I remember like yesterday, the time of my life.

(December 29, 2009 Philadelphia, PA - Theatre of the Living Arts)

So, I've been to a lot of shows in 2009. This blog will vouch for sixteen of those, but I would bet money that number is more along the lines of thirty two. While some have come close, none of them are as notable as The Starting Line's holiday reunion show. It was the first time they have played together in more than a year and a half. Naturally, I jumped at the opportunity to see such a prolific band play together again. A small caravan of us made the trip from Pittsburgh to Philadelphia early on a Tuesday morning, and prayed for a better experience than our trip to Cleveland back in October. We were not even slightly disappointed. Philadelphia is my kind of city, and I hope to get back to it again within the next few months. We spent a few hours wandering South Street, checking out local record stores before we made our way to the oddly placed line for the TLA, and found our way into one of the nicest venues I've ever had the pleasure of being inside.

The first time I saw the Dangerous Summer, I made it a point to emphasize how obvious the Starting Line's influence on the band is, and it still isn't a bad thing. In fact, I think it's really cool that they've reached the point where they're playing a show of this caliber with a band that means that much to them. I could tell that they wanted to be there just as bad as anyone in the crowd. That said, I think their nerves may have gotten the best of them. They definitely didn't sound as good as when I saw them in Pittsburgh, which was kind of surprising because their following was reasonable at this show, they had a lot of people singing along. They even botched the beginning of "Surfaced," though I don't think a lot of people noticed. However, they did recover quite well, finishing off the first verse of said song with more energy than any other point throughout their set. And I believe "Never Feel Alone" is definitely one of the best set-closing songs I've heard.

set list:
Settle Down
The Permanent Rain
Surfaced
Symmetry
Northern Lights
Where I Want to Be
Never Feel Alone

Valencia took the stage, after sorting out some technical issues, right on schedule, and made their presence immediately known. A local act with a huge following in Philadelphia, the crowd also made it pretty clear that they knew what to expect. Immediately an overwhelming amount of movement happened, and a lot of singing along, but it was fun and appropriate at a pop punk show. They even had a bunch of red balloons flying around the venue, making for a great atmosphere. That is, until "Away We Go" kicked off, a pit opened up, and all the tough guys came out to play. And the drunk girls. It was just bad news. Don't get me wrong, the band sounded great, but I don't know what got into the crowd. I don't know if it's always like that for Valencia, or pop punk shows in Philly, but I had a really hard time enjoying the band. Some guys thought it would be funny to pop all the balloons that a lot of us were having fun with, and other guys thought it would be fun to do a bunch of crowd kills, even though half the crowd was girls a scrawny guys who wanted nothing to do with the physicality of a hardcore show. It was completely disrespectful, and if I was in Valencia, I'd be ashamed of the fans. I've never seen anyone cry at a show out of displeasure. Still, the band did sound really good, and since the show I've found that I really enjoy Valencia's recorded output, and I would definitely go see them again, but in Pittsburgh. Oh, and the part of "Listen Up" that Kenny Vasoli sang on was definitely the highlight of the set.

set list:
Free
Away We Go
Holiday
Where Did You Go?
Listen Up (featuring Kenny Vasoli from the Starting Line)
Safe To Say
Wake Up (new song)
Better Be Prepared
The Space Between

Still, I was definitely not in the best of moods when Valencia's set ended. Two of the three people I was with went to the back of the venue because they were so frustrated with the crowd. However, after enduring a six hour drive and a very cold day wandering Philadelphia, I was determined to enjoy myself. Fortunately, Kenny and The Starting Line made it very easy to do that. My spirits were raised along with the band's original banner, a huge backdrop to the equally large stage. I felt as if for the next hour and a half, I would be taking a trip back to the early millennium with one of the best pop punk acts from that time period, and when the band took the stage by the storm with the opening tracks from their first three records, back-to-back-to-back, in chronological order, I knew the night would go all too fast. This being my first time seeing the Starting Line, I was not in the position say anything like "they sounded just as good as they did before their hiatus." However, I can't imagine they could have sounded any better. Every single song was spot on; full of energy and emotion. What made the set even more enjoyable was the connection that everyone in the room had to the songs being played. The Starting Line has certainly touched their fair share of lives (165,000 Myspace friends can't be wrong), and almost everyone in attendance had some kind of history with the band's music, or at least sang along like they did. For a majority of the set, Kenny's vocals were mostly inaudible, but not due to poor mixing, rather the crowd's collective singing. I couldn't even tell you what my favorite moment was, I don't think I stopped smiling all night. What it boils down to is, the Starting Line is still a force to be reckoned with in pop punk, if they do decide to stick around. I feel very fortunate to have attended this show, I genuinely think this will be one that my grandchildren hear about.

set list:
Up & Go
Making Love to the Camera
Direction
Surprise, Surprise
Inspired By the $
Are You Alone
A Goodnight's Sleep
21
Need to Love
Photography
Artistic License
Birds
Way With Words
Given the Chance
Island
Somebody's Gonna Miss Us
Best Of Me

encore:
Something Left to Give
Leaving

Let the music breathe across my face.

(December 12, 2009 Pittsburgh, PA - The Smiling Moose Upstairs)

There are only a few bands that I've seen more than once this year, and I feel fortunate to call Good Old War one of those bands. The best part of that is they are the only band I've seen three times, and had I the chance to see them a fourth or even a fifth, I can guarantee that I would have. Unfortunately, each time I've seen them, I've gone alone (unless you count my dad, which I don't because he stays seated in the back of the venue, while I make my way into the crowd). Next time they're in Pittsburgh though, you can bet I'll have a minivan full of people. If anyone's earned a good crowd, it's Good Old War.

It's an almost fictional occurrence for me to miss a set, but I missed Chalk Dinosaur altogether, and to them I send my apologies. I walked into the venue only to find Harrison Wargo playing Beatles covers in minor keys. Just kidding about the last five words in that last sentence. What I meant was, I walked into the Smiling Moose's upstairs to find a packed house listening to Harrison Wargo and his band playing catchy pop songs that anyone can appreciate, but with just a hint of melancholy. I missed some of his set, but I loved what I heard quite a bit. Be on the lookout for a full length from him early next year.

Following Harrison Wargo came Hezekiah Jones, who upon researching led me to expect hundreds of people on stage (see their band members section on Myspace), but ended up only two guys, vocal harmonies, and two guitars - a quietly strummed acoustic and sparse atmospheric electric. I was immediately reminded of acts like Bon Iver, playing brooding songs about heartbreak and satisfying flannel-wearing college kids everywhere, but after the song they played about the end of the world, I figured out that maybe Hezekiah Jones was a little less than that, in a good way. Still, I felt like their set lacked something. They said they were missing a few members for the performance, and I think it held them back somewhat.

Dave Davison of Maps & Atlases fame, AKA Cast Spells, was up to perform next, and being unfamiliar with Bright Works & Baton, his first release, and only having the prior knowledge that Cast Spells is a solo project, I expected one guy playing guitar and singing, and I expected to be bored. What I was greeted with was much more. Keith, Dan, and Tim of Good Old War joined him on stage, and played through (as far as I remember) all of the Bright Works & Baton EP and one of the two songs featured on the Cast Spells/Good Old War split EP ("All Brass"). I was beyond impressed. The songs were fun, upbeat, catchy, and all-around enjoyable. After the show, the girl that was selling Dave's merchandise gave my dad a CD because my dad had helped her film Hezekiah Jones' set. While the free CD might have been undeserved, we listened to it the whole drive home, and it's every bit as fantastic as the live set was.

Being that there was no set up to be had, Keith, Dan, and Tim took a quick break and then hopped right back on stage as Good Old War, and jumped right into their set. Banter was frequent, which would have been annoying if the band a. wasn't hilarious, and b. didn't play a lot. The thing is, they are hysterical, and they played "longer than [they] have ever played." Good Old War is really just three best friends playing music together that anyone can enjoy. The whole show felt like how church should feel, because everyone was gathered together, singing along, and left better off than they came. After already having seen the band twice (reviews here and here), it's clear to me that they're a top notch live act, definitely in the category "Better live than on record," so I don't really know what to add to my previous two reviews. I definitely won't even be missing Good Old War if they're anywhere near me.

set list:
Tell Me
Window
Just Another Day
We've Come A Long Way
Looking For Shelter
Get Some (new song)
I'm Not For You
No Time
Texas Blues
Breaking Down
Maybe Mine
Weak Man
Coney Island

Waltz around the room, with a glaze in your stare.

(December 7th, 2009 Pittsburgh, PA - Altar Bar)


Anyone that knows me personally knows that I'm pretty burned out on the heavy music scene, but there are a few exceptions. One of those exceptions is Norma Jean (another will be revealed in a few paragraphs). When a friend of mine and I saw that Norma Jean was coming to town, and there was a possibility they'd be playing all of their definitive debut album, Bless the Martyr and Kiss the Child, we made plans to go.

Said friend of mine happens to play guitar in a local band called Arcane Haven. As coincidence would have it, Arcane Haven won a battle of the bands competition with a local promoter. The same promoter who booked the Norma Jean show in Pittsburgh. You see where I'm going with this? Anyway, Arcane Haven played first. They're good friends of mine, so I will hold back on praise, but I will say I actually do enjoy their music. Brad Brunazzi, the band's lead guitarist and primary songwriter, is an incredibly skilled musician. Give them a listen, we'll call it a personal favor.

