Thursday Farewell Tour
Toad’s Place, New Haven CT
December 28th 2011 

With the release of 2001′s Full Collapse, Thursday changed the course of alternative music. While the scene they helped create may not be remembered in the most favorable light, the band has consistently challenged musical conventions over the past 11 years, and done so with as much sincerity and integrity as any band could.

That is why it is a shame they have never equaled the success of Full Collapse. With each album, the band’s record sales and popularity fell, despite the fact they continued to earn glowing reviews for both their new releases and live shows. In April of 2011 they debuted their fifth proper full length, No Devolucion. It was a radical, “art rock” departure from their earlier work that quickly became one of the year’s best reviewed albums, even if not one of its best selling.

Short openings slots on tours with My Chemical Romance and Taking Back Sunday in front of largely uninterested crowds followed before the band then announced a proper headlining tour. In late November, they proclaimed the tour would be their last, save for a brief run of Australian dates in 2012. The band cited personal issues for calling it quits, but it can be assumed the difficulties of making a living as a band for so many years had taken its toll.

Their final headlining tour would come to a close with a string of East Coast dates during the holidays, with New Haven, CT being the third to last stop. The band had a history of playing at Toad’s, a venerable rock club close to the campus of Yale University. Their final show there would prove to be a memorable one, as both the band and their fans poured all of their energy into one last performance.

The night began with opening sets from Aficionado and Connecticut’s own Make Do and Mend. I was able to catch a number of songs from the latter, and wasn’t terribly impressed until their closing number, “Night’s the Only Time of Day,” which showed quite a bit of potential.

New Brunswick, NJ trio Screaming Females followed, showcasing their bass-heavy brand of garage rock. In addition to playing a very impressive lead guitar, frontwoman Marissa Paternoster is a vocal powerhouse, and her talents help the act stand out from many of their peers. While the band doesn’t have fantastic stage presence, they sounded great, and their set seemed well received by the large crowd that had already gathered.

The main support act was Philadelphia’s MewithoutYou. The band has earned somewhat of a cult following after touring extensively with the likes of Thursday and Brand New in the past, but has never earned the same type of breakout success as those two bands have. They played a nearly 45 minute set that had many in the crowd moving and singing along. They tended to blend at least a few of their songs together, and took only short breaks between others. While I’m not terribly familiar with their work, I would say they sounded much better than they had the one other time I had seen them.

After a nearly 40 minute wait (which is really pushing it at a show with five bands), Thursday took the stage to the tune of No Develucion’s “Open Quotes.” The crowd immediately surged towards the stage as fists flew through the air. While not one of the band’s better known songs, the intensity the band and the crowd displayed during this number would set the tone for the rest of the night.

Next up was “For the Workforce, Downing”, which is one of the band’s best known songs. The intensity was turned up a few more notches as frontman Geoff Rickly climbed on top of a monitor at the front of the stage, grabbed onto a support beam and leaned as far as he could into the crowd. With no barrier separating the stage from the fans, literally dozens of   people made their way on stage during this song alone, forcing the band to take a short break afterward to rearrange all the gear and peddles that had been trampled during the melee.

While Thursday had played 16 songs sets at previous shows, Rickly announced they would be playing longer on this night due to special requests from their road crew, the first of which was “I Am the Killer” from Full Collapse. The band would do a very good job showcasing songs that spanned their career while still featuring six songs from their most recent effort. This was important because this tour would prove to be the only chance they had to play anything from No Develucion as a headlining act.

Throughout the set, the crowd somehow maintained their level of intensity. At times it seemed the only ones getting more of a workout than the fans were the bouncers responsible for corralling crowd surfers as they reached the stage. Even during the set’s more mellow moments, the crowd continued to rage. At one point, Rickly said something along the lines of “We need to play a fast song now because you guys are killing each other during these slow songs.” The band would then launch into “At This Velocity” from 2003′s War All the Time, which was one of the set’s best performances.

For someone who has a reputation for between-song story telling, Rickly’s between song banter was at least somewhat constrained, although he did thank the fans on numerous occasions for sticking with them throughout the years and for their enthusiasm on this night. This enthusiasm would peak during “Cross Out the Eyes,” the song that had helped put the band on the map ten years earlier.

