Nevermind The Posers

See ya in the pit.

World/Inferno Friendship Society at Asbury Lanes 3/28/2013 May 1, 2013

Filed under: Concert Reviews — NVMP @ 8:38 PM
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Review by Angela Blasi

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The World/Inferno Friendship Society has taken their circus act across the globe and in the twelve years I have been listening to them, seeing them come full circle in the Ancestral Homeland of New Jersey brought a new perspective to the cult-like cabaret.  Walking in, a few first impressions were evident.  Compared to the crowds of old, I found the Lanes to be emptier than I would expect for a home show.  I have followed the Inferno far and wide and have found this current line up to be lack luster in presence.  Although the music is still sharp, full of raucous energy and poignantly executed by the ever-charming Jack Terricloth, the band itself felt like a bunch of day players behind him.  They played the fan favorites, from the classic opener “Tattoos Fade,” “Zen and the Art of Breaking Everything in this Room” and “My Ancestral Homeland New Jersey” to newer songs like “Thumb Cinema,” which is chock full of punk rock staccato momentum, and “Pickles and Gin.”

Despite the small crowd and more reserved band of players, The World/Inferno still delivered to an enamored audience with the heart of an army.  Jack was his chatty self, providing history lessons and anecdotes alike in between lyrics that never seem to lose their steam.  I have always loved the interaction between band and crowd, as a night with the World/Inferno Friendship Society is so much more than just the music; it’s an experience meant to be shared in by all who attend.

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Finch – What It Is To Burn 10th Anniversary Tour April 2, 2013

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Review by Ryan Bright

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This year Finch decided to embark on a 10th anniversary tour in honor of their breakout album What It Is To Burn, which seems to be all the rage with bands of their variety.  While most bands use this type of show to bring their careers to an end or put an era of music behind them and move on, Finch however used this opportunity as a rebirth.  Over the last few years, Finch had fallen off the radar with lackluster albums sales, unsuccessful tours and dreaded lineup changes.  When they first announced this tour only two dates and locations were given, one being LA and the other London.  I jumped at the opportunity to see them in their home town and purchased tickets immediately.  With the overwhelming response and immediate sell outs, Finch added more shows.  My friends and I decided to make a vacation out of this and also see them in New York and Philadelphia when they made their way to the east coast.

We arrived in California a few days before the show with enough time to catch up with friends and prepare ourselves for this highly anticipated performance.  I’ve always wanted to see a show at the Glass House in Pomona, CA.  As an east coaster, I’ve seen this venue on the tour itineraries of my favorite bands.  On Friday February 1st the Glass House was electric; this hometown venue was alive.  As soon as the lights dropped and the first notes of “New Beginnings” rang from the speakers, the place exploded.  Finch took the stage with such vigor, like a band hungry to prove something.  The thing is, What It Is To Burn Speaks for itself.  They have nothing to prove, except maybe to themselves.  The songs still sound fresh ten years later.  The band sounded tight and the sound quality was great.  With a long time to prepare for this night, I would’ve been seriously disappointed if the sound wasn’t on point.  The lighting and production was the best I’ve ever seen Finch have and commemorative screen printed posters were a nice touch.  I was very excited for Grey Matter and they did not disappoint.  The energy was high and, with a fresh voice, the guttural screams were brutal.  “Stay With Me” was as fun to hear and jump around to as it was when I was 16.  All of the songs sounded phenomenal but a true standout for me was “Ender.”  I nearly cried.  “Ender” is a beautifully crafted song and not the typical heavy post hardcore sound.  It’s a soulful ballad that anyone can relate to.  It brings you to a time when you are fighting for a loved one, whether it worked out or not.  They ended the show with “What It Is To Burn,” obviously.  By this point of the show, I was exhausted.  I hung out in the back and just enjoyed the final few moments of what was an incredible night.