The first national act to play was Arsonists Get All the Girls. It's funny, I filled in on vocals for an Arcane Haven show opening for this band once, but I left early, and I've never even listened to them. Well, I was actually really impressed. Musically, these guys are incredibly skilled. It's not your typical generic metalcore. I also love their lead vocalists screams (even though he's not going to be able to do it at all in a few years, because his technique is terrible). Still, it's heavy music, and most of it sounds the same. Chances are, I won't be seeing these guys again, unless they find themselves on a bill with one of the few heavy bands I still enjoy (see: Converge).

Okay, so if I didn't seem too into Norma Jean, it's because I'm not. The real reason I wanted to go to this show so bad was this video. The Chariot have created quite a reputation for themselves in the scene. I had absurdly high expectations, but all of them were met, and far surpassed. Anyone who tells you The Chariot suck live is only half right. They didn't sound very good at all, I can attest to that, but live shows are a fifty-fifty experience. You also get the visual half too, and The Chariot was a real treat in that sense. All five members of the band were all over the stage, and occasionally off of it too. The crowd was equally fantastic. There was no overdone two-stepping or anything, just a lot of pissed-off people pushing and shoving each other, screaming the words, and having a good time, in our own way. The set list was an excellent mix of all three of the band's full lengths and their EP. Opening with the second half of "Teach:" was the perfect way to gradually introduce the crowd to the chaos that they were in store for. For me, the highlight of the set was "The Deaf Policemen," from The Fiancée. During the "blood on the roots/blood on the branches" part, I got up on top of the crowd and Josh Scogin, the band's frontman, shoved the microphone into my face, and I might as well have lost my voice right then and there. I didn't keep track of the setlist, but I know that along with those two, "Before There Was Atlanta," "Die Interviewer," "Yellow Dress," "And Shot Each Other," and "Daggers" were all played. They certainly made the most of their brief time on stage too, where every other band spent a little bit too much time on banter, not a word was spoken throughout the course of The Chariot's set - it was a half an hour of nonstop mayhem. I found myself exhausted at the conclusion of "Daggers," the last song played, and subsequently I stayed out of most of the action for the rest of the night. That 30 minutes was worth whatever the ticket, parking, and food ended up costing me though, and I'll be doing it again soon enough. The Chariot is something that needs to be fully experienced to be understood.

So how do you follow up an act like that? Whoever booked the tour must've thought something along the lines of "by furthering the outright confusion of the unsuspecting Norma Jean fans!" because that's exactly what HORSE the Band did. I honestly have no idea what was going on for the forty minutes or so that they were on stage. One second they'd be playing an incredibly technical breakdown, but then the next just drunkenly rambling. I wasn't all that impressed, but they drew the biggest crowd of all the bands that played, without a doubt. I spent about half of their set in the crowd, but I found myself indifferent, and much preferred talking to The Chariot's merch guy about 80's movies and foil shirts. I guess they're cool if you're already a fan, but HORSE didn't win me over.

When HORSE's set wrapped up, the room thinned out somewhat, leaving the few die hard Norma Jean fans that had been on the edge of the stage throughout the show, holding on for dear life to their prized spots. Most of the attendees knew ahead of time that the set list would consists almost entirely of songs from the first album, and excitement was mixed. I'm sure there were a lot of old school fans that were there only because of that, but personally, I don't care for Bless the Martyr. I'm partial to Redeemer, but I think even more fans prefer O' God, The Aftermath. Still, this handful of shows is pretty notable because of the front-to-back performance of an album, something not a lot of bands do. And honestly, the band sounded so much better live than on record for every single song. Maybe it's the poor production on the original release, or maybe it's the seven years of age the songs have, but regardless, I would much prefer to listen to live versions of these songs than the ones that appear on the album. I give the band credit for that reason. They also had more energy than most of their peers, but in the context of the other bands playing (cough The Chariot cough), it didn't strike me at the time. Overall, the set was good, definitely worth staying for, if only to see Josh Scogin of The Chariot do two songs with the band. Josh also happens to be a founding member of Norma Jean, and it's his vocals that you hear on Bless the Martyr, so it was really cool to hear him do these songs. The set ended on a good note, but the encore really killed the atmosphere. Note to bands that play heavy music: don't drag out your songs, end with a bang. The extended jamming the band did on "Vipers, Snakes, and Actors" was bland and uninteresting, and a terrible way to close out the night that was actually much better than I expected.

approximate set list:
The Entire World Is Counting On Me...
Face:Face
Memphis Will Be Laid To Waste
Creating Something Out Of Nothing...
The Shotgun Message
Sometimes It's Our Mistakes...
I Used To Hate Cell Phones...*
It Was As If The Dead Man Stood...*
The Human Face, Divine

encore:
Organized Beyond Recognition (Partial)
Vipers, Snakes, And Actors

*with Josh Scogin

My heart is filled with songs of forever.

(November 15, 2009 Pittsburgh, PA - Club Diesel)

I've only been able to say a band is so good live that I'll never miss them when they come through about a few bands. The first band that ever earned that honor from me was Thrice. The first time I saw Thrice was on Brand New's Fall Tour of 2007, and they were very good. Then they came back in the spring of 2008 with Circa Survive as direct support. Circa was my favorite band at the time, but Thrice was much more impressive. Still, on both occasions I was going to see other bands, with Thrice being a secondary interest. This time was different. Though I was familiar with both openers, and enjoy their music quite a bit, tonight was about Thrice.

The show started much earlier than I'm used to, likely because Club Diesel has a very strict band curfew, and I think it worked well in everyone's favor. Thrice has very dedicated fans, and thus the building was packed before the first band, Polar Bear Club, even began playing (although they did start a little late). I was pretty familiar with all of their material and was impressed with the very well mixed set list. Even though there weren't very many of us in attendance, I'm sure anyone who came to the show already a fan was pleased. More importantly though, the significantly larger percentage of attendees who was not familiar seemed rather impressed. Although the band would have been much more appropriate on a punk or hardcore bill, and the crowd's movement was mediocre, they were listening, and when I spoke with the band afterward, they seemed pleased, as was I. This supporting slot, though peculiar, will be good for PBC for as long as the crowds are respectful and open minded to something a little bit different than what they're used to.

set list:
Living Saints
Light of Local Eyes
Parked in the Parking Lot of Your Heart
Boxes
Bug Parade
Burned Out In a Jar
Olde Fisher Burial Ground
Our Ballads

Look, I've seen The Dear Hunter fives times now. They're beyond mind blowing each and every time. If they're in your city, just go. Consistently amazing. In fact, they've only gotten better progressively since I first saw them more than two years ago. I was incredibly happy that they played "1878," one of very few TDH songs that I had yet to see played live, and a personal favorite. Aside from that, just another consistent set. It was pretty clear that they won over a ton of new fans, too. In fact, the audience's collective amazement was audible. Definitely one of the best live acts on a consistent touring circuit. They will be near you within the next year. Make your way to a show and you'll understand.

set list:
Son (a Capella)
Mustard Gas
What It Means to Be Alone
The Church & The Dime
1878
Oracles on the Delphi Express (semi-a Capella)
Red Hands (reworked)
He Said He Had A Story

Thrice is in a similar boat as The Dear Hunter; I knew what I was getting into. As I mentioned before, this was my third time seeing them, and I had very high expectations, which were met quickly. Though the set was plagued with technical difficulties, mostly with lead guitarist Teppei Teranishi's rig, it was still quite enjoyable. It's unfair to compare Thrice to themselves, because this set was ten songs shorter than the last time I saw them headline. The fact is, it was one of the strongest headlining sets I've seen all year. Thrice's music runs the gamut, as far as dynamics go, and their live sets cover all the bases. Songs like "Silhouette" and "Hold Fast Hope" really get a crowd moving, and then "A Song for Milly Michaelson" or "Daedalus" can bring them right back to ground. The reworked full band version of "A Song for Milly Michaelson" was certainly the highlight of the set for me. I wish this is how it appeared on The Alchemy Index. Oh, and if Thrice's new album, Beggars, didn't satisfy you, the songs still hold their own mixed into a set with old favorites. It was unfortunate that the set had to be cut short, due to both the technical difficulties and the terrible venue, but I was quite happy nonetheless. After the set, I spoke with Dustin Kensrue, the band's primary songwriter and vocalist, and he was incredibly nice as well. Thrice creates a complete experience with their live shows. They incorporate excellent visual aspects, pristine sound, and they manage to keep the sets very personal, if only because so many of their songs strike a chord with so many people.

set list:
Of Dust and Nations
Silhouette
All the World Is Mad
The Weight
Helter Skelter (Beatles cover)
In Exile
A Song For Milly Michelson
Hold Fast Hope
The Artist In the Ambulance
The Melting Point of Wax
Daedalus
Like Moths to Flame
The Arsonist
Beggars

encore:
The Earth Will Shake

Thrice did something really cool that's new to me that I feel is worth noting - before their set their stage tech lit several incense sticks, and let them burn on the stage. It really made the atmosphere much more pleasant, something that's very welcome in a sweaty, crowded venue.

If you think I'm being harsh, baby keep on counting stars.

(October 27th, 2009 Cleveland, OH - Beachland Ballroom)

Almost every show I've been to this year has been good. The really good ones were that way because of more than just the bands that played, but also the interaction, where it's more than just a bunch of people gathered to see a band play, then promptly go home. A concert's really good when it's more of a congregation of people with common interests who can all get along. I can't say that this was the case with every show I've been to recently, but for the most part it has been. Thus, I had high hopes for Say Anything's headlining tour, especially with the diverse openers they brought along. I was even more excited to finally be seeing a concert in a city other than Pittsburgh, and while Cleveland wasn't my first choice, I was anticipating the adventure that was waiting for me.

