curtain opened on this powerhouse of a trio at 9:14, drummer Chris slamming into his kit, resulting in a jarring beat that started them into the lead track from their forthcoming self-titled record, “Carnival Ghost”. Andy Breihan did the singing on this song, also being the guitarist, while John Fredericks rounded out the rhythm section of the alluring track, which earned them the undivided attention of all who were there.
“Come closer.” Andy encouraged when they were done, causing those who were near the stage to move up a little further, while others who were further back in the venue obliged and gathered around. They hurried along with their 27-minute long set by doing “Driving”, a low key tune that included some nice harmonies from Andy and John, ending with a very fuzzy sounding and very stellar guitar solo.
Once it was done, the two switched out instruments, John grabbing his guitar off a rack that set behind him, while Andy got his own bass. That wasn’t the only thing that changed with these next few songs, though, as John now took over lead vocal duties. “I think you’re pretty, you think you’re not… We don’t see it the same, we’ve been living on different pages…” he sang at the start of the immediately engrossing “Think You’re Pretty”. It successfully told a story, a love story, and a well crafted/written one at that, about two people who never things eye to eye. I found myself wondering if it could get any better after that song, only to be shown it could when, with a few swift beats, Chris segued them into “ Kerosene”. The short two and a half minute long song was every bit as riveting as the one before it, just in its own unique way, and that pace only continued with “Sixty Battles (Carmelina)”, which they smoothly transitioned into.
They returned to their starting instruments for the next to last song of their set, the surprisingly soulful “Sunny Afternoon”, before pulling off one more change. Andy had been dabbling on a keyboard throughout the show, but now he took Johns’ spot, along with his bass, leaving him to focus on the keys. Andy had picked up the singing again on the previous song, and kept it up on “Where It Ends, Where It Begins”, which just seemed very fitting to end with.
Their new found throng of Dallas fans was hoping it wasn’t over, though, still anxiously watching them, even after seeing John clear his pedal board off the stage, all the while the sample track for the song wound down. “We’re done.” Andy stated rather plainly, and only then did the onlookers turn around, several of them making a bee line to the merch table to get a copy of their record, which they had noted during the show would not be officially released until next year.
Their time on stage may have been brief, but Sacco managed to wow me, and win over several members of the audience.
There are some softer, even calming elements to their music, though it still maintains a nice true rock sound, especially when you experience them live. Their music may not be cutting edge, but there’s a lot of originality to it, and with John and Andy, both of whom have incredible voices, taking turns on who does the singing, it constantly keeps things sounding fresh. And for people who are like me, and tend to pay more attention to the lyrics, this is a band that should appeal to you instantly.
I’ll end by saying this. It’s been a long time since I saw a band I had absolutely no knowledge of, one whose music I had never listened to before and literally knew nothing about before having seen them, and felt instantly compelled to go buy their CD. However, that was my feeling a couple songs into their set, and I was ecstatic when they mentioned they did have a record for sale. And when “Sacco” officially releases sometime next year, it’d be in your best interest to at least listen to some of the songs, if not buy it, ‘cause believe me, these guys are going to be something.
(NOTE: Check out a couple of their songs HERE.)
(Note 2: My review of Cults set can be read over on On Tour Monthly.)
There was some good stuff happening all around the D/FW area this night, but in my opinion, there was no better place to be then the small room of the Prophet Bar.
Even the sudden loss of one of the bands on the bill couldn’t dampen the show, although I was rather looking forward to seeing the Austin based, The Couch, again (I first saw them down in New Braunfels a couple of years ago at the Dia de los Toadies festival), but evidently traffic had other plans for them.
That left this show with only two bands, but luckily both were up to the task of filling the time to give the crowd their money’s worth, and just shortly before ten o’clock, Goodnight Ned got started.
Their 51-minute long set allowed them to pepper in some old favorites, but it was their new material that dominated their show, like their riveting opener, which had both Chase McMillan and Conner Farrall, each of whom play guitars and act as the lead singer at times, singing, in perfect synch no less, giving the song a great texture.
Keyboardist Jonas Martin handled most of the singing on their second song, adding a few extra touches to it late in the song. “I’m sorry that I loved you.” he belted out, a line often repeated in the song, before continuing, “You crazy bitch.” Some more profanity was heard after the second time he sang the line, though he had saved the best for last, and right before they tore back into the track sang, “I’m sorry that I loved you, you god damn dirty fucking cunt.” “I knew we should have played that one later on…” Chase remarked when they finished, after some of their female fans feigned anger at the language. “I’m sorry, I had to get that out. I’ve been around little kids all week…” Jonas said, before Conner added he [Jonas] had been in Florida, only leaving earlier that day and making the twelve hour drive back to Dallas for their show. “…I’m even wearing my Disney shirt.” Jonas pointed out, before finishing with, “You know they own Star Wars now?”
The new stuff continued as Chase handled the lead on one song, often singing in more of a growl, giving the song an extra kick and even a little darker feel to it. Things were lightened a bit on their next track, and a personal favorite of mine as far as their new songs go, when Connor did most of the singing, at least on the first half of the song. They got quite a bit of applause as it sounded like they were done, before they came back in, both Connor and Chase chanting, “Fix me, I’m your broken man.”
“Storm” was one of the classics they pulled out, the song from their self-titled EP receiving some strong cheers from a handful of fans who were eager to hear it. “The room’s almost at capacity, so if we could get you all to move forward.” Connor joked once the song was done, in an attempt to at least get the spread out crowd a little closer to the stage, before launching into another song.