The only full length that Rickly and Co. seemed to ignore was 2008′s “Common Existence”, that is until the schizophrenic  ”Resuscitation of a Dead Man” was featured as the last song of the set. After a very short break, the New Brunswick crew made their way back on stage and promised a three song encore, which began with the slowed down “Stay True.” The song was dedicated to the night’s first two opening acts, who Rickly credited with reminding him of “why he got into punk rock in the first place.”

After a nod to the holiday season, the band played the opening notes to

“Jet Black New Year” and the crowd swung back into action. The marathon (once again, considering there were five bands)  20 song set would then conclude with fast-paced closer “Turnpike Divides.”
It was now 12:15, and the sun had officially set on Thursday’s final New Haven show. Their powerful performance reminded everyone in attendance why they had grown to love the band in the first place, and why it would be tough to see them go.   While they may have ended up a casualty of a flawed record industry and shifting tastes, those in attendance are likely to remember Thursday as the band that poured their souls into every album and every live show, especially their last one.

When the band announced they would headline the 2011 Honda Civic Tour along side My Chemical Romance, it seemed as thought not much had changed. Not only would they play most of the same venues, the dates and tour routing was strangely similar to their 2009 effort. Also, fans still hadn’t heard any new material from the band since 2003, and there was still no release date set for their long anticipated new record.

I couldn’t help but suspect that Blink was set to become the Dave Mathews Band of pop-punk. Content with touring the same venues every summer and playing the same songs, they would rake in the profits without actually do anything new or exciting.  Luckily, as the tour grew closer, things began to change. The band set a September release date for their new album and then debuted studio versions of not one, but two brand new songs. Suddenly the band wasn’t just shaking off the rust, as they had been two years ago. Instead, they set out to prove they still have what it takes to write the monster hits that launched them to stardom in the first place and give their thousands of fans a reason to actually buy music again.

Considering that the Civic Tour would visit just about every worthwhile city in America (and many non-worthwhile cities as well), it was easy to see multiple dates of the tour. I attended the Mansfield, Mass show on Tuesday, August 9th, and the Hartford date the following Sunday.

Each night started with a 30 minute daylight set from Georgia’s Manchester Orchestra. All three of the band’s records have earned rave reviews from critics, and the quintet has also seen a surprising amount of radio success over the past two years. Of course, a decent amount of radio success doesn’t mean much when opening for a band as big as Blink, and at the Mansfield show the amphitheater was basically empty.

While the fans might have still been in the parking lot, the band’s performance left no doubt that they can handle such super-sized environments. As lead singer Andy Hull belted out each booming chorus, the rest of the band was spot on, and the presence of two drummers only added to these thundering tracks. At the Hartford show, the rain drove more fans into the pavilion earlier, and it seemed that at least some  were familiar with the band, as they received a big applause after each song. Highlights of the set at both shows included “My Friend Marcus” and “The River.”

Next up was My Chemical Romance, a band that did an admirable job conquering the rock radio charts in the time that Blink had been gone. By the time they took the stage, the venue was full at both shows, and it was obvious that nearly everyone was at least somewhat familiar with the band.

Their performance in Mansfield was at first marred by sub-par sound and the remaining sunlight, but as darkness fell and the mixing issues were worked out, the band hit their stride, tearing through their hits while shrouded in smoke and strobe lights. They ended up playing 10 songs in all, and while their Mansfield performance was solid, they were truly on their game five nights later in Hartford. Playing the exact same set, they motivated the crowd in the pit to bounce around to new tracks like “Planetary (GO!)” and inspired giant sing-alongs during hits like “Helena” and “Welcome to the Black Parade.”

The band would close with the epic “Famous Last Words,” leaving recent singles “Na Na Na Na Na” and “Sing” off the set list at both performances. Unlike Blink, the band seemed unconcerned with promoting their new album and instead gave even the most fair weather fan a few tracks to sing along to.

After a half hour wait, Blink-182 took the stage, although not in the grand curtain-dropping fashion they had two years earlier. Instead, the instantly recognizable trio of Mark Hoppus, Tom Delonge and Travis Barker sauntered onstage and kicked things off with “Feelin’ This,” the lead single from their 2003 self-titled album. Barker’s bass drum dominated the track, shaking the entire building during the chorus.