Moving Mountains has found their way onto some strange bills this year. Once the Say Anything tour wraps up, they'll be heading out with Straylight Run and the Dangerous Summer. Armed with nothing but that information, you'd think they'd have a sense for pop music. This is not the case at all. In fact, MovMou would probably be much better suited on tour with Envy (Japanese post-screamo) or Explosions in the Sky (instrumental post-rock) than Say Anything. The one thing every band labeled pop-anything has in common is song length. MovMou don't fall into that category. They only fit four songs into a thirty-minute opening slot, and, appropriately enough, most of the crowd seemed relatively bored. Fortunately for me, I couldn't hear them, because MovMou was incredibly loud, and I wouldn't have had it any other way. Even if you sample their music online and don't enjoy it, don't rule them out. They're a live band, first and foremost. You don't really get a sense for their music until you've seen it performed live.

set list:
Armslength
Lights & Shapes
Cover The Roots/Lower The Stems
With One's Heart In One's Mouth

Before the show had even started, the order of anticipation for me, personally, went most-anticipated to least-anticipated in order from opener to headliner. What I mean by that is, the highlight of the show for me was already past when .moneen. took the stage. I've been a fan of .moneen. for a good while, but have yet to see them live, and I still don't quite feel like I have, because Cleveland, and several dates preceding and following, only got one-half of .moneen., because of van problems. For a short string of dates they performed acoustic, but I was no less excited, and my excitement was matched just the same. They sounded fantastic, even with the relatively impromptu acoustic set. The two songs that did feature bass and drums were still semi-acoustic, but no-less enjoyable. In fact, I have no complaints, except that I would have liked to hear more from them, but based on the crowd's extremely sub-par response to the hushed set, which was even met with the occasional heckling (EXTREMELY distasteful and disappointing, as far as I'm concerned), it wasn't to be.

set list:
Hold That Sound
Dark & Ugly
This Is All Bigger than Me (Coby & Alex from Say Anything on bass & drums)
There Are a Million Reasons....
Believe (Mitch & Nick from MovMou on bass & drums)
Waterfalls (Kenny solo)

Much to my dismay, my expectations for the night were met, and if they weren't, it was only for the worst, when Eisley's set got underway. I'm not even sure how to explain it, but they just did not sound good. I enjoy their recorded output, but the set list was mediocre, the vocals were disappointing, and their discomfort on stage was very easy to sense. The crowd's hostility probably didn't help anything, but at this point it was past everyone's bed times and all that they collectively wanted was a lullaby from Mr. Bemis. Eisley's set wasn't completely terrible though, the new songs that were played were definitely the highlights, which bodes well for their future live performances anyway.

set list:
Marvelous Things
Many Funerals
The Valley
Golly Sandra
Mr. Pine
Smarter
Ambulance
Memories
Many Funerals

I was mildly disappointed when Eisley left the stage, but was downright fed up when I got hit with the wall of fan-boys and -girls immediately after. It felt like I was standing in a room filled with oversized preschoolers who were just made aware of the presence of an enormous bowl of candy, but just couldn't see it. If anyone reads this blog frequently at all, you know that I go to a lot of concerts, but I've never been in a crowd this bad. Maybe it was the city, or maybe it was the band and their fan base, but regardless, it was completely unnecessary, and it only got worse. I made a b-line for the back of the room, because I'm not a big enough fan of Say Anything to put up with being smashed for the duration of their set. As soon as the set kicked off with their two biggest singles, I knew I was in for a long night. What's worse is they didn't even sound good. It was immediately clear to me that Max Bemis, the band's frontman, still doesn't know how to use a microphone even after years of touring. As annoying as it may have been, maybe it really was best for him to just let the crowd do all of the singing, because it sure seemed like that's what he intended. And I couldn't have been more disappointed with the set list. Save for two choice cuts from ...Is a Real Boy ("Yellow Cat (Slash) Red Cat," which was fantastic, and "Slowly, Through a Vector," which was disappointing, at best), the song choices were awful. The only positive that came of the entire set was how good "Hate Everyone" sounded live (and upon listening to Say Anything, the band's new album, much better than the version on the album). I've only once ever left a show while a band was playing, and that was because I had promotions to do, but I didn't even bother staying for the encore, instead choosing to talk to Kenny from .moneen. and the guys from MovMou at their merch table. Best decision I made all night.

set list:
Wow, I Can Get Sexual Too
Alive With the Glory Of Love
It's a Metaphor, Fool
Shiksa (Girlfriend)
Hate Everyone
Yellow Cat (Slash) Red Cat
Have At Thee!
This Is Fucking Ecstasy
Eloise
Woe
Baby Girl, I'm a Blur
Mara & Me
Slowly, Through a Vector
The Futile

encore:
Crush'd (Max solo)
Spores
Admit It!!!

As disheartening as the latter half of the show was, I did manage to have a great time traveling to a new city with some great friends for music. We visited the Rock and Roll Hall of Fame & Museum during our brief stay, and made some new friends along the way. Still, don't expect to ever find me in a large group of Say Anything fans, or people from Cleveland, again for a little while.

If you never let me go, I will never let you down.

(September 8th, 2009 Millvale, PA - Mr. Small's)

After seeing The Gaslight Anthem in March, I added them to the list of bands I'll never miss when they're in town, so as soon as a fall headliner was announced, I made arrangements to find my way there. The thing I've found about going to weeknight shows is that the crowd is always much cooler than on weekends, there's less high school kids trying to impress each other, and it's more like a bunch of friends. I met a couple really cool people from all over the tri-state area just waiting outside the venue. My friend and I even got a spot right on the barrier because we were pretty early. It was his first good show too, so the night was looking rather promising.

Then Ninja Gun took the stage. Oh what a horrible segue. They were actually really good, in context. I don't know if I'd go see them headline, but if my dad wanted something to do on a Saturday night and they were playing a bar, I'd be all over it. To reiterate that statement, they reminded me of something that would fit really well in a bar in a working man's town, just good times music, staying optimistic. That was the general atmosphere for everyone's sets.

The second band to play, The Loved Ones, came out and absolutely burned the stage up. I've seen a lot of bands live, and I've (over)used a lot of adjectives to try to give you some kind of sense of what they're like, but The Loved Ones are the first band that reminded me of real, good old rock stars. I've never seen a band have so much fun and sound so good, while simultaneously giving a great first impression. They also kept the optimism alive with smiles and similar subject matter. Dave Hause, the band's rhythm guitarist and vocalist, was all over the stage. I only wish I would've picked up one of their records on vinyl, or at the very least a t-shirt, to support such a good band and such great guys. I went home the next night and I've been listening to Build & Burn ever since. They're another band to add to that very same list I talked about two paragraphs ago.

Sometimes it takes seeing a band live for me to really appreciate their recorded output. Such is the case with Murder by Death. While I've had all of their full length albums in my library for quite a while, I never really got into it, but when they took the stage, they really changed my mind. It wasn't a particularly awe-inspiring performance, it didn't even seem like they were having that great of a night, they just came out and played, and left a majority of the crowd (including myself) quite satisfied. "Those Who Stayed," the set's instrumental closer, was particularly impressive, and left me wanting more. When I go to see bands that I adore headline, such is the case with Gaslight, I tend to get a bit anxious during the openers, especially the direct support, but Murder by Death kept me interested throughout their whole set. That's very commendable, and depending on the opening acts, I would even go see them headline.

set list:

Sometimes the Line Walks You

'52 Ford

Ball and Chain

A Masters In Reverse Psychology

Ash

Steal Away

Steam Rising

Comin' Home

Organ Grinder

Brother

Until Morale Improves, The Beatings Will Continue

Those Who Stayed

The first time I saw Gaslight, I didn't even know the songs all that well, but it was still one of my favorite sets I'd seen. Knowing the songs definitely made it even better. Anything that I had to complain about last time was put in the past. The sound was unbelievable, and the whole band was having a great time (as usual). While the song choices were excellent, it was very similar to the spring tour's set lists. I wouldn't have minded a little bit of variation, but I left happy nonetheless.

set list:

High Lonesome

Casanova, Baby!

Old White Lincoln

Even Cowgirls Get the Blues

The '59 Sound

We Came to Dance

Film Noir

Miles Davis & The Cool

Meet Me By the River's Edge

Stand By Me/I'da Called You Woody, Joe

Angry Johnny & the Radio

Great Expectations

Here's Looking at You, Kid

The Backseat

encore:

Blue Jeans & White T-Shirts

Wherefore Art Thou, Elvis?

Drive

Just turn up our soundtrack and we'll keep singing out loud.

(July 29, 2009 Millvale, PA - Mr. Small's)

Every once in a while, a tour comes along that's too good to pass up (see my last post, about the New Deal tour). Gig Life didn't seem like one of those to me initially. A friend and I planned on attending, I for Fireworks and Set Your Goals, who co-headlined the tour with Four Year Strong, the band he wanted to see. Some problems arose just a few days before the show, and I thought I wasn't going to be able to attend. But had that happened, you wouldn't be reading this, would you? Everything worked out, and I found myself at Small's door in the rain on a Wednesday night.

Grave Maker, a hardcore band (no, not the kind of 'hardcore' you listen to) from the UK, came out first and absolutely killed it. I've seen so many generic bands that claim the term 'hardcore,' but this was the first real hardcore band I've ever seen, and they won't be the last. The crowd/band interaction, the band's energy, the aggression in their sound, it all created this really crazy mood that can't be duplicated. I don't really have any other experiences to compare it to, but if I ever - scratch that - when I see another hardcore band, I'll let you guys know how Grave Maker compares.