Both Chase and Connor sang on the one that followed, which had a bit of a classic vibe to it, largely due to the notes Jonas was playing. They segued it right into their next number, which I believe was “Papa Jack’s Bag”, from the “Smoke From the Sails” EP. All five of them were harmonizing on it at one point, as bassist Ryan McLaughlin, who spent most of this night facing his amp, stepped up to Chase’s mic and shared it with him, and even drummer Michael Munoz chimed in, their voices creating a very heavenly moment.
There was just enough time for some applause before they moved directly into another track from that EP, “Fruit On the Tree”, which eventually gave way to one of their final songs. “We have a couple more for you.” Jonas told everyone, while they discussed the order of these final songs. It was a real rocking number, and one hell of a song, while their final one is equally as good. “Can you grunt with us?” Jonas asked the crowd, a noise both Connor and Chase make throughout the brilliant song that I believe I heard them say was titled “Wolves”.
It was a spectacular show, and with this being the second time I’ve seen them since they’ve worked so much new stuff into their set, I have to say, I really like the direction they’re headed.
It is slightly different sounding than what their first two EPs represent, being a little more rock sounding. The overall growth in songwriting is very noticeable, though, and they’re really utilizing all of their vocal options now, even more so than in the past, which is one trait that sets them apart from most other bands. And aside from all that, they put on a very enjoyable live show, too.
They’ll be wrapping up the year at Club Dada on December 31st, and their 2014 schedule is already starting to take shape. They’ll be doing a two-night stand at BarPM in Lubbock on January 24th and 25th, then February 22nd they’ll be at the House of Blues in Dallas, opening for Dr. Dog. Let’s also hope 2014 will see the release of a new album from Goodnight Ned as well. But in the meantime, check out their current music in iTUNES.
It didn’t take long at all for the headliner, Oil Boom, to get ready, and the show started a few minutes before a single note was even played.
While wrapping up their sound check, bassist Steve Steward got the laughs started by welcoming the “survivors of the 2014 Black Friday sales”, thanking them all for choosing to start “rebuilding the human race at this rock concert”. It was only moments later when singer and guitarist Ryan Taylor and drummer Dugan Connors fired up one of their newest singles, “45 Revolutions Per Minute”. “I’m afraid you’ll have to excuse me for whatever I do. I have a fault line growing inside me…” Ryan sang at the start of it, breaking away from the microphone every chance he got so he could better rock out with his band mates on the fiery song.
There wasn’t even a split second break in between as they wound it into one of the many new(er) tracks they did this night, with Dugan laying down a nice, steady beat on the verses, primarily using the snare and floor tom, and along with Steve solidified an incredibly tight rhythm section. They kept the ball rolling as Dugan furiously pounded out some drumbeats to wind them into their next number, another fast paced, catchy one, part of the chorus being, “I need that Rock ‘n’ Roll”.
They finally took a break after that one, but not for long, Ryan wailing on his guitar on this next song, doing his first of a handful of rocking solos this night. The final chords from it were held until they diminished to mere sound, at which point they brought in into the lead track from 2012’s “Gold Yeller” EP, “Lily Liver”.
“Let’s hear it for Riff Raff.” Ryan said, since the Houston based rapper was playing at the adjacent large room of The Prophet Bar. “Let’s hear it for seventy inch TVs.” Steve chimed in, before Ryan continued talking about Riff Raff. “I went to high school with Riff Raff.” he said jokingly, noting that “He was just called Robert Raff back then.” They’re skilled rockers and also pretty good comedians, and as it turned out, both those characteristics were on display to some extent during their next song, “The Fiftease”. It’s the other track from their 7’’ record, and one I was quite glad to hear, since the other two times I’ve seen Oil Boom they’ve had shorter sets that haven’t included the song. The song is humorous at times, for example the line, “I have a switchblade comb or two.”, though the message it carries with it is to be yourself and not worry what others think of you (“…If that’s how I act, then what’s it to you?”).
They got back to their new music, and did a slew of it, with one song featuring another wicked guitar solo, and this time around Ryan played it with a slide, which was no doubt the crucial part to it being so enthralling. They segued it into another song, and after it concluded Steve joked that it was called Toyotathon. “Lease a Rav4 for only…” he added, killing time while Ryan switched out guitars. Also, Toyota really should compensate them for that nice little plug.
While most of their songs range from being shorter to the normal three and a half minutes or so, they now did one of a few longer ones they have in their arsenal, and upon finishing it, Ryan swapped back to his Gibson. While he was doing so, Dugan started in on the drums, Steve taking his cue as he laid some bass lines over it as they busted out another tune. “This next song’s by Eddie Raven.“ Steve announced, I assume joking again, but then again, I’m not familiar with any of his music.
Following it was another song, and after finishing it, it led to another guitar change. Steve then apologized to everyone. “I’m sorry, Weird Al over here has to change accordions.” he said, getting a good laugh from not only the fans but also his other two band mates. Once Ryan got back up to the microphone, he pointed out this was the newest song they’ve written, and it will surely be one of their instant classics.
They pushed on, but their show was nearing the end, and before starting their last couple of songs, they did some shots, which some fans/friends had bought for them. “I’ll make an exception…” Ryan said before downing his, prompting one of their fans to scream, “I have never seen him drink anything in my life!”, leavening her clearly taken aback that he had actually drank something alcoholic.