Fast forward a little over a month later, Finch made their way to my neck of the woods.  I decided to attend their second night in NYC at the Gramercy theatre.  The Gramercy is a smaller, more intimate venue with what I feel is a better setup than Irving Plaza, where they played the night before.  When I walked in, it felt like I was attending a local VFW show on a Saturday afternoon.  There was no one there.  When the opening band The Almost took the stage there was no more than 150 people inside.  The only thing I could wrap my head around was the fact that the night before was sold out and this show wasn’t nearly as promoted as the previous night.  I didn’t mind though because I had a fantastic spot to view the show from.  When Finch took the stage, the placed filled up but not to capacity.  This show was good but didn’t have the energy that the Glass House did.  There was no action in the pit but people were singing along and looked generally pleased.  The band was obviously a little intoxicated and joked about it onstage.  Some of the songs were a little sloppy, especially the ones with intricate picking patterns like “Post Script.”  The band also seemed a bit tired, possibly from not being used to the life cycle of a touring band.  The lead guitarists’ effects were also not set properly which also did not help the overall sound of the show.  I mentioned these things to my friend who doesn’t play an instrument and she didn’t even notice.  I was a little more critical of this show because the last show stellar.  The set was exactly the same and we left a little early because working people can’t stay out late on week nights.

Two nights later, I drove down to Philadelphia to catch Finch play at the Electric Factory.  The Electric Factory is a great place to see a show, especially if you are of legal drinking age because the balcony bar has great sight lines and a wide selection of beers.  The Almost opened this night as well and had a little bit better of a reception than they did at The Gramercy.  I was surprised at the lack of response for The Almost.  Given that they had two videos on MTV2 from when they still showed videos, I would’ve at least expected a nice amount of cheers, but alas lackluster to say the least.  I enjoyed them and thought they had great sound and band chemistry.  Finch took the stage in the same fashion as at The Glass House, apparently sober and hungry to show that they still have it.  The crowd was feeling it;  sing–a-longs, hugs and high fives were abundant.  The sound on the floor wasn’t so good, but the energy of the band and the crowd definitely made up for it.  “Awake” and “Three Simple Words” were especially tight and a true gems of the evening.   Once again I realized that I’m too old for the pit and headed to the balcony with my cousin.  We watched the remainder of the show, from “Ender” on, from the balcony with fantastic seats because some other folks decided what I did the night before, to bounce a tad early.  Finch ended the show with “What It Is To Burn” and we made our way into the Philly night to make drunken messes of ourselves on Saint Patty’s Day weekend.

I’m glad I went to all three shows.  No band is perfect and every show won’t be a 10, but 2 out of 3 isn’t bad, and who can argue with that?  It was nice to see the band having fun and you could tell they were from the banter on stage.  For a band that teetered on the edge of self-destruction several times, it seems like they put the past behind them in an attempt to move forward.  I mean the bad past not the good past which is What It Is To Burn.  That flame will burn on way into the future whether they remain a band or not.

 

Ballyhoo! 2/9/13 at Gramercy Theater, NYC March 3, 2013

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Review by Angela Blasi

On February 9th, 2013 Maryland natives Ballyhoo! brought their eclectic mix of punk, pop, rock and reggae that refuses to be pigeon-holed into one genre to NYC’s Gramercy Theater.  They’ve been associated with names such as 311 and The Dirty Heads, and earned some chops on the Van’s Warped Tour, giving them a well-deserved spot among some awesome infusions of rock and reggae.

As I stood in a crowd buzzing with friendly energy and the lingering scent of cannabis smoke, anticipation for the group gaining momentum and doing it themselves, grew.  A feel-good band with a light heart and soul, Ballyhoo! engages their audience from start to finish, often feeling just as comfortable as listening in your own living room.  Howi, Mista J, Blaze and Big D put on a great show, playing a variety of songs from their three albums; two of which were self-released.  Musically, they were tight as a military band, possibly even sounding better live than some recorded versions.  The guys have a great stage presence and really know how to engage the crowd, ensuring everyone can sing along even if it’s their first time seeing the band.

They kept banter short, unafraid to launch into the next song with charisma and confidence.  In doing so, the crowd was entertained the whole set through; a sea of bodies could be seen from all angles moving and dancing along with the rhythms.  I really admire their overall performance.  Even though the music is what everyone has come for, the band offers a well-rounded experience.  Despite the venue’s set up and size, Ballyhoo! effortlessly and cheerfully adapts, engaging their fans to be a proactive part of the show’s experience which guarantees a fun show no matter what night you get to see them.

Though it’s an understatement, fun really is one of the core elements of their live show.  Never boring, it’s easy to tell the guys love what they do and want to share their passion, which keeps the fans moving from start to finish; eager to jump as high as they can each time they’re told to do so.