The second band to play was a band from Michigan (they congratulated us as Pittsburghers about the Stanley Cup) who go by the name The Swellers. They play an infectious brand of a workingman's pop punk, if you will [your girlfriend wouldn't really care for it, but they couldn't play with three other Grave Maker's either (that term will never stick)], and with their recent signing to Fueled By Ramen, have a hard-earned slot opening for Paramore. This was one of those sets that made me really regret not being more familiar with the band's material, they put on a great show, had a ton of fun, and made it fun for us. They set the bar for the rest of the night, in retrospect.

One of the two bands I was looking forward to most, Fireworks, was up next. They came out swinging with "Detroit," the first single off of their fantastic new album, All I Have to Offer is My Own Confusion. Dave, the band's vocalist, does not sound very good live though, as evidenced throughout the whole set. Sometimes though, it's more about having a good time than sounding good while you do it, and I had a pretty darn good time throughout. The set was filled with songs I, along with several others in the crowd, knew every word to, and the band was really energetic. The atmosphere was just really upbeat. Given the chance I'd definitely go see them again, just to have a great time.

set list:
Detroit
I Support Same Sex Marriage
Michigan Boys Need To Get A Clue
Closet Weather
Show Me Your Vanishing Act One More Time
Geography, Vonnegut And Me
2923 Monroe St.
From Mountain Movers, To Lazy Losers
When We Stand On Each Other We Block Out The Sun

Before the show started, I found out (to my disappointment) that Four Year Strong was headlining, and Set Your Goals would be direct support. More than anything I was worried about set times, but clearly that was nothing to be concerned about. I gave my phone and my glasses to my friend and headed for the pit by the end of "The Fallen..." and spent the next 45+ minutes having the time of my life. This mosh pit ran the gamut, complete with several circle pits, standard moshing, pushing, and several crowd surfers. Did I mention singing along at the tops of our lungs? If I could do it every night of my life, I'd be the happiest guy alive. SYG wasn't the best band I've seen live or anything (don't take that the wrong way, they sounded really great), but they were the funnest band I've ever seen live, without a doubt.

set list:
This Will Be The Death Of Us
The Fallen...
Work In Progress
We Do It For The Money, OBVIOUSLY
Look Closer
Summer Jam
Echoes
Goonies Never Say Die!
To Be Continued...
Gaia Bleeds (Make Way For Man)
This Very Moment
Our Ethos: A Legacy To Pass On
Dead Men Tell No Tales
Mutiny!

My night was already complete, but Four Year Strong had yet to play, and my logic was that I paid to see five bands, I might as well stay for all five. I've never been a big fan of FYS though. For a while I never listened to any of these other bands because they drew comparisons to FYS, the first hardcore-pop-punk/easycore/positive hardcore/whatever-you-want-to-call-it band that I'd heard. I'm just not a fan, don't ask why, but their live show didn't sell them to me at all. The crowd was really boring, and the band felt like robots. The set was exactly what I expected, and while they sounded really good, it didn't even feel like they were in the room. It was as if a couple hundred kids gathered together to listen to a Four Year Strong CD together.

set list (courtesy of setlist.fm):
The Takeover
Bada Bing! Wit' A Pipe!
Catastrophe
Abandon Ship Or Abandon All Hope
Men Are From Mars, Women Are From Hell
Semi-Charmed Life (Third Eye Blind cover)
Prepare To Be Digitally Manipulated
Beatdown In The Key Of Happy
She Really Loved You (Reach The Sky cover)
Maniac (R.O.D.)

encore:
Heroes Get Remembered, Legends Never Die

Nonetheless, I did enjoy myself. This tour was so worth it, it was one of the best times I think I've ever had at a show. I feel almost privileged to have been there, these bands are at the top of this scene, and to get them all on the same bill was quite a treat.

Hand in hand with the devil, singing "Hallelujah."

(July 19, 2009 Pittsburgh, PA - Garfield Artworks)
If you follow my posts, at least since April, you've done one of three things - you either listened to, and weren't impressed by Audrye Sessions (review here) or Paper Route (review here), you didn't take my advice at all, and completely disregarded both bands, or you took the leap (and my word) and went and saw the two bands on the New Deal Tour, because face it, I raved about them. I'm going to go ahead and hope we all went with option three, but I know that isn't necessarily the case. So allow me these five paragraphs to remind you what a terrible decision that really was.

The first band to play was Good Sir Con Artist, who were just added to the bill that day. They were doing a DIY tour and needed a place to play in the area, and I guess they found it. I wasn't super impressed, but they certainly weren't bad. I talked to the guys after their set, specifically to ask what they listen to, and their vocalist's taste was almost identical to mine (think Kevin Devine, Manchester Orchestra, and the likes of) and that did show through in their performance without a doubt.

Another (extremely pleasant) surprise on the bill was the second band, A Voice Like Rhetoric. A band based in Pittsburgh and Akron, Ohio, I'm somewhat familiar with their work. I have their full length and I've seen them once before, but I didn't get the full affect of their live show the last time, being that I was stuck in a crowd of Chiodos fans. Still, AVLR are definitely one of the coolest things that Pittsburgh has going. Skillfully combining math rock with it's much simpler counterparts in the scene, and making it sound (and look) effortless, A Voice Like Rhetoric are one of the few local bands that I won't pass up seeing at the given opportunity again. They're all very humble guys too, really easy to talk to. Definitely worth the listen. Definitely worth repeated listens, and probably seeing them live if you get the chance.

I knew two things coming into this show, it was a co-headliner, and both bands who could be headlining are fantastic live. What I didn't know was who would be headlining, and it turned out to be Audrye Sessions, which meant Paper Route would be playing third. I also didn't know who is actually better live, even though I've seen both bands. Well, as it turned out, Paper Route is the better of the two. The first time I saw them, the lighting in the venue was fantastic. This time, the venue was a lot smaller, but they made due by wearing flashlights on their arms and legs and shutting off the rest of the lights. It was really kind of indescribable. They sounded amazing too, so much better than they are on record. Paper Route is the best band I've ever seen live. That's all I can really say.

set list:
Wish
Carousel
Are We All Forgotten
Last Time
Tiger Teeth
You Kill Me
Gutter
Dance On Our Graves

That isn't to take anything away from Audrye Sessions. They're in the top five as far as bands I've seen live, without a question. Ryan Karazija, the band's vocalist, consistently steals the show. His range is mindblowing. The whole band is so together too, most of the songs are played much differently than the album versions. "Nothing Pure Can Stay" was without question the highlight of their set, the bridge of the song was dragged out for a good seven minutes, every second of it stunning. This whole tour was a dream come true, once you've seen these bands live you'll know why.

set list:
Where You'll Find Me
Turn Me Off
Hands Full (new song)
Awake
New Years Day
Nothing Pure Can Stay

Those who talk don't know; still she couldn't help but sing.

(July 7th, 2009 Millvale, PA - Mr. Smalls)

When I first heard mewithoutYou's new album, it's all crazy! it's all false! it's all a dream! it's alright, I can't say I was really very impressed at all. So, when I heard they were going on tour, I wasn't all that excited, but they were bringing The Dear Hunter, one of my favorite live acts, so I was willing. Then I started following mwY a little closer, only to find that this could very well be their last tour, so my mind was made up for me. Even if I don't like it's all crazy that much, I still like the band's previous output quite a bit. So, I managed to find a ride, and now here we are.

The first band that played was Kay Kay and His Weathered Underground, featuring two members of Gatsbys American Dream, but more reminiscent of Sgt. Pepper's band than anything else. On record, the music is almost incomprehensible, only because of its complexities. Until you see it performed, then you get the big picture. In total, Kay Kay consisted of nine different gentlemen, playing a wide range of instruments, including but not limited to, tuba, trumpet, violin, cello, guitar, bass, keys, drums, all headed by frontman Kirk Huffman. There's so much going on, it's kind of hard to grasp it all, but it's mesmerizing nonetheless. While I, and the company I kept, were quite impressed, I did speak to some audience members who were not. I don't think Kay Kay's for everyone, by any means, but I certainly enjoy it.

While I haven't seen The Dear Hunter since I started this blog at the beginning of 2009, I did see them twice in 2007 and once in '08, and every single time, I've been very pleased (otherwise I wouldn't keep going back). This time was, as expected, no different. The set list was great, several songs from Act III: Life & Death, The Dear Hunter's new (and possibly their best) album, were played, and sounded great live. The other four tracks, all from Act II, also sounded good. The highlight of the show was probably the completely reworked version of "Red Hands," the only thing it shares with the version on the album is lyrics, but musically it was at least as good, if not, maybe better. Also, "Oracles on the Delphi Express" was played somewhat a capella, with a banjo even, also very good. The Dear Hunter always has a special treat in store for their fans at their shows. Still, the sound wasn't as good as I would have hoped, and it wasn't my favorite TDH set that I've seen.

set list:
The Church & the Dime
What It Means to Be Alone
Oracles on the Delphi Express
Mustard Gas
Where the Road Parts
Red Hands
He Said He Had a Story