Once the shots disappeared, they pulled out one of the strongest songs they have, “The Great American Shakedown”, before closing out their 66-minute long show with yet another new one. I think I said something similar about that final song when I saw them earlier in the month, but it works really well as a closer. There’s a nice little ebb and flow to it, before dying out, and just when you think it’s over, Steve, Dugan and Ryan kick into high gear for a deliciously good (and rocking) instrumental portion.
This made the third time I’ve seen these guys in just about two and a half months, and this show was definitely the best of those three.
Not just because they had so much more time and were able to squeeze in several “deep cuts”, but also because this was the closest I had been to them, getting a much better view this time around, allowing me a better view at what impeccable musicians they all are. Each of them showed mastery of their respective instrument, from the delicate plucking to intense strumming Ryan and Steve did on their guitar and bass, while Dugan was a machine back there on his kit, smiling at times, then others singing along to the song.
Actually, seeing that they were having so much fun being on stage and playing their music was possibly the best quality their show had, ‘cause it only made it that much more enjoyable for the onlookers.
If you haven’t seen/heard of Oil Boom yet, fix that immediately (after all, not just any band gets to open for Johnny Marr, a feat they managed at the start of January). You can find their music in iTUNES, and they do have a few final shows for 2013. One will be in Little Rock, Arkansas at the Rev Room on December 28th, while on December 31st they’ll be ringing in the new year back here at The Prophet Bar. Also, on January 18th they’ll be in Amarillo, TX at the Golden Light Cantina.
Aside from seeing two great bands, the next best thing about this night was that the show was over fairly early, with Oil Boom wrapping up shortly after midnight, which was a good change of pace from the one to two in the morning nights.
The Curtain Club was hosting some heavier rock acts this night, most of whom were more on the metal side of things, including Light the Fire, who was doing their final Dallas show of the year.
Like Bridges We Burn opened up the night, and sadly I didn’t get there in time to see them. Well, at least not much of them. I did catch their final song, though, which frontman Jeff Nemec invited “Jefe”, as he said, or Jeff Gunter of Light the Fire on stage with them to help co-sing on the song, which made for a very fun way to end their show.
Check out their music in iTUNES (an EP and a couple of singles), and they do have one more show left for the year, on December 13th at the Prophet Bar in Dallas.
Up next was Deaf Angel, and upon taking the stage, frontwoman Tina Downs urged everyone to get closer. “…It’s cold outside.” Not many people needed that as incentive, though, as most of those who were there packed tightly around the stage, ready for the rock show to start.
Their shorter 27-minute long set began with the beast of a song, “Take Over”, which had many of their fans singing along to every word, a trend that continued for the duration of their time on stage. “This song’s called Directions.” Tina informed the audience, getting a few cheers from some who clearly loved the heavy song that had guitarist Duston Daulton often some very metal screams to it, echoing Tina near the end with a very throaty, “…I will not break down…”
The heavy assault continued with “Crazy”, after which drummer Scott Van Slyke sent them right into their next track. They had a couple more songs left, and like the previous ones they were from their newest album, “Brutally / Beautiful”, with things getting just a little more heartfelt with “Let You Go”, wit Tina seeming to put even a little more emotion into her singing on that one.
Before their last song, she took a moment to formally introduce their brand new bassist, Matt Harper, who had been killing it thus far with them, being a perfect fit for the band and their live show. The fans seemed to enjoy what he brought to the performance, too, and after that little welcome, they finished their show with the powerful, “Run to Me”.
It was a fantastic performance, with the only downside being that was over far too quickly.
It was the best Deaf Angel show I’ve seen yet, though (which in fairness has only been a handful of shows), and they just seemed more solid and cohesive then they’ve even been in the past. Scott and Matt created a vigorous rhythm section, without question being the backbone of every song they did, and I like the fact that Scott sets his kit up to the side, allowing the audience a better look at him as he plays. Dustin easily held everyone’s attention as well, from the deep screams he often made during the songs, and when he wasn’t adding any vocals, he was often seen standing atop one of the boxes they had borrowed from Light the Fire, shredding on his axe. While Tina has an incredible voice and knows how to put on a performance, too.
They’ll be back in Dallas on January 25th at The Boiler Room, and if you like free music, you can download their entire catalog at no cost over on their REVERBNATION PAGE.
Following them was Light the Fire, who hadn’t played the Curtain since releasing their newest EP back in July, and what better venue to play your last Dallas show of the year in.
In typical Light the Fire fashion, they had some fun at the start of their show, the four instrumentalists bobbing their heads to a rap song that played before vocalist Jeff Gunter ran on stage, and they show got underway. “Now’s our time to step up to the plate…” he screamed after his band mates played the short intro into “Don’t Fail Me Now”, offering a great start to their set, as it almost effortlessly puts the crowd in a state of excitement. “Are you ready tonight?!” Jeff roared at the fans as lead guitarist Ryan Dickinson and drummer Blake Hein wound them into another track from their first record, and the title song, “Note To Self”.
Audience participation was a must on that one, Jeff asking everyone to get a hand up and wave it back and forth during the instrumental break, while bassist Andrew Penland repeatedly shouted, “Hey!”, into his mic. “How the fuck are you doing?!” Jeff asked once the song was finished, still working on pumping everyone up, especially when he didn’t get the desired result. “You can do better than that!” he shouted, prompting a louder response from the audience this time around, while the sample track intro for “Thoughts” soon started to play. Andrew, Ryan and rhythm guitarist Felix Lopez staggered themselves in a line during the first verse of that one, thrashing about not only in perfect synch with one another, but also the beats Blake was cranking out.