Overall,  Ballyhoo! put on an unforgettable experience, even playing two new tracks to delight their New York listeners.  None the less, older tracks like “Cerveza” and “Cali Girl” were noticeable crowd favorites.  Easy to listen to, great to dance to and definitely music to take with you on a long trip or a cruise to the beach, Ballyhoo! did not disappoint and I recommend feasting your senses on all they have to offer as often as possible.

 

From last year…Maximo Park w/ Zambri and Stagnant Pools @ World Café Live (9/12/12) January 25, 2013

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English alternative Brit-poppers Maximo Park descended on Philadelphia, bringing their style of gruff, synth laced pop-punk to the legendary World Café Live for the next stop on their US tour in support of their latest release The National Health.

The evening started out with Indiana based Stagnant Pools, charged with attempting to set the pace of the night.  However, it’s a tough job to prime up a crowd with their shoegazer/punk style of space rock.  Each of the songs played gave not too subtle vibes from older bands (and probable influences) such as the Jesus and Mary Chain or Failure, where any one of the tunes would have sounded right at home within their sets.  Although they were a good band aesthetically, it was a bit difficult to connect with the music/lyrics when you could understand them.  Not bad, but definitely a poor choice to open up for a more energetic band such as Maximo Park

The next band was Zambri and was sonically a better choice for an opening act, with their heavily atmospheric blend of what could only be described as pop-tinged new wave/experimental rock engulfing the stage like a mist.  It’s rare that bands with Zambri’s sonic complexity are good live, as the singer(s) and the band are often unable to stay on the same page.  Thankfully, this was not the case with Zambri.  The slightly rough, yet powerful dual vocals of sister singers Cristi Jo and Jessica went wonderfully hand in hand with floating electronics flowing through each song.  Cuts like the darkly menacing “All You Maybes,” the robotic oddity of “Carry” and the sharp static beat of “ICBYS” are the best examples of their magic, not to mention being the highlights of their set.  Being something of an electronic purist, the only issue with the set was that it felt like there was something lost in the translation from studio to live…something which happens often in the cases of bands using heavy electronics.  Although they were fantastic live, the intense textures and percussive smashes that drive many of their songs simply weren’t as attention grabbing.  That blame can be centered mainly on the house board mixer, who arguably might not have much experience with a band using such a staggeringly complex array of lush textures.  They are a fantastic band live but ultimately, a lot of their sonic personality was lost in the mix.

This brings us to the headliners, Maximo Park.  Although their music is much more fun and upbeat, (they sound something like an anti-Bloc Party) it wasn’t much easier to the get into their songs than it was to get in Stagnant Pools an hour earlier.  As is often the case with bands that have more Brit-pop leanings, you either like it or you don’t.  Which is not to say that they are a terrible act, in fact the highly melodic pop of “Going Missing” and the manically catchy and danceable “National Health” speaks largely to the contrary.  It was obvious that the audience members were rocking out and having the time of their lives, it was just a bit hard to understand why.  The set list never seemed to achieve the pacing that would completely grab hold of your attention and hook the melodies into the brain.  For every dance track like the synth-led pleaser “Hip and Lips,” came subtler, more mellow rock songs like “The Coast is Always Changing” and “Take Me Home” (described as a peachy kind of lust for the 16+ by the singer), which knocked their momentum a bit off-balance.  However, they did manage to end on a high note, bringing the set to a close with the rousing “Apply Some Pressure.”  Not a great showing from MP, but they are definitely worth giving a second look to in the near future.

– Mark B.

 

Midge Ure of Ultravox @ World Cafe Live, January 10, 2013 January 20, 2013

Review by Mark B.

Since the 1970’s Midge Ure has been mucking about the music scene in the UK, dabbling in everything from pop to glam rock, punk and eventually hitting his nitch in the new wave scene.  He hit the peaks of success after joining established band Ultravox, where he swiftly handled their transition from experimental electronics to a more commercially appealing new wave sound.  Taking them as far as any band could go, he branched off to more success by launching a popular solo career (mainly in the UK) that carried him well into the 90’s.  With a rumored Ultravox world tour gaining momentum this year, it’s only fitting that Midge Ure help to lay the groundwork for such a reunion with a visit to the US for a solo tour, making a stop at one of the greatest music venues around, World Cafe Live.