Yeah, I frequent absolutepunk.net. I'm not the biggest poster or anything, but I'm there a lot, I follow the threads I'm interested in. Most of these are contained in the show reviews/set lists section of the forum. What can I say, I'm a sucker for set lists (as you can see by most of my reviews). Well, I'd been tracking the mewithoutYou set lists on this tour, and I wasn't that impressed. A lot of new songs, and not a lot of my favorite old songs. I didn't really know what to expect, but I couldn't have been happier with the set. The band sounded fantastic too, Aaron Weiss, the band's vocalist, seemed to be in a really great mood. His stage presence is unmatched by anyone. I got most of my favorite songs from Catch For Us the Foxes and Brother, Sister, and they sounded great. There were several notable moments when I felt quite blissful. My favorite was either when Aaron changed the lyrics to "Four Word Letter (Pt. Two)" to "Oh pretenders, let's go down, down to the three rivers to pray!" (a nod to Pittsburgh and it's three rivers), or during "O, Porcupine," when, at the part when the song goes "SHHHH!!! .... listen to it!," the band waited for complete silence before coming back in. In a room containing at least 400 people, complete silence is quite an accomplishment, and when it happens, it feels pretty awesome. Also, during several of the new songs, and the second half of the encore, Kay Kay's tuba, trumpet, violin, and cello players came out and played on the songs. Much of it was inaudible, but occassionally a musical phrase shined through and it added a little something extra to the songs. The whole set was much better than I expected it to be, I'm really glad I went.

set list:
Yellow Spider
A Glass Can Only Spill What It Contains
every thought a Thought of You
Tie Me Up! Untie Me!
Carousels
Timothy hay
Orange Spider
Messes of Men
Four Word Letter (Pt. Two)
goodbye, I !
Disaster Tourism
C-Minor
the King Beetle on a Coconut Estate
O' Porcupine
the Fox, the Crow, and the Cookie

encore:
a Stick, a Carrot & String
January 1979
Allah, Allah, Allah
In a Sweater Poorly Knit

As Cities Burn - Hell or High Water

For the last few years or so, it seems like every band that signs to Rise or Ferret, and other semi-underground labels, releases two or three of the same record, fills out their contract, and disappears. Every album sounds the same, but the artwork’s nice and their clothes are pretty cool so people will download it, listen to it a few times, rave about it online, and then forget just as fast when someone decides to combine rap and screamed vocals. Then there are bands like As Cities Burn.

Consistent reinvention may be an oxymoron, but it can still be accomplished. For the last four years, As Cities Burn have been doing just that. 2005 saw the release of Son, I Loved You At Your Darkest, and while it was nothing significantly different, it was a solid post-hardcore album that put the band on the map. Following the departure of primary vocalist T.J. Bonnette, and a few minor member changes, Come Now, Sleep showed the band to have much more versatility. Hell or High Water, the band’s third album, and first fittingly released entirely through Tooth & Nail Records, and not Solid State, continues to exhibit just how far a band can come in just a few years time.

Right out of the gates (not counting the pregap hidden track), “’84 Sheepdog” comes out fighting, without question the closest thing to anything from the band’s first album you might ever hear from them again, even featuring former vocalist T.J. Bonnette. While this song by no means sets the tempo for the remainder of Hell or High Water, it’s still not out of place. What follows though, is much more focused. Songs like “Errand Rum” and “Into the Sea” create a much more consistent atmosphere. A balance between exhibiting passion and keeping the noise under control is reached quite nicely.

“Lady Blue” could very well be my favorite from this record. The percussion break in the middle sounds like it was recorded in a bar in southern Louisiana. Rhythm and raw emotion are also common themes throughout most of the album. Still, diversity shines through. No two songs are easily confused on Hell or High Water, as evidenced by “Pirate Blues,” a very straightforward four-chord rocker, complete with some of my favorite lyrics on the record; and its follower, “Capo,” which sounds like it was intended to invoke dancing à la hipster clubs. It even features a poppy driving bass line and what sounds like a drum machine. It’s not one of my favorite tracks, but it shows just how capable the band is.

If you plan on purchasing Hell or High Water, and have no retailer preference, I’d like to recommend the iTunes version, for one reason: “Gates.” It’s the iTunes exclusive bonus track, and if you’re previously an As Cities Burn fan, you may recognize it as the outro to the majority of their live sets. Along with “Lady Blue,” “Pirate Blues,” and “’84 Sheepdog,” it’s definitely a standout on the record. While it’s not fantastic, only due to duration (technically only nine songs) and lack of a cohesive purpose, Hell or High Water is nonetheless a very solid release. Musically an eight, vocally a seven, lyrically an eight-and-a-half, and production-wise an eight, the album as a whole is an eight out of ten, I’d give it several chances if at first you don’t feel it.

http://www.myspace.com/ascitiesburn

If you leave this town, I would follow you right out.

(June 20th, 2009 Millvale, PA - Mr. Small's)

Some shows I go to, I anticipate for months ahead of time (see: Kevin Devine and the Get Up Kids). Others, well, even going is a last second decision. Such was the case with the Ace Enders & a Million Different People show at Mr. Small's. I almost didn't go. I'll come out and say it, it wasn't my favorite show or anything, but I am glad I went.

The Dangerous Summer was the first band to play, to my dismay (you'll know why soon), and quite possibly the deciding factor in my attendance. Hailing from Maryland, The Dangerous Summer play what initially sounds like generic pop-'punk,' but upon further inspection, they prove to be much more genuine and introspective than most of their peers. The first time I heard them I was reminded of Kenny Vasoli (of The Starting Line, and yeah, Person L) vocally. I didn't even realize their primary vocalist is also the bass player. The parallels continue. The Starting Line's influence is also pretty noticeable, which is, by no means, a bad thing. But I digress. The entire setlist was, as expected, cuts from their debut full length, Reach For the Sun, and I was certainly pleased. They sounded great, and seemed quite pleased, even though turnout seemed a bit disappointing to me at least. Expect to see them coming to a city near you with bigger and bigger acts. They're climbing the ladder, and earning every rung.

set list:
Surfaced
Symmetry
The Permanent Rain
Weathered
Where I Want to Be
Never Feel Alone

Following TDS was My Favorite Highway, the only band on the bill I wasn't even a little bit familiar with, and apparently with reason. I was not even a bit impressed by their live set. The vocalist/pianist seemed almost pretentious with his stage presence. They sounded alright, his vocals were spot on, but if I wanted that, I'd listen to the recordings. Not much else to say, they don't exactly stick in my mind.

Probably the only reason I even considered going to this show in the first place, Person L was Ace's direct support, contrary to the other time I've seen them, second of four opening for Chiodos (needless to say, the crowd was a little better tonight, and by now a crowd had actually developed). Person L is Kenny Vasoli (formerly of the aforementioned Starting Line)'s new project, in which he explores pretty much every sonic possibility imaginable in 2009. It's quite impressive, there's a lot of different things going on in every song. One minute you're watching Drive Like Jehu Jr., the next Radiohead and blink-182's (somewhat deformed) lovechild. But tonight things were a bit different. Person L was short two of it's five members, one a victim of the economy, another of a back injury. Upon finding this out, I was a little hesitant to get excited for anything particularly stunning, and thus, was quite impressed. At first the setlist was a little disappointing, it consisted of mostly new songs I wasn't familiar with, but in retrospect, I feel a little priveleged to have heard that number of songs from The Positives (the band's debut full length) long before studio versions have been heard by, as far as I know, anyone. Also, "Seven Nation Army" was a nice treat. The songs from the new album sounded fantastic, even as a trio as opposed to a quintet.

set list:
I Sing the Body Electric
Sit Tight
Stay Calm
Help Yourself
Storms (Kenny solo)
New Sensation
Seven Nation Army (White Stripes cover)
Goodness Gracious

If I was the kind of person to do such a thing, I would've probably left at this point. Even though it was a Saturday night, I was tired, and not all that excited for Ace's set. Still, I like to get my money's worth, and ever since I left a Thrice show early in 2007, I like to see every band that I can. So, I stuck it out. I was glad I did, for sure. Ace sounds fantastic, and the backing band he's been playing with (including Serge, who used to play bass in The Early November alongside Ace) sounded great as well. I'm not a super fan or anything, and I managed to enjoy it, so if you are a fan of Ace's, I'd definitely recommend seeing him at least once. My only (fairly cliche) complaint would be the lack of Early November material, and there was no encore. The no encore thing was likely due to the somewhat poor turnout, a surprise for a Saturday night. Also, I have to say, Ace is a great guy, if you go see him, take a minute and shake his hand.

set list:
Rain
Body Like Mind
I Want to Hear You Sad (The Early November)
Reintroduction
Take the Money & Run
The Only Thing I Have (The Sign)
Gods (new song)
Sweeter Light
Emergency
When I Hit the Ground
Decoration (The Early November)
Reaction
The Best Happiness Money Can Buy (I Can Make A Mess)
Where Do We Go From Here
Bring Back Love

Breathe in easily, like you might never breathe again.

(June 4th, 2009 Pittsburgh, PA - Altar Bar)

If you were to look at my last.fm page, you could safely assume that Kevin Devine is my favorite artist, and I wouldn't argue with you. Truth be told, I don't even know how much of a point there is to writing this review. If I haven't already convinced you to check him out, you're a lost cause. The man is a genius. Following in the footsteps of Elliott Smith, Jeff Magnum, and the likes of, he takes introspective, simple songs, and adds his own emotional flavor that takes them to a whole new level. Since I've been listening to him, I've seen him all but one time he's been through Pittsburgh. Unfortunately, that only makes two times (I'm behind the bandwagon, what can I say), but I've yet to be even slightly disappointed. When I read he'd be coming to town in support of his new full length, Brother's Blood (my review of which can be found here), it was already my top priorty, even though the show fell smack dab in the middle of finals week (and as I later discovered, the eve of Game 4 of the Penguins v. Red Wings Stanley Cup Final). Nothing was keeping me from seeing this show though.