“…We’re from D town…” Jeff said during their next break, adding, “We are D town.” That then led to talk of their new shirts, which had the Texas flag on them, but instead of a lone star, it bore Light the Fire’s emblem, a flame. He then asked everyone who hailed from the state to make some noise. “Some of you must be from Oklahoma or something…” he cracked in order to get a better response. They then tackled one of their newer songs, “The Masquerade”, a great song about being something you’re not. The song has a “slow, pretty part” as Jeff put it, and when they hit it he requested everyone put up their lighters or cell phones, and of course the phones outnumbered the lighters as the people waved them around until the song picked back up. And as it did, before the song hit the final chorus, Andrew lifted his bass up a little, giving his strap some slack, before thrusting it down in perfect time with one of the drum beats.
“Let’s get some movement going!” said Jeff before they started one of their heaviest numbers, “Under My Skin”, their final old track before hitting a string of songs from their self-titled EP. Jeff mentioned that, because of everyone’s help, they were able to play the Dallas date of the Vans Warped Tour this summer (on the Ernie Ball Stage), joking about how sweaty it was, and saying they met a guy there who said he wanted to shoot a music video for them. “…And we were like, “Okay!” Jeff stated, saying the video they filmed was for their song “Forever Grateful”. “But we don’t call it that, do we?!” he asked saying the name it is known as live, “Thunder Cunt”. The fans were asked to throw up their own “thunder cunts”, by extending their index fingers and thumbs, touching each finger to its counterpart. “Holy shit, look at Blake’s…” Jeff pointed out, as he had thrown up his drumsticks in place of his index fingers. Despite the name they’ve given it for live shows, it’s a love song through and through, take for example a line from the bridge, “…I can’t help myself, I’m yours ‘til the end. You are my reason for breathing…”
During that new fan favorite (and a personal favorite of mine), Felix broke a string, which led to a little downtime, but they never lost any momentum, as the crowd patiently waited for more. “Does it still say “suck it” on it?” Jeff asked Felix, who had earlier in the night flipped his guitar over, revealing the back of the body had “Suck It” written on it. He flipped this one over too, and sure enough, it did.
“…Get your horns up!” shouted Jeff, who also got a little chant of “Hell yeah!” started before their next song, “All Or Nothing”, which featured Jeff Nemec of Like Bridges We Burn adding his vocal touches to the song, making it sound even better than it already is. Their 49-minute long set was coming to an end, and at this point, Jeff mentioned that his brother, who is in the military, had recently gotten to come home, something he was clearly ecstatic about, and while he had planned to come out to this show to see the band in action, weather prevented him from doing so. The heartfelt speech continued for a moment before he added, “…So, I want you to experience the love he and his army brothers have for one another by bashing into each other.” The mosh pits had been pretty tame this night as far as LTF shows go, with the most action breaking out during the inspiring tale that is told in “Stick To Your Guns”, which saw one of Blake’s drumsticks breaking during the second verse, before he hastily grabbed a replacement.
Their final song wasn’t one of theirs, at least not entirely, and Jeff dedicated it to all the single ladies in attendance, but when asking how many were single, only one woman made any noise. “…You’re probably going to be raped…” he replied, getting a laugh from nearly everyone in the club. They then launched into The Scorpions “No One Like You”, and while it isn’t an original, they put such a unique spin on the song, it is certainly their own, and one that is well received by their fans. The best touch to the song came rather unexpectedly at the end, when the final guitars and bass lines were dying down and the last drum beat resonated out, as Jeff sang one of the last lines a capella, adding a beautiful finish to it.
They put on a phenomenal show this night, and though I thought their CD release show would be a hard one to top, in some aspects they did this night. They’re such a well polished and cohesive band, which is what sets their live shows apart from other acts, and also the fact that they manage to inject so much fun into their shows, while still keeping the professional demeanor every band needs.
They really are a superb band, and hopefully 2014 will have even bigger things in store for the band.
They don’t have anything on the books right now, but they are one band who plays very consistently, and you probably won’t have to wait too long in to 2014 for them to rock a venue near you. But until that happens, be sure to check out both of their EP’s in iTUNES.
The main act for the night was Low Gear, a long running Dallas band whom I had heard of, but not yet seen.
They proved to be too hard and heavy for my tastes (which I know is slightly weird given the fact I love Light the Fire), but after sticking around for three to four songs I just wasn’t feeling it and went ahead and left.
There was also one act after them, Driven Below, and I had watched some videos of them online to learn that they too were far to metal to appeal to me.
All the same, it was a great lineup at the Curtain Club this night, even if some of the bands weren’t my style, and it was certainly worth getting out on this cold night to see one last Light the Fire show for the year.
It’s not too often I end up at the same venue two nights in a row, yet this night, I found myself back at Prophet Bar, for yet another round of touring acts.
The Limousines were responsible for getting me out on this Monday night, having seen them just barely over two years ago when they were on tour with The Sounds. They blew my mind then, and since that night, I had eagerly been awaiting their return to Dallas.
They were on tour with a couple of bands, and the one opening this show was Dresses, who were from Portland, Oregon.
I didn’t see much of them, as they had already started by the time I got there, though I enjoyed what I heard.
Every band on this bill was very different than the others, and Dresses was no exception, mining more of an indie/pop/rock sound, with the main members being frontwoman Timothy Heller and lead guitarist Jared Ryan Maldonado, who even played a ukulele for a few songs. While she was the lead vocalist, he also sang on some songs, and the two even harmonized at times, their voices blending to create some beautiful textures.
