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