As usual there was a local opener. I never find myself particularly excited for this aspect of a show, so it's hard to disappoint me. The Sunflower Spectacle, a seven-piece (yes, seven-piece) band out of Johnstown, Pennsylvania, didn't disappoint, but by no means impressed me either. Musically, they certainly weren't the most intriguing thing I've ever heard, but their energy made up for what their sound lacked. If the Lonely Hearts Club band listened to more Sonic Youth, I think Sunflower is what would've happened. Still, I felt like a kid in church listening to the sermon who already has himself convinced that there's no such thing as God. I could appreciate what they were doing, but I can't say I was particularly captivated. The brutal abuse of several rather pricey, beautiful instruments didn't help their cause either.

Once they finished, Brian Bonz and The Dot Hongs were to take the stage. Again, I had no idea what to expect, but was significantly more pleased with what I was hearing almost immediately. The first song they played was Brian solo, and right as the song was building up, Evgeni Malkin scored the first goal of the game, and the whole room erupted. Suddenly, the air was a lot lighter. Everyone was laughing and smiling, and Brian was playing the soundtrack to our good mood. After that first song, the rest of his band came up. The Dot Hongs are almost exactly the same as Kevin Devine's Goddamn Band, the differences aren't even notable, and as I've said before, and I will say again, the Goddamn Band is pretty damn good. Brian's vocals sounded great, and the band was super tight. I wish I was more familiar with the material. At one point, Kevin came up and sang with Brian for a cover of a song that was on the X-Files soundtrack. All in all, the set was nothing short of wonderful, very upbeat, and it sounded excellent.

As much as I was looking forward to Kevin's set, I could wait because Miniature Tigers were next. I felt somewhat privileged, if I'm not the only, I'm one of the only people who has seen them every time they've been to Pittsburgh, even if that's only twice (a recollection of the first here). Being more familiar with their music this time, along with a surprising number of attendees, this time was even more enjoyable than last. The band was having a great time throughout their set, but playing their colorful mixture of indie-folk and pop, how could you not? The three new songs that were played displayed a more layered songwriting style than contained on their debut album, Tell It to the Volcano. Based on what Charlie Brand, the band's chief songwriter told me, we've still got a wait on our hands, but when their sophomore effort drops, expect to be pleased. The entire set was solid, the highlight probably being "Cannibal Queen." For the finale, they invited several members of the audience up to assist with singing and various percussion parts, and Kevin, Brian, and company invited themselves up as well. By the end of the song the stage was crowded with people having a ball. It was all very enjoyable to watch. If you're ever in the mood for a fun, lighthearted night with a mustache- and sweater-clad indie quartet, go see the Mini T's.

set list:
Last Night's Fake Blood
New Song 1 (There's a Japanese Woman Who Lives in my Closet)
Dino Damage
The Wolf
New Song 2
New Song 3
Tell It to The Volcano
Cannibal Queen

It wasn't terribly long before Kevin Devine took the stage, no one behind him, and nothing but an acoustic guitar in hand. "Brooklyn Boy" came first, and as I whistled the bridge, he and I made eye contact and laughed. We all laughed. It was a rather blissful moment. Following "Brooklyn Boy," the whole band joined Kevin for "Cotton Crush," "Carnival" (which was preceded by several lines from Colour Revolt's "Moses of the South," one of my personal favorite moments from the set), and several more cuts from Kevin's last three albums. During "Hand of God," Mike Strandberg, The Goddamn Band's (phenomenal) guitarist broke a string, so Kevin announced they would take an acoustic break from the planned set list, so I asked for "Lord, I Know We Don't Talk." This was, hands down, the best thing that happened all night. About two-thirds of the way through the song, he shut off his guitar and backed off the back, so he was essentially playing completely unplugged to a room with several hundred people inside, and every single one of them was listening. Following that, the band came back (Mike playing one of Miniature Tigers' guitars), and my two personal favorite full-band songs were played, back-to-back, "Longer That I'm Out Here" and "Me and My Friends." Still, the highlight of the night was, without question, Kevin playing solo acoustic. "All of Everything, Erased" grows on me every single time I hear it, and "People Are So Fickle" was a very welcome surprise, especially acoustic. The full band came back and finished off the set with a somewhat-reborn "You Are the Daybreak" and of course "Just Stay," and then came back for an 'encore,' the somewhat-expected, but nonetheless brilliant closer "Brother's Blood." I don't really have many words for this show, I think my 50+ year-old dad put it best when he said "we go to a lot of shows, but Kevin's always the best." Kevin Devine really is the best. If he's anywhere within an hour of you, just go. It's always worth it.

set list:
*Brooklyn Boy
Cotton Crush
Carnival
Another Bag of Bones
No Time Flat
You're Trailing Yourself
Go Haunt Someone Else
Hand of God
*Lord, I Know We Don't Talk
Longer That I'm Out Here
Me and My Friends
Buried By the Buzz
I Could Be With Anyone
Yr Husband
*All of Everything, Erased
*You'll Only End Up Joining Them
*People Are So Fickle
You Are the Daybreak
Just Stay
Brother's Blood

*Kevin solo acoustic

Just do it again, and this time with feeling.

(May 27th, 2009 Pittsburgh, PA - Club Diesel)

Anybody who reads this stuff may or may not remember my absolutely raving review of Good Old War's live show back in March with the Gaslight Anthem. Since then I've been watching their every move, waiting for the return to Pittsburgh, and when their dates with Straylight Run were announced, there we were, at Club Diesel on a Wednesday night. If you know me, you know it's hard for me to get to shows on weeknights, and also that I hate Club Diesel (this is the first show I've been to there this year, but last year I went to three or four). The venue's stage is too high (nipple height on me, and I'm relatively tall), too small, too drunk (the bar upstairs is always open), and they always kick the headliners out to turn into a dance club. The lights and the sound are great, but it's not enough for me to call it a good venue anymore. Still, I silently vowed not to miss Good Old War whenever they come through, and Straylight is a band I've wanted to see for quite a while. So I obliged to Ticketmaster's outrageous surcharges and as congested as I felt, I found myself at Diesel on a warm Wednesday night.

I expected Good Old War to play first, but they didn't. Instead there was a local opener, something I'm always leery of, and usually don't even mention on my posts, but I had to for these guys. Recession are a band from Pittsburgh who play an enveloping style of music reminiscent of Copeland's use of keyboards combined with Circa Survive's energetic drumming and (usually) dueling guitars. Joe, the band's lead vocalist, has a considerably unique and refreshing voice. I'm anticipating, and hoping, that this band starts showing up a lot more in Pittsburgh's local scene, and possibly even further, because they've got what it takes to impress a lot of people.

Good Old War, the reason I, along with a surprising handful of people, were even at the show that night, were next, and I couldn't have been more excited. Of course, I wasn't let down, which wasn't a surprise either. I can't say enough about their live show. It's one of the more enjoyable things I've ever experienced. If you put me on the spot, I'd even go as far as to say it's uplifting. Good Old War really know what they're doing, know what they want to do, and know how to show it. Anyone who wasn't familiar with them before their set was surely impressed. Everything I said about them in my last review, multiply it by ten. They were significantly better, likely from their incessant touring. The set list was almost exactly the same, but already I felt like I'd gotten my money's worth. I can't say it enough, DO NOT miss Good Old War if they're ever anywhere within an hour's drive of you. I know I certainly won't. The only complaint I have is they still haven't played a song in the crowd, à la the Arcade Fire, in Pittsburgh, but I made Keith promise me that they would next time they come through. I can't stress how good their live show is, even if you don't care for their recorded output. It's such a good time, for thirty minutes you forget everything, be it the final you have to pass in 48 hours, the girl that screwed you over as little as a week ago, or the money you don't have that you want to spend on a t-shirt. If I could, I'd drive 45 minutes every single night to see Good Old War.

set list:
Just Another Day
No Time
Window
Tell Me
I'm Not For You
Weak Man
Looking For Shelter
Coney Island

Following Good Old War was Lovedrug, a band I've never particularly cared for on record, and while I'd love to be generous, their live show did nothing to change my mind. It was clear to me that their singer did not want to be there. The rest of the band seemed generally content, but his attitude was just not good as soon as they took the stage, and though they sounded alright, I don't think he wanted any part of it. Personally I wanted it to be over.

Once Lovedrug left the stage, I think many were relived, and willing to wait a little for Straylight Run. However, set up was rather brief, as their gear was very sparse. As dense as Straylight sounds on record, they play a very no-frills live set. Still, nothing's lost as far as emotion goes. John Nolan, the band's lead vocalist, guitarist, and pianist, was having such a great time, it rubbed off on the whole crowd. People were actually dancing just a few songs into the set. Will Noon and Shaun Cooper, the band's respective drummer and bassist, are so fluent on their instruments it's hard to not watch them, until you take note of how much fun John's having. They aren't the best sounding live band I've ever heard, but I'm certainly glad I went. It's good to know that after six years, one of the bands from Long Island's amazing scene of the early millenium still enjoys what they're doing. The set felt relatively short for a headliner, but it was very mixed, with material from as early as the original free online EP to the brand new About Time EP, with everything in between represented. The highlight of the set, for me, was John playing three songs solo acoustic. But there wasn't a song that I didn't enjoy hearing. Michelle DaRosa, Straylight Run's former vocalist, pianist, and guitarist, who left last June, was definitely missed, but there was no hole to be filled. The band sounded perfectly fine without her. Also, I was surprised that "Existentialism on Prom Night" was played in the middle of the set, and quite spiritedly at that. That says something about the band - even after all these years, they don't mind, and don't feel obligated to play what was arguably their biggest hit, and the reason many of the people in the chilly club even knew who they were. All in all, while I wouldn't say that Straylight's one of the best band's I've ever seen or anything, they're definitely worth seeing. I'm certainly glad I went.

set list:
For the Best
Wait and Watch
Soon We'll Be Living in the Future
Mistakes We Knew We Were Making
Don't Count Me Out
A Slow Descent
Your Name Here (Sunrise Highway)*
Buttoned Down*
Mile After Mile*
Existentialism On Prom Night
Sympathy For the Martyr
Try
I'm Through With the Past
Hands In the Sky (Bit Shot)

* John Nolan solo acoustic

Update.