It was all well crafted, with more subtle tones at times that served to accentuate the vocals and even the lyrics to the songs.
I just wish I had gotten to see more of them and get a better idea of what they’re like, though I did enjoy what I saw.
They do have a record available, “Sun Shy”, which is actually their debut album. Give it a listen, and it may well make you a fan.
Sandwiched in between the opener and the headliner was San Francisco’s own The Limousines, who wound up having quite the following out this night, some of their fans rushing to the front of the stage as soon as Dresses left to ensure they had a good spot, all the while beaming with glee about seeing this electronic act.
They brought with them a pretty professional looking setup, from a couple of scrims (one on each side of the stage) that had multi-colored lights shining from behind them throughout the show. They also had a cool looking “case” that stood in front of the unused drum kit and had the band’s name on it, with the letters looking like all sorts of old runes. The letters on that were also illuminated, switching through the color spectrum.
Aside from aesthetics, they had also grown a member since I first saw them, now being a trio with the addition of a multi-instrumentalist who often played bass this night, but also dabbled on the keys/synthesizers and electronic drums.
Oh yeah, they also had a smoke machine, which frontman Eric Victorino triggered before walking backstage. In such a small venue, the fog got pretty dense as it billowed out, helping create a mood before multi-instrumentalist Giovanni Giusti, Eric and the bass player made their way on stage.
Their long awaited second LP, “Hush”, was released earlier this year after a successfully funded Kickstarter campaign, and they got their show going with the lead track and first single from it, “Love is a Dog from Hell”. It didn’t take long for the crowd to get into the song that laments love lost, moving about and even doing a little bit of dancing to the track. They were only just getting started as they immediately fired up “Undercover”, the bass during that song being so heavy at times you could feel the floor vibrating, which is always a sure sign of a great show.
It didn’t take long after the music subsided and the applause dies down for one female fan to shout at Eric, “Have my babies!” “I don’t have time for babies. I’m too busy.” he said, politely turning down her request, but it wasn’t the last time she would make it this night.
“Haunted” was the first of a few songs that saw Giovanni and the other guy heavily using their electronic drums, while Eric moved his mic stand out of the way on that one, giving him a little more freedom as he paced around more, and got pretty passionate at times. “I’m haunted, I’m haunted by you…” he belted out on the chorus, dropping to his knees at one point, packing that and many other lines from the song to the brim with emotion. That simply made it all the more enjoyable for the audience, and after finishing it, he had a question for everyone. “Does Dallas, Texas know how to dance?!” They proved they did on the incredibly catchy “Fool’s Gold”, which somehow managed to sound even better live, and was certainly more fun. Eric made an array of little movements with his hands during the first verse, conducting them to the music, while at one point during the song he instructed everyone to put their hands up. The fans listened, moving their fists up and down to the beat.
“Little Space” was definitely the most electronic sounding song they did this night, after which Giovanni and the other guy let up on the electronic drums, as he went back to his bass for the lively “Gimme Control”. “I’m sorry I declined your baby offer earlier…” Eric again told the girl from earlier, who was very into the show. “I’m just too busy. I am.” he said, looking at the bass player, who in turn was looking at Eric like that was just an excuse. The trio moved on with “The Last Dance”, which featured some real percussion as Giovanni periodically beat on a floor tom that set beside him, against the wall of stage left.
“…Tell me, how am I supposed to know, should I hold you, should I let you go? Let me know, I’ll let you go…” Eric sweetly sang on another gem and instant classic from the “Hush” album, “Bedbugs”, ending it as he crooned, “…I could lie and tell you we could still be friends…”
Everyone was saddened to hear Eric announce they had just one song left, but after a quick chat with Giovanni, they decided to do two. One of those songs was “Stranger”, and as they finished it, one girl let out a loud shriek of excitement. “I guess I am having your babies.” Eric said after pinpointing it was the same girl as before “She’s a shrieker.” he stated while laughing. As it stood, they had played the majority of “Hush”, and now, to end their 41-minute long set, they performed the title track. That song is something else in the live environment, and Eric was in top form while performing it, in complete control of the stage as well as the audience’s attention while he thrashed about on stage, then, in true rock star fashion, left the stage right after his final line.
Even after two years I still remember that first of theirs I saw pretty vividly, and the one this night at the Prophet Bar is another one that’ll live on in my mind for quite some time. And since they didn’t do anything from the “Get Sharp” album, it almost was like seeing them again for the first time this night.
Their showman for sure, and the three of them owned the stage this night as The Limousines. However, as amazing as Eric’s voice is (and it does sound even more remarkable live), and as mind blowing of a live show as they put on, one of the most surprising things to me is that is heavily as they rely on electronics and even backing tracks, none of it sounds synthetic. It’s all very real and has a clean, organic sound to it all.
Check out their records in iTUNES, and they do have one more show booked for the year in San Jose, CA at the Blacnk Club on December 20th.
They alone were worth coming out on this Monday night and the $15 price tag, but there was one more band after them, and they hailed from Nashville, TN.
I had listened to a little bit of Mona’s music just a few days before the show, and honestly, didn’t really get into it. There are plenty of bands, though, that end up being better live, and I figured I’d stick around for a few songs and give them a chance.
They played a decent amount of material from their self-titled record, beginning with “Listen to Your Love”. Whatever reason I had of not liking their music beforehand was quickly dispelled with that explosive number, which had pulled pretty much the entire crowd (of around 80+ people, not band for a Monday night) as close as they could get to the stage, watching in awe.