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Right the Stars

Opening the night on a low-key note was Los Angeles, California’s Right the Stars, a band described by their website as “Paul Simon meets Keane backstage at a Phoenix concert.”  The description couldn’t have been more accurate, as they delivered a slightly restless and uneven set.  It felt like a rotation between the time signatures that the three previously referenced acts often work within.  Slow and sleepy tunes worthy of Paul Simon such as “Train to Glasgow,” paired up with the gentler pop rock of Keane in choices like “Give It All,” meeting at the Phoenix concert in tunes like “Best Days of Our Lives” and “We Got It All.”  And yet, even though it was a bit hard to get into, the set stayed strangely cohesive.  They were definitely a talented band that played a tight set, just one that is not really my style.

Greeting the audience in a smartly tailored suit and an adoring smile, Midge Ure coolly slid up to the mic and made himself at home.  With Right the Stars providing fantastic double duty as his backing band, Ure launched into the spirited Celtic-laced “I See Hope in the Morning Light” from his solo album Pure.  The evening provided a well layered mix of the expected, popular Ultravox tracks including a wildly energetic version of “Love’s Great Adventure,” a guitar heavy rendition of “One Small Day,” which played along his more sugary solo cuts such as “Dear God” and “Answers to Nothing” evenly balanced with a surprise cover of Tom Rush’s “No Regrets.”

P1040193One of the more notable moments of the night occurred relatively early on.  As Ure was having the usual musician’s banter with the crowd, he chose to embrace a moment of honesty about his vocals.  For the majority of his career, Ure was well-known for his vocal strength, delivering consistently passionate performances that ventured into the higher registers with ease.  However, 20-plus years of performing can do a lot of damage to vocal chords, even in the best of singers.  There aren’t many artists that can humorously address a slightly diminishing vocal capacity, but thankfully Midge was one of them.  As he stated, when one gets older it becomes harder to hit certain pitches, “so if you see tears rolling down my face at times, then you know why.”  Although it drew a lot of laughs, there wasn’t much of a reason to warn the crowd, although it was an obvious preemptive strike on his part.

Over the course of the evening, he did visibly stain on a few key Ultravox and solo hits such as “Dancing With Tears in My Eyes,” “Vienna” and “If I Was,” songs that in the past relied heavily on his seamless ability to sing lower notes which quickly swung into the highs.  But it didn’t really matter, as his 59-year-old voice still carried enough power and enthusiasm to carry the music well past the tears of struggle he warned of earlier in the evening.  In fact, his grittier voice added an unexpected depth to many of his set choices, in particular 1982’s “Fade to Grey” (written as part of Visage).  It added a more soulful atmosphere to what once was a robotic minimal new wave tune.

When it came time for an encore, Ure chose to close the show on a somewhat unexpected note by playing an acoustic version of his ultra-cheesy 1984 Live Aid composition “Do They Know It’s Christmas?”  Thankfully, the paired down cover lost all of its shiny 80s luster and became a more heartfelt, personal tune.  It was a song that he basically had to play.P1040149

 

Adam Ant and The Good, The Mad And The Lovely Posse at Best Buy Theater, NYC on October 6th November 17, 2012

Whatever happened to Adam Ant?  Unless you paid attention to the news (mostly in the UK press) where fans could hear of the public antics related to Adam Ant’s mental health issues, one wouldn’t be able to answer.  For many on this side of the pond, not much has been heard from him since his 1982 hit “Goody Two Shoes,” which spawned a music video that afforded him the massive staying power of a place in American pop culture.  So it was a welcome shock when Adam Ant announced plans for his first U.S. tour in 16 years with his new band The Good, The Mad And The Lovely Posse, leading up to the release of his newest album in the early part of 2013.  One postponement and several months later, he finally arrived at the Best Buy Theater in New York to bring the new romantic era back to fans, if only for a night.

As the first notes of “Plastic Surgery” echoed through the halls, Adam took the stage to a thunderous reception from the ravenously eager audience, as they instantly reverted back to their teens for the duration of the evening.  Admittedly, some might call the sight of a 57-year-old man jumping around on stage in a buccaneer outfit singing punk grounded new romantic-era tunes silly.  I would simply shrug and call it Adam Ant, and a truly awesome sight at that.  What a show he put on, launching through two hours and nearly 30 songs with the energy of his younger days, while easily remaining in perfect harmony with his equally talented backing band.  As he propelled from “Surgery” immediately into “Dog Eat Dog,” the crowd became electrified even further, with the band trampling through nearly ten songs before stopping to banter with the audience.