So sorry it's been so long. School's too busy. I'm almost done though, hopefully I'll be able to get a lot done. Expect my next review to be of Manchester Orchestra's Mean Everything to Nothing. A lot of upcoming shows, but the two definites are Straylight Run and Kevin Devine within the next two weeks. Reviews of both will be up shortly afterwards.

I felt the Lord begin to peel off all my skin.

(May 2nd, 2009 Millvale, PA - Mr. Small's)

When it comes to writing reviews, there’s always a bias. In fact, as far as I’m concerned, all a review is is me trying to convince you to feel the same way I do. So I’ll come right out and say it; Manchester Orchestra is my favorite band right now, and their live show is one of the strongest I’ve ever seen. As soon as these dates were released I knew I was going. I didn’t care what day, what venue, what price, none of it mattered. If Manchester Orchestra’s in Pittsburgh, I’ll be there. (If you didn’t get the message already, I was excited for this.)

Manchester Orchestra always seems to tour with amazing bands. Whether it be opening for Brand New or Say Anything, or bringing Kevin Devine along with them, or introducing me to a band on the rise like All Get Out, they have a way of always finding the best tour mates. This run of dates is no exception. The first band to play was Winston Audio, a band on Manchester’s own Favorite Gentlemen Records. I had heard their newest album, The Red Rhythm, a few months ago. I found it enjoyable, but I wasn’t particularly enveloped in it at any given moment. It’s a solid first full-length, but it’s not mind-blowing or anything. Their live set, however, is another story. They play their music with so much passion and energy, and it isn’t particularly energetic music either, so this is quite an accomplishment. The entire venue was absolutely filled with sound. If you enjoy good, straightforward rock and roll, go see Winston Audio if they’re near you.

Following up Winston was Audrye Sessions. Set up was generally very minimal - throughout the night, all four bands actually shared the same drum kit - but Audrye still had plenty of gear, including a xylophone, a washboard, and a floor tom, placed almost directly in front of me. My curiosity was sparked, and just as quickly met with a strange but satisfying sound. Audrye Sessions’ live show is nothing short of astounding. Every live review I do, I almost always recommend you go see the bands I mention, but this is the first band I’ve seen that I would absolutely recommend going to see, even if you don’t enjoy their album, or even their style of music. I was absolutely blown away. In fact, I expect to see anyone who reads this blog at their show in Pittsburgh in July. Take my word for it, it's that good. I know I’ll be there. Their set was nothing short of amazing, start to finish.

fun. was next to take the stage, and I was very excited, even though I’d only heard one song (the only they’ve released, which is FANTASTIC and on their Myspace page) and I was never a big fan of The Format. I felt a little hesitant when I realized just how many people were there to see them, even though they’d never played Pittsburgh and, again, have only released ONE song. The crowd felt, well, to be honest, undeserved. And frankly, I was very underwhelmed by much of the live set. Also, fun.’s frontman, Nate Ruess, seemed either really bored with the crowd, or a little drunk during the first four or five songs. I can’t say I enjoyed the set very much at all until after they played the two songs by The Format. After that, Nate and co. seemed much more comfortable on stage. Before “At Least I’m Not As Sad,” while Nate was trying to teach the crowd the lyrics to the chorus, the band’s pianist was attempting to sing the part a capella, and Nate mockingly made a Lion King reference, which lead to Elton John jokes, which lead to a bit of “Rocket Man.” It was clear at this point that fun. really was, well, fun. “At Least I’m Not As Sad” featured several members of Audrye Sessions and Manchester Orchestra, including Andy Hull singing the bridge. The set concluded with "Take Your Time," and I felt at least a little better about fun. In their element, they’re fine, but they did not fit on this bill at all. Still, it was a somewhat refreshing change of pace.

set list:
Benson Hedges
All the Pretty Girls on a Saturday Night
I Wanna Be the One
Snails (the Format)
The First Single (the Format)
Walking the Dog
digression into Elton John's "Rocket Man"
At Least I'm Not As Sad (As I Used to Be)
Take Your Time

I don’t remember how long it took Manchester Orchestra to set up, but it seemed like a good chunk of time. Still, if you know me, or my last.fm page, you know that I feel it was worth the wait. Manchester is one of my favorite bands ever. I’m Like a Virgin Losing a Child is one of my favorite albums. Even with incredibly high expectations, Mean Everything to Nothing did not disappoint in the slightest. What I’m trying to say is, unless you want to hear me outright praising this band, skip to the set list. Within the first two songs, I knew this show was going to be significantly better than the last time they came through Pittsburgh (my review here). Maybe it was just because I knew the songs, or maybe it was because they’ve played them more. But regardless, it was sure to be even better. “I’ve Got Friends,” a song which I didn’t even mildly enjoy until I heard it in the context of the album, was an absolute standout from the set. A few songs later, “Now That You’re Home” felt a little rushed, and “Sleeper 1972” lost a lot of it’s touch being thrown into the middle of the show, as opposed to as an encore. “Golden Ticket,” the only song played from Virgin that they didn’t play last time, was phenomenal, another standout for sure. “The Bathroom is a Creepy Place” was a comedic cover thrown in for good measure. The rest of the set was very emotionally charged. “Everything to Nothing,” one of my lesser favored songs from the new album, was significantly better live, and since then I appreciate it much more on the album. “Where Have You Been?” was closed with, as expected, and was much more energetic than last December for whatever reason. Members of fun. and Audrye Sessions participated in the 10+ minute ordeal, and many of us were left with sore throats. Honestly, the encore was completely unnecessary, a rare accomplishment for a headlining band, but still a nice addition to an outstanding set. The band was much more emotional and energetic than on the last headlining tour, the new songs were much tighter, but the old songs were clearly favored by the crowd. My only complaint is I would’ve liked to hear more.

set list:
Pride
Shake It Out
I've Got Friends
Me and Julio Down By the Schoolyard (Paul Simon cover) (Andy solo)
In My Teeth
Now That You're Home
Sleeper 1972 (Andy solo)
Wolves at Night
Golden Ticket
The Bathroom Is a Creepy Place (twothirtyeight cover) (Andy solo)
I Can Barely Breathe
My Friend Marcus
Everything to Nothing
Where Have You Been?

encore:
Holland, 1945 (Neutral Milk Hotel cover) (Andy solo, with vocals from Chris and Robert)


After the show, we hung out around the back of the venue with pretty much all four bands. I talked to Chris Freeman from Manchester Orchestra for about a half an hour about movies, touring, gingivitis, Underoath, and all kinds of other fun stuff. Ryan from Audrye Sessions is also a very cool dude with a very, very cool cape. Andy Hull was a bit drunk, and it made me kind of sad, but he still talked for a minute, which was still much appreciated. All in all, I had a great time.

Initial Thoughts: The Chariot - Wars and Rumors of Wars

This is the best heavy album of 2009 so far. So much aggression, packed into such a short amount of time. It's REALLY short. It's good though.

You know when it rains in this town I get washed away.

(April 18th, 2009 Millvale, PA - Mr. Small's)

Copeland is a band I've always liked, but I've never loved. Maybe it's because I've never seen them live, because right now I love them. This is a show I almost didn't go to because I've just never been that into any of the bands on the bill, but it was on a Saturday night, so I opted in. I couldn't be happier that I did.

The bill could not have been any more diverse. The first act was Brooke Waggoner, a gracious young lady and a few of her musically inclined friends. Brooke plays piano and sings, and she also had a cello player, violin player, guitarist, and backup vocalist, all female save for the guitarist (who had an AMAZING beard f.y.i.). She plays a refreshing brand of very piano driven singer-songwriter rock that fans of Copeland would certainly be, and certainly were, happy with. Her set was fantastic, each little musical quirk brought about by the strings or the sparsely included guitar parts really managed to stand out. Brooke also has a fantastic voice and is a really nice girl. If you ever manage to catch her live show, listen, and afterwards walk right on up to her, she's more than happy to talk.

Following Brooke was a band called Paper Route. I'll come right out and say it, I could not have possibly been more impressed. They sounded like Mae playing Dredg songs. Or maybe Dredg playing Mae songs. It was actually very different, and a very captivating live show. I only hope the songs that they played, mostly from their upcoming album Absence, are as good on record as they are live. If this is the case, this record (which I'll be ordering shortly) is sure to be on my top ten of 2009. Their set was downright mesmerizing. More mind-blowing than anything though was the fact that it was the first time several of the songs had ever been played live, something I'm grateful I witnessed. If you get the chance, go see Paper Route. You won't regret it.