Well, I now knew I’d be sticking around until they finished.
The quartet killed some time as they dealt with the drummer, Vince Gard’s monitor, which wound up not being turned on. “…That means he played that song like a badass!” said singer and rhythm guitarist Nick Brown, before they moved on to another single from their debut album, “Teenager”. Audience participation was a must on it, and they got nearly everyone clapping to the beat at the start of it, while Nick asked the fans to sing along at the end, which most everyone seemed happy to do, though it wasn’t loud enough. “Vince’s girlfriend is louder than that!” Nick told everyone in order to get some more out of them, and that helped lead to the start of some Texas jokes, since his girlfriend was from Texas, and her sisters were actually part of the audience.
After having some fun and laughs with everybody, they got back into show mode, doing a song from the recently released “Torches & Pitchforks”, “Wasted”, which I did find to be a bit repetitive at times. You could already tell that humor, especially in regards to banter, was a big part of Mona’s show, and at this point it appeared they were about to do a cover. “I heard there was a secret chord…” Nick crooned while softly plucking the strings of his guitar, getting an excited reaction from a few fans. A rendition of “Hallelujah” was not coming though, as he stopped right there. “Are you fucking kidding me?” he said, about the idea of them even covering that song, before they promptly tore into “Darlin’”, lead guitarist Jordan Young, bassist Zach Lindsey, Vince and Nick all rapidly rocked out on their instruments.
Upon finishing it, the Texas jokes continued, and while none were negative, they were pretty hit and miss with this group of Texans. “…I know, Texas jokes aren’t funny. Lighten up. It’s a Monday…” Nick said, acting as if he was irritated, but in a joking way. And since that wasn’t working, he put the target on himself. “…That guy with the mic makes less and less sense the more he drinks…”, which got the biggest rise from the crowd yet.
They kept going with a couple of other songs, the latter of which wound up being one of my favorites of theirs. It was very sharp and filled with venom, essentially being the epitome of a rock song. It was interesting when they finished it, though, Nick saying to everyone, “…Sometimes you play songs that aren’t even songs…” “Was that even a song before we started it?” Zach asked, giving the impression that perhaps it came about spur of the moment. Nick then moved the conversation in to what concerts have evolved into these days. “…You hear what you know, and then leave…” He then added, “I don’t believe in that.”, before continuing with, “I know music played by humans for humans is a novel idea…” The thing is, all of that would almost be funny if there wasn’t so much truth to it.
Is what wound up being funny, though, was that after this speech about people only sticking around to hear the “popular” songs, they did “Goons (Baby, I Need it All)”, which Zach pointed out after they finished was the one song that everyone here knew (well, I didn’t know it, though.) It was ironic that things would work out that way, but certainly not hypocritical.
The talk of music continued, and now Nick also incorporated some real life experiences in order to show how different everybody is. “I’ve met people that have dicks who like other people with dicks. I’ve met people with dicks that like people with vagina’s…” He then threw in a meeting with someone from here in the Deep Ellum area of Dallas. “…Earlier I met a guy who’s been homeless for six months and said he’s an atheist…” (while on the topic of religion, at one point during the show Nick informed everyone that he was the son of a pastor, I believe it was, laughing when he said no one probably would have thought that.) The purpose of all that was to show that while we’re all different as far as background and beliefs go, we’re still all pretty much the same. “…Music is bigger than all of us. Fuck religion… fuck state….” he said, adding a bunch of other institutions to that list, before closing with, “I believe in music.”
I think that was the most Rock ‘n’ Roll speech I’ve ever heard, being very impactful, and they of course had to prove that, going almost right in to “Shooting the Moon”, which Nick put his guitar down for. He joined the audience on that one, as the crowd parted, letting him go where he wanted, which was almost back to the bar, before he eventually returned towards the front of the stage. They toned things down just a bit with “Like You Do”, and only did more so once Nick got his guitar back, knocking out “Pavement”.
I believe they followed it with another track from 2012’s “Mona”, “I Seen”. Regardless of if that’s right or wrong, Jordan, Zach, Vince and Nick tore it up on their respective instruments, and even though their 70-minute long set was almost over, they still had a lot of energy left to put into it.
One more song came next, after which they again thanked everyone for coming out on this Monday night. “…No one ever wants to do anything on Monday’s.” said Nick, before they brought the night to a close with “Lean Into the Fall”.
What they did was put on a real, entertaining performance, the likes of which are hard to find.
Making it all the better was the fact that I was not prepared for it in the least, and that’s always a great feeling when you see a band and they completely blow you away.
Anyway, in watching the members of Mona on stage, all the potential they have is readily evident, which makes me glad I saw them here at the Prophet Bar, because there’s no doubt they’re destined for bigger and better things (and bigger stages). They just have all the key components, from the live show, to writing meaningful music that has that certain radio friendly quality to it, and everything else a band needs to succeed.
They may be done playing for now, but keep an eye on their tour schedule, ‘cause they’ll no doubt be busy in 2014. And in the meantime, check out their music on iTUNES.
Very fun night, and it was nice getting to some bands from beyond the North Texas music scene. Too bad every Monday night can’t be this much fun. Oh, and this also wound up being the 600th concert I’ve seen. Not bad if I do say so myself.
The Prophet Bar was hosting a very unique show this night. Free Dominguez, best known as the frontwoman of Kidneythieves, was performing this night, and this final show of an only two-show tour of Texas was more of an intimate party than just your typical concert.