There were some expected signs of wear and tear in his voice throughout the show, with a few off-key moments and slightly diminished vocal capacity popping up along the way (the chorus of “Beat My Guest” comes to mind.) But he rolled with the minor hitches, using his seemingly limitless in leading the eager crowd through a succession of older hits like “Stand and Deliver” and “Kings of the Wild Frontier” and obscurities such as “Deutscher Girls”, while thankfully managing to avoid even skimming nostalgia.  The real highlight of the evening came from the unveiling of “Vince Taylor” from his upcoming album Adam Ant Is the Blueblack Hussar in Marrying the Gunner’s Daughter, a song which managed to unveil a more polished sound while allowing fond memories of album’s past to seep in. No fans lost there.

In fact, Adam Ant’s renewed enthusiasm for playing out is what made his set a vastly different experience than one would expect, if a person’s only experience with his music being from MTV videos or albums.  What sounded like new romantic/new wave-pop (an obvious base of punk ethics buried beneath catchy hooks and lighter lyrics) in past times has now evolved into a rougher, raw sound.  He uses no noticeable backing tracks or synthesizers and kept the engineer-triggered effects to a minimum, which breathed new life into his songs.  The cheesy horns dominant through “Goody Two Shoes” were eliminated, instead driven by a more aggressive drumbeat and the sappy pop of “Wonderful” melted and became more of a Rock ballad.

Finishing on the high notes of a fantastic surprise cover of T. Rex’s “Get It On” and old favorite “Physical (You’re So)” brought the evening to a well deserved close.  Welcome back, Adam Ant.

-Mark B.

Set List

Plastic Surgery

Dog Eat Dog

Beat My Guest

Kick

Cartrouble

Ants Invasion

Deutscher Girls

Stand and Deliver

Room at the Top

Kings of the Wild Frontier

Wonderful

Whip in My Valise

Vince Taylor

Strip

Desperate but Not Serious

Cleopatra

Never Trust a Man (With Egg on His Face)

Zerox

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Goody Two Shoes

Vive Le Rock

Christian D’or

Lady/Fall In

-Encore-

Fat Fun

Red Scab

Get It On

(T. Rex cover)

Prince Charming

Physical (You’re So)

 

The Offspring Host Heavy-Hitters Dead Sara and Neon Trees on the Jersey Shore October 1, 2012

Asbury Park September 9, 2012. The Stone Pony Summer Stage

Review by Angela Blasi

As the summer tapers to a close The Offspring settle into a night of rock n’ roll to light up our own historic Asbury Park.   Being a Sunday show, doors opened at 5pm with a special indoor performance by Old Bridge Twp locals, The Stolen.  A pop punk quintet just getting their feet wet, they were surprisingly easy to listen to.  Still a little awkward on stage with a fan base composed of primarily family and friends, they proved confident, appreciative and best of all, catchy.  You can give them a listen here.

First up on the summer stage we have Dead Sara, the Los Angeles based, female-fronted quartet catching fire as they tour in support of their self titled, debut album.  Though they were only given 30 minutes on stage, vocalist Emily Armstrong, bassist Chris Null, lead guitarist Siouxsie Medley, and drummer Sean Friday made every minute count.  Stepping to their respectful places with a quiet, seamless presence, they broke the silence with the steady groove of Medley’s distorted guitar on “Whispers & Ashes.”  After a pleasant introduction, the rock got underway with “Test on my Patience.”  There is one thing I have to tell you about singer Emily Armstrong- she does not merely sing.  Instead, she opens her mouth and lets the music pour out with unabashed passion.  A voice that has been unparalleled in recent time, or at least in the twenty something years I’ve listened, she is the physical embodiment of the thumping bass drum and the richness of bass guitar.   Music has been devoid of stellar vocalists who understand the instrumentation of the voice for far too long.  I loved “Lemon Scent” – matching vocal melody to the squealing allure of Medley’s instrument, yet gravely growls in all the right places.