While the Hartford crowd did received a few extra surprises, the set list and crowd reaction to each song was just about identical for each show. However, being in the pit on both nights, I can say they felt very different. The Mansfield show was the experience you would expect from a performance at such a large venue. The pit there was very small. Only a few hundred pit tickets were available, and the majority of those were sold either as $250 “VIP” packages or $160 “premium” tickets. The vast majority of fans sat in seats or were soaked out on the lawn.

The Hartford venue, meanwhile, features a much larger pit area, and it seemed to welcome more rabid fans who were able to score their tickets at reasonable price. Because of this, the Hartford show felt like it was being played a sweaty rock club, as crowd surfers flew through the air throughout the entire set and everyone sang along.

Regardless of the venue, Blink would mix in four new songs among their set list of hits. The first, “Up All Night,” came directly after “Feeling This” and featured Mark and Tom trading vocals in the lead up to the song’s sweeping chorus. Being the new album’s first single, the majority of the crowd at each show seemed familiar with the track and roared their approval.

The band would then roll through more familiar hits, including “The Rock Show” and “What’s My Age Again.” In Hartford, Delonge would preform the second half of the latter song on his back after taking a tumble in front of the drum kit. Neither Hoppus nor the crowd would let him off the hook afterwards as he complained of the stage being too slippery. Throughout the first part of the set, the stage backdrop took on a Neighborhoods theme in celebration of the band’s upcoming album, as the video screens displayed a bird’s eye view of suburban towns. At one point, the setup mirrored the weather on both nights as digital rain poured down on the houses below.

In between songs Hoppus and Delonge were at their comedic best (or comedic worst, in Tom’s case). Each and every cheesy joke inspired either laughter or head shakes from the crowd, and after one particularly cringe-worthy antidote at the Mansfield show, Tom shouted out “you paid for the talking too!”

While Delonge certainly isn’t known for his superb singing voice, he has improved remarkably since the tour two years ago, and easily carried tracks such as “Violence” and “Dumpweed,” both of which inspired huge reactions from the fans in the pit. Tom also got in touch with his artistic side, performing Blink classic “Blowjob” at both shows and calling it one of the band’s greatest musical accomplishments. The Hartford crowd had the rare opportunity of hearing other similar tracks played live, including “Happy Holidays You Bastard,” which followed a brief Hoppus vs. Delonge on-stage volleyball match that bought Barker more time to clean up what was apparently an injured finger.

The crowd ate up just about everything Blink threw at them, including the three additional new songs. “Hearts All Gone,” which stands as one of the fastest songs the band has written in many years even inspired a huge circle pit on the floor. After approximately an hour and ten minutes, the band would close the set with “Josie.” At the Mansfield show, Hoppus would announce, “Travis can’t do the drum thing because of the rain but he still wants to show off for you,” which led to a ten minute solo performance by the drummer.

In Hartford, a black screen fell across the stage and when it was removed, Barker was strapped to the end of a giant mechanical arm from which he would then perform the solo. The giant arm gyrated around the stage and even tilted so that at one point barker was staring straight down at the crowd below.

Once Barker returned to the ground, he was joined again by Hoppus and Delounge for a three song encore that began with “Carousel” and then moved on to “Dammit,” which of course inspired the biggest reaction and sing-along of the night. Instead of walking straight off stage, the trio would stick around to play a small part of “Family Reunion,” and then take their bows.

All in all, both shows had been nothing short of a spectacle. The lasers, the rotating video screens that made up the backdrop, and of course the huge sound made these shows different and more spectacular than anything I would normally see. Mix in some very solid new songs and a pair of great openers and you have a very memorable tour that will be hard for the band to match in the future. But with a new album coming out and a willingness to change it up, at least we can take comfort in the fact they they’re going to try.

So why the lack of enthusiasm from the exiting crowd? One reason could be the fact that nearly everyone in attendance was exhausted. After four straight nights of late set times, intense heat, and (most importantly) epic performances, this would be expected. The more pertinent reason fans seemed somewhat down was the fact that it was over. After four straight nights of (basically) hanging out with one of punk’s all-time great bands, there would be no fifth night. While the Bouncing Souls were sure to return to Boston, they would probably never do it in such an extravagant way, for so many nights in a row, or at such an intimate venue. The second half of the stand had been even more memorable than the first and showcased how far the band has come over the past 22 years.