This Dallas date was billed as a “private event”, with buying tickets in advance being the only way to get in, as no tickets were sold at the door, giving it an exclusive feel, to an extent.
On top of that, Free had organized the lineup, with her cousin Jordi Baizan and fellow Los Angeles based singer Sierra Swan opening for her. (Dallas locals At Night were also scheduled to perform, though their van broke down on the way back from their Houston show).
However, since this was such an early show (starting about 6PM), both openers had finished by the time I was able to get there, though I heard good things about both.
Still, everyone was most excited for Free Dominguez, who had been over at the merch table meeting people and signing stuff for most of the evening (from what I heard), only leaving shortly before her and her bands 8:40 start time in order to get ready for the show.
Much of their 67-minute long set was comprised of material from “Volcano and the Sea”, an album that at one point during the night Free said she had been wanting to make for ten years, sounding elated that it had finally happened.
They kicked things off exactly how the record does, with the beautifully serene yet roaring rock number, “Calling”. She informed the decent size crowd on the title after they finished it, chatting with everyone briefly. “This is going to be our last song.” Free joked before they launched into “Beautiful”, which was just one of many songs this night that guitarist Static was able to shred on.
Drummer Beak Wing counted them in on the mesmerizing “Line in the Sand”, which was the last song they did in order as is heard on the record, and afterwards Free again spoke with the crowd, creating a real rapport with everybody. One thing she did was point out a couple who had drove all the way from St. Louis to see this show, a feat that earned them a round of applause. “…It’s stuff like that that keeps me doing what I’m doing…” remarked Free, being genuinely humbled by that, as well as all the fans in general who had come out to show their support.
“Make me a simple life before I die…” Free crooned as they started “Simple Life”, which somewhat deals with materialism, and wound up being a highlight of their show. At least I thought so. Upon finishing it, she pointed out one of the lines from it, for those who might not have caught it, and that was, “…Things that are forever are forever changing…” She commented on how that’s more or less a mantra for her, and it is probably one of the most true lyrics from a song. Talk then led to the next song, which Free noted was the first song she and Static wrote that wound up leading to “Volcano and the Sea”. “…He was screwing around on Skype…” she said, saying she liked what he was doing on his guitar and asked him to continue.
They then slowed things down with the dark and gorgeous “Corridors”, with Free hitting some utterly beautiful notes with her voice. “That’s always a fun one to do. It’s always different.” she stated, referring to Static as “the feral one”, adding that he always keeps them on their toes while performing it. And while they had toned things down with that song, they were about to scale back even more as Beak Wing and bassist Matt McJunkins left the stage. Free told everyone that for this next segment, she let Static pick the songs they were going to play, ones she hadn’t prepared for and was going to be as surprised as the audience. “…I might even forget the lyrics, like I did last night in Houston.” she said laughing.
This portion of the show saw them doing some stripped down covers of Kidneythieves songs, and the first one was the lead track from “Zerospace”, “Before I’m Dead”. They may have sounded a little different, but it was these songs that everyone seemed to love, and much of the audience was even singing along to them, especially “Jude (Be Somebody)”, which everyone seemed ecstatic to hear, and it did even catch Free off guard. “I don’t know what it is.” she said after Static’s first riff on the guitar, reiterating that after the second, before realizing. And no, she didn’t flub the words to either of those tracks.
As the rhythm section returned, Free took a few moments to discuss another project she and Static are working on, which will be a hip-hop collaboration. She expressed her love of the genre, even saying they recently got word from the label that they will be able to get who they want to collaborate with for what I believe she said would be an EP that would most likely be released in the first half of next year. She sounded very excited about it, and it will no doubt be an interesting record to hear once it’s finished.
As they got back to her solo material, they did some revamped renditions of a couple songs from “(.Unearth.)”, the addition of Matt and Beak Wing really helping flesh out the songs from how they are on the album, helping transform “ Darkest Rivers” into a beast of a song, and one they could all really throw down on. “…Enjoy it…” said Free, urging everyone to get the most out of it, adding, “…’Cause I don’t know when we’ll be back…” Following it was “Questions + Lies”, which helped wind the evening down, but they still had a couple songs left to do.
But before playing any more, Free pointed out that a special guest was in attendance, and that was someone who had backed their Kickstarter campaign, picking the reward option of having her write a song about him. In order to get to know him she said they had talked online many times, and she also had him keep a dream journal for a while, which he then gave to her. She was excited about the song, saying how good it was sounding and that she has had to fight the urge to share even a snippet with him, because she wants him to be surprised when he hears the full song, which she said would be titled “Mr. Goodnight”.
They got back to it with “Hearts Like Parachutes”, which made them appear as if they were still getting warmed up, with the whole band really loosing up, especially Matt, who thrashed about to the beat. Then, before their final song, Free pointed out someone else who was in attendance. It was a young girl who was at her first ever concert, and Free said she was glad the child had been in the bathroom earlier when she said the “f-word”. “…I’m sensitive about that stuff…” she clarified, shortly before encouraging everyone to support their favorite band by buying their music, then bashing a streaming service with, “Fuck Spotify!”. It was “Wolf” that brought their show to a close, though even after a little more than an hour, no one was ready for it to come to an end, letting it be known when it was said that would be the last song. “Do you not want me to enjoy this shot?” Free said jokingly, having gotten one early on in the night, but only drank a portion of so it didn’t “fuck up” her voice as she put it. A respectable ting to do I might add, since so many musicians these days don’t seem to think twice about how it might affect their singing.