Next up was This Providence. I have heard many good things about their live show (I was with a couple girls who had already seen them three times), but I had trouble getting into their newest work, Who Are You Now?. I was pleasantly surprised and equally impressed by their live set though. It was fun to listen to. They're one of those bands that plays a style of music that I'm not particularly fond of, but I can still enjoy them, because they're good at what they do. Very poppy stuff, likely coming to a city near you very soon. Note: thank Lua for the set list.

set list:
Sure as Hell
Playing the Villain
Sand In Your Shoes
Letdown
A Wolf in Sheep's Clothing
Keeping On Without You
That Girl's A Trick
My Beautiful Rescue
Somebody To Talk To
Waste Myself

After three really great bands and meeting a few very cool people, I had actually forgotten why I was in a humid church at ten o'clock on a Saturday night. Then I saw Aaron Marsh carrying equipment on stage and it hit me: I was in the same room as Copeland, one of the better bands making music today. I got very, very excited, and was immediately gratified. Two songs from You Are My Sunshine opened the set, as expected, but I was glad. YAMS is a fantastic album as far as I'm concerned. Still, I was hoping for some old songs, because, well, Copeland's entire back catalog is also wonderful. My wish was granted with "When Paula Sparks" and "No One Really Wins," two of my favorite Copeland songs. A very mixed set followed, material from every album except Beneath Medicine Tree followed. They also played a phenomenal cover of the Smashing Pumpkins' "Tonight, Tonight," a song that is certainly not easy to cover well. The set ended with "You Have My Attention," quite possibly my favorite Copeland song, and I found myself absolutely choked up. It felt wonderful. I was stunned with just how good the band sounded. Aaron Marsh, the band's frontman, is also very comfortable with a guitar in his hands or behind the keyboard. The set ended, chants followed, and an encore of "Brightest" and "Testing the Strong Ones Followed," and I felt a little dulled by it. As bad as I wanted to hear more from BMT, I think "You Have My Attention" would have been the perfect way to end the night. Nonetheless, it was a fantastic set. My only complaint was it felt fairly routine, they've probably played the same or a very similar set list each night on this tour.

set list:
Chin Up
The Grey Man
When Paula Sparks
No One Really Wins
To Be Happy Now
On The Safest Ledge
Sleep
Control Freak
The Day I Lost My Voice (The Suitcase Song)
Tonight, Tonight (Smashing Pumpkins cover)
Careful Now
Pin Your Wings
You Have My Attention

encore:
Brightest
Testing the Strong Ones

This set list may or may not be spot on, I'm not entirely sure.

Initial Thoughts: mewithoutYou - it's all crazy!...

This is weird. Very weird. Not like anything they've done before. I'm not sure how people are going to feel about this. I'm not even sure how I feel about it.

Kevin Devine - Brother's Blood

Here’s the thing about Kevin Devine: he writes amazing songs, but he has yet to churn out that one amazing album, his Deja Entendu, if you will. While I won’t say Brother’s Blood is that, it’s most definitely a step in the right direction. Its is complete with good songs start-to-finish, but is also a cohesive work in and of itself. It cannot be lumped into one specific genre either; it dances between soft acoustic numbers, emotionally charged anthems, and straightforward rockers. Sometimes it’s great, but it’s always good.

I can’t find anything I don’t like about Brother’s Blood. There isn’t a track that stands out in a bad way; there isn’t a moment where I find myself disgusted. It continually satisfies. Still, whether or not this is even Devine’s best album could be debated. He seems to be stuck in a rut – while writing good albums isn’t a bad rut to be stuck in, he needs that career defining moment to come. But again, he continually shows progress. Make the Clocks Move proved he could be one of the better songwriters in the scene. Split the Country, Split the Street showed he could rock with the best of them. Put Your Ghost to Rest was the album that should have put him on a pedestal, and Brother’s Blood is the record that shows he wasn’t lost in the shuffle. Unfortunately, that’s not how it worked, but that’s exactly how it sounds.

The thing that always stood out about Kevin Devine, to me at least, was the softer songs he wrote. Songs like “Lord, I Know We Don’t Talk,” “A Billion Bees,” and of course “Ballgame,” don’t just fit a mood, they make a mood. With the release of Brother’s Blood, “All of Everything, Erased,” “It’s Only Your Life,” and “Tomorrow’s Just Too Late” (the latter of which features Jesse Lacey of Brand New) can all be added to that collection. Of course, Kevin’s not a one trick pony. Just when you think all he can do is write brooding lonely acoustic ballads, he plugs in and you find yourself losing your voice.

Anyone who saw Kevin Devine and the Goddamn Band with Manchester Orchestra will be familiar with the rousing versions of “Carnival” and “Another Bag of Bones” that appear on this record. Both songs were originally released as acoustic demos on Kevin’s Myspace (like all but one song on this record), but were drastically reworked to include the Goddamn Band, like all but three of the demos that appear on Brother’s Blood. The only song that was not previously released as a demo was the title track, probably the single strongest song on the album, clocking in at almost eight minutes, every second of which rocks with intensity never illustrated by Devine & co. on a recording until now.

Every track on Brother’s Blood deserves to be mentioned though. “Hand of God” is possibly the strongest song lyrically, but musically gets a tad monotonous. Still, it is much improved from the original demo. “Fever Moon” is a very relaxed, down-tempo, almost Latin flavored jam that never seems to build up to anything, but is perfect for a dimly lit night in a humid southern state. “I Could Be With Anyone” is an ideal choice for the album’s first single, but “Yr Husband” would fit just as well, both are standard power-chord rockers, both are very lyrically strong. For that matter, Brother’s Blood’s biggest sell is probably its lyrics. Devine continues to grow as a songwriter with each release.

All in all, I believe Brother’s Blood will prove to be one of the stronger releases of 2009, and should be expected to appear on many end of the year lists on the positive end of the spectrum. My only complaint is it still isn’t that album – the one that we’re all waiting for from Kevin Devine, the one that we all know he has in him. But that should take nothing away from this release. Front-to-back it’s an unquestionably solid record, worthy of any praise that it receives, and will surely take any critiquing in stride, but has to be listened to in order to be judged. It’s sure to make fans of Devine very happy, and hopefully will draw many more in. Musically, vocally, lyrically, production-wise, overall this record is a nine-out-of-ten: it needs to be heard.

http://www.myspace.com/kevindevine

Here's to the night - to my coma and my brand new set of eyes.

(April 5th, 2009 Pittsburgh, PA - Altar Bar)


I’ve been to my fair share of concerts. Sometimes I dance, sometimes I scream, sometimes I mosh, sometimes I just listen. I’ve never cried though - that is until last night. April 5th, 2009 was the last time that Once Nothing, self-proclaimed ‘blue collar metal,’ will have played together. In the nine years that Once Nothing has been a band, they’ve played hundreds, quite possibly thousands of shows, but all others pale in comparison to that one.

At both Once Nothing headlining shows that I’ve seen, they’ve done the same thing. Before they begin their set, they dim all the lights and play Alison Krauss’ “Down to the River to Pray” (link) over the venue’s PA system. It creates an indescribable atmosphere, the anticipation gets to everyone. People were crying before Once Nothing even took the stage. When they finally did there was no busting right into the song, Todd Lowry, the band’s vocalist, came right out and told us what the night would consist of (“some old songs and some new songs”), before introducing “Goodbye Hollywood,” from the Earthmover EP. The set was very mixed, very balanced between newer material from their Solid State Records debut, First Came the Law, all the way back to songs that were on very limited EP releases, pre-Voice of the Paragon EP. Four songs from First Came the Law and one from Voice of the Paragon followed, guns a-blazing, and I thought I would certainly lose my voice. The venue is full at 800, and I’d be very surprised if that number wasn’t exceeded. I found myself pinned against the stage for a majority of the set - as far as I’m concerned, it was the place to be.

The next two songs were classics amongst fans of the band. “Gunfire is the Sound of Freedom” and “All My Heroes are Cowboys” both originally appeared on Earthmover EP, but were re-recorded for First Came the Law. There was more audience participation throughout the set than I’ve ever seen at a metal show. “Cowboys” was also kicked off with a phenomenal drum solo by Giuseppe, one of the better drummers around today. He has to be seen live to be fully appreciated.

Following those were two classics in Once Nothing’s repertoire, “How to Build a Sandcastle,” played in full, and “Hand Grenades Solve All My Problems.” They blasted through “Sandcastle,” and the crowd sucked up every second. A few unexpected guests were brought up too, Once Nothing’s very first guitarist and drummer. Many people in the crowd (including myself) had never even seen them before. They had been playing in the band when I was just eight years old. I wasn’t listening to ‘blue-collar metal’ in second grade. It was quite a moment nonetheless.

After “Hand Grenades” Todd came out and told us that these would be the last two songs Once Nothing would ever play. “Whiskey Breath” was first, and this performance was not on par with the last time I saw them, unlike the rest of the set. It was the only song I wasn’t happy with, or at least wasn’t as happy with as I was last May. Following that Todd told us the story of “Waves,” and actually went to tears. Everyone was choked up. It was quite a moment. Finally, he decided it was time, and on the count of three, we saw “Waves” one last time. It was incredible. By the end of the song, right before “Can I get a hallelujah?” the stage was flooded with people. I can’t even begin to describe the sheer emotion that overwhelmed every person in that venue. Instruments were broken, people were crying, screaming, flailing, jumping, it was a beautiful mess. And just like that, Once Nothing was nothing once more.

There are no words for just how much this final show meant to everyone in the venue. It was evident in our faces, in our voices, in our very being there. No one questioned the band’s decision to end their run. We knew it was time, and we knew we should make the most of it. I can’t imagine there was a better way to go out.

set list:
Goodbye Hollywood
The Intimidator
Put Some Stank On It
The Dust of a Town
Juliette or At Least What’s Left of Her
Columbus Wasn’t Looking For America
All My Heroes Are Cowboys
Gunfire is the Sound of Freedom
How to Build a Sandcastle
Hand Grenades Solve All My Problems
Whiskey Breath
Waves


This wasn't intended to be a good review. This is just me recounting one of the better concerts I've ever been to.