I had the opportunity to interview Dead Sara and learn more about their music. From their love of the road to the creative process, Dead Sara is all about doing what feels right in order to create pure rock n’ roll as they see fit; casting off the music industry machine in their early trials and distributing their music via their own label to maintaining complete creative control over their art.  I hope they realize how much faith they have restored in rock n’ roll fans as they spread their refreshingly raw sound across the nation.  Ironically enough their fame is almost accidental, as a radio disc jockey discovered the hit single “Weatherman” and simply started playing the powerhouse of a song out of enjoyment.  A fitting beginning for a band that exudes humble passion, displaying modesty and compelling honesty in personality and musicianship.  When I asked Armstrong where exactly a voice like that comes from, she simply looked me in the eye, laughed a little and replied, “I wish I knew.”  But please, do not underestimate the rhythm section of this band.  Songs like “Weatherman” are accented poignantly with rolling snare and punchy bass lines that resonate inside your chest.   Behind a screaming front woman is a mess of arms, hair and sticks thrashing away like a rock God.   Interestingly enough, Dead Sara only took form into the current line up a few short years ago, as Medley and Armstrong went through a few drummers and bassists before recruiting Friday and Null.   It seems to have been a wise decision, as the group explains their creative process as a natural, flowing entity conceived in the meddling of the studio and fostered by the eagerness and excitement of finding a riff and expanding on it.

      

Though quiet on stage, backstage finds them relaxed and mellow, more like a group of old friends than rock stars who seemed very nonchalant about the being interviewed endlessly thing.  Fresh off of Van’s Warped Tour (where they had to cancel the last leg of the tour due to Medley’s fractured ribs) and bouncing around the U.S., fans can catch them on the bill for ShipRocked 2012 along with heavy hitters Godsmack and Korn.  Keep an eye on this band; before you know it they’ll be headlining major tours and selling out venues.  I wish them well in their endeavors and hope they find rising fame kind.

Second to the stage representing the alternative genre with their energetic, bouncy vibe and electrified music was Neon Trees.  Personally, I was only familiar with their radio singles, “Animal” and “Everybody Talks.”  However, I was impressed with the vocal clarity, as lead singer Tyler Glenn is just as clean and crisp as he appears on studio recordings, often bending his voice into interesting pitches while adding colorful tones.  Neon Trees offered a slightly longer set, featuring an electric light display that matched their fun sound.  I was pleasantly surprised as the band played as tight as a drum and executed it with flawless presentation.  Glenn also offered witty banter between songs, keeping the crowd entertained on multiple fronts.  Something of a contrast to the grit of the previous set, the audience slipped into the bouncing tunes with ease.  They even launched into a cover of “State Trooper.”  And what is a summer show in Asbury Park without Bruce Springsteen?  Overall, the band that has been called an evolutionary step in the glam rock scene proves this is no misnomer.

Which leads us to our main event, The Offspring.  Having been a fan since childhood, this was my first time seeing the group live.   Let me preface by first saying I have heard for many years that Dexter Holland cannot hit certain recorded notes live.  That being said, I took this as an opportunity to see for myself.

Regardless of that, they played an amazing 19 song set complete with two encores.   The Offspring opened with “Hurting As One,” a track off their latest album Days Go By.  Though the new album clearly had its place in their set list, performing the current single “Days Go By” early in the night, they also played every song I wanted to hear.  When the bass line to “Bad Habit” kicked in, older fans in the crowd began to cheer.  Singing along, loud and proud, the group paused just before launching into a cadre of swear words energetically backed by Noodles distorted guitar.  Another highlight was the slow piano introduction of “Gone Away.”  As it crept to a head, Dead Sara’s own Emily Armstrong took to the stage once more to join Dexter on the chorus, adding an even more haunting effect to the overall emotion of the song.  As for the vocals mentioned earlier, I am sad to report that the rumors were true.  During one moment of the night when the main vocals fell out of rhythm for a brief second, I was able to hear a pre-recorded audio track played underneath.  I was a little disappointed when I realized Dexter was either shortening the length of, or unable to hold out, all the characteristic long phrases heard so often on their records.  However I am a forgiving fan, dismissing his vocal shortcomings and simply singing even louder, because after all they still put on one hell of a show.  The music rocked, the energy was buzzing and the crowd was an eclectic bunch of punk rockers and rock n’ rollers (that could have used a lesson in proper moshing/skanking).

Honestly, this is probably the most fun I’ve had at a concert in a long time.  I was thoroughly engaged and entertained from start to finish and highly recommend catching this specific line up before the last date of the tour. You won’t regret it, even if it takes a road trip.