As the band retreated back stage, the DJ they had at the event began to spin some more music as everyone started to mingle a bit, thinking it was over. It wasn’t.
Static and Free returned to the state after a minute or so, performing over the track the DJ had going, giving everyone one little bonus track.
It was truly an incredible show, and making it all the better was the intimate feel it had. The Prophet Bar is a smaller venue, and all four members were fairly cozy on stage, having just enough room to do a little moving around. That didn’t keep them from putting on one helluva show, though.
There’s no question that Static is a phenomenal guitarist, stealing the spotlight at times as you watch in wonder at his mastery of the instrument. Beak Wing and Matt are also experts at their craft, while Free Dominguez is amazing in all aspects. Often this night she could be seem conducting her body very fluidly to the music, moving her hands and arms about in perfect time to what her band was playing. On top of that, she has a stellar voice, which was no doubt the main tool that left everyone in awe this night.
Honestly, the first time I ever heard any Kidneythieves songs was the covers they did this night, it has prompted me to listen to their records. And while it may be a departure from the group that made her famous, Free’s solo music is every bit as great, albeit in a different way, but in the end, it’s all riveting music that will pull you in and make the trip an experience.
If you haven’t yet heard her solo stuff, check it out in either iTUNES or Bandcamp.
I’m glad I wound up going to this show, as it was well worth it, and I definitely won’t miss out on the next one… Whenever that may be.
Having six bands on a bill means getting the show started early and having most of the bands do shorter sets. So, by the time I arrived to the Curtain Club this night, I had already missed Item 9 and A Life in Arms Reach, while Down to Friend was getting ready to take the stage for their CD release show.
Personally, I wasn’t much of a fan. They were heavier than what I like, with a hefty amount of screaming. But even I managed to find their high-strung show somewhat entertaining, and their fans clearly loved it, moshing pretty much the entire time they were on stage.
And if their genre sounds more like your style of music, you can find the EP they released, “So Awesome, It’s Stupid” in iTUNES.
The music style changed with the next set of bands, with Waking Alice ushering in the rock portion of the night.
They may have had an abbreviated 30-minute long set, but it was still long enough it allowed them to hit the highlights, and they packed it full of rock., an getting them off to an excellent start was “Treason”. As usual, the song was sped up from what you hear on the “Retribution” EP, drummer Jonn Levey providing a quicker beat for the song, resulting in it having much more of an urgency to it. It seemed like they might slow things down with the following song, which frontman Rus Chaney noted was a brand new one they had written a couple of weeks before. “It’s a love song.” he added, prompting a jokingly disappointed “awwwe” from their fans and friends. “Shut up.” he quipped, saying it was more of an atypical love song, and, if I heard the name right, was titled “Paper. Rock. Shotgun.”
It certainly wasn’t your normal love song, and music wise it even had some slightly dark undertones at times, though the lyrics were definitely that of a love song, and not in the generic way that so many songs like that are written in. And if there was still any doubt that perhaps it was not a rock song, than Brandon Brewer’s guitar solo quelled it, being slick, polished and all around awesome. It also further whets the appetites of their fans, giving everyone a little more insight into what Waking Alice has been working on, and already has me intrigued as to what will be coming down the pipeline next.
“Scars” had a super tight rhythm section this night, particularly at the beginning and before the choruses, when bassist Brayton Bourque swiftly plucked the strings of his bass in perfect synch to Jon’s drumming, which was pretty fast in itself. Very cool, and just shows how the band is still tightening up their live show.
They were already halfway done with their set, and continued on with their latest single, which Rus mentioned at the time may even still be up for free download on their Reverbnation page, joking that every now and then they can be nice and give stuff away. He was referring to “Hostage”, the heavy and intense track that has quickly become a fan favorite. “Fighting for myself to break free from your grasp. Now I’m on my feet, I’m gonna kick some ass.” Rus sang on that beast of a song, before they moved on to some classic Waking Alice. “…You might know it.” remarked Rus before they launched into “Biggest Lie”, which is always an interesting one to hear, due to the ever changing guitar solo Brandon does during it. The one this night was one of the best riffs I’ve heard him go on, having a very raw rock sound, and Jonn also got the spotlight for a few moments, as he knocked out a drum solo.
They then closed with a cover. “…It’s probably Jonn’s favorite.” Rus commented. Jonn then smiled as he led them into The Smashing Pumpkins’ “Geek U.S.A.”. They put a good spin on it, and I found myself liking it even more this time around than the (only) other time they did it. You could tell they’ve put some more work into it since their September show, and hopefully it’ll be a cover that sticks around for a little longer.
Their set did seem to pass by a little quick, and I think everyone of their fans would have liked to have heard another one or two tracks, but there’s always next time for that. Actually, this shorter set seemed to make them hustle a little more, invigorating them and making them even more dynamic than usual.
They have one last show for the year lined up on the last day of the year (December 31st) at Tomcats West in Fort Worth, for those who really do want to rock in the new year. And of course check out their music (new and old) in iTUNES.
InnrCor was next up, another band who was celebrating the release of a new record, as well a brand new lineup for the group.
I stuck around for a bit, but just never really got in to it, and since I had been feeling under the weather since early on in the week, still didn’t feel great and I knew I didn’t like the headliners, Mad Mexicans, I went ahead and called it an early night.
It may have been a relatively short show for me, but that should say something about Waking Alice, too, ‘cause they alone were well worth the trip to the Curtain.