Night three: June 24^rd 2011: How I Spent My Summer Vacation and Anchors Aweigh

The third night of the series would not only be a treat for fans, it would also be a test. How I Spent My Summer Vacation is regarded by many to be the Bouncing Souls best work, guaranteeing a very enthusiastic crowd. It would then be followed by their longest record, the 16 song, 48 minute Anchors Aweigh.

While the Bouncing Souls had chosen a great lineup of opening acts for the other three nights, it was the lineup at this show that stood out. First up was Dave Hause of the Loved Ones performing a solo set. Hause released an acoustic record earlier this year, and while I had listened to it briefly, I failed to realize just how good it was.

Hause’s performance was the rare opening set that completely absorbed everyone in the audience. Instead of chatter and side conversations, all eyes and ears were fixed on the stage, and Hause received quite the applause at the conclusion of each track. He kept the crowd engaged with between song banter, relaying a story about his nine hour, $4 bus ride from Philadelphia and then at one point calling out a heckler in the front row. While it was a great 30 minutes of music, it wouldn’t be Hause’s only appearance on stage that night.

The next act was Brooklyn cult favorites World/Inferno Friendship Society.  The band was making their second appearance in Boston in little over a month after a rousing headlining show at the Paradise in May. Not the type of band to normally share the spotlight, they were forced to cut at least a few staples from their set. This didn’t mean that they cut down on the theatrics, however, as lead singer Jack Terricloth and Co. fed off the energy of the diehard fans in attendance.

Earlier in the night, Terricloth had joined Hause to play harmonica during one his tracks, and Hause repayed the favor, joining the band on stage as guitarist for two songs. Throughout the 45 minute set, it seemed like about half the crowd was completely into it, while the other half was somewhat weirded out by the whole spectacle. The band played a number of songs from the recently released “The Anarchy and the Ecstasy,” which were once again very impressive live, especially “Canonize Philip K. Dick, OK?” After Terricloth had exhausted his between song antics, the band closed with “The Models and the Mannequins.” This came as a relief to at least some members of the crowd.

After another short break and “welcome to the main event” style introduction, the Bouncing Souls took the stage for to the tune of “That Song.” The energy that had built up throughout the night exploded into a sea of fists and crowd surfers as nearly everyone in the room sang along. With each track from “How I Spent My Summer Vacation” being a finely crafted burst of punk energy and aggression, the intensity level never really died down until the final notes of “Gone” had been played.

While the crowd was obviously enjoying the show, this unbridled joy could also be seen on the stage. Hause joined the band for a number of songs, and sported a huge smile when he wasn’t singing along with the crowd. When I ran into him at Dunkin Donuts the next morning (name drop?), he wouldn’t commit to it being the highlight of his life, but he did say it was “pretty cool.”

After finishing the 13 tracks that made up the first half of the set, things began to get sticky. The temperature had risen at least 30 degrees, and now the band was set to play their longest album, Anchors Aweigh. While the album does have its moments, it doesn’t feature the same type of upbeat energy that is standard on most of the band’s other albums. Being the product of a rough spot in the band’s history, it is darker and more introspective, and made for a rollercoaster of a live set.

This portion of the set got off to a very quick start with opener “Apartment 5F” and “Kids and Heroes,” and it seemed like both the crowd and the band were determined to maintain the furious pace they had set earlier. I had never heard the band play “Kids and Heroes” live, which is surprising considering it is one of the highlights of their entire catalog. It seems written to inspire huge sign-alongs at sweaty punk shows, and that is exactly what it did.

Other songs throughout the set inspired the same type of reaction, but most of them came from the first half of the album. After that point, the reality of the heat and the length of the show began set in, and the enthusiasm level fell quickly. All the while, the band refused to wilt, powering through each song unaffected by the conditions. They closed the set on a quiet note with the acoustic hidden track “Fall Song.”

Night Four: June 25^th 2011, The Gold Record and Ghosts on the Boardwalk

The fourth and final night of the series would turn out to be different from the first three in a number of ways. First off, it wasn’t raining. This was a big plus for many fans, especially for those who showed up at the same time, because the band had insisted that all four shows be “will call only,” to eliminate scalping.

This meant that instead of distributing physical tickets, fans had their names added to a list that was kept at the door to the venue. As fans arrived, they had to show their ID to gain entrance. While I showed up early each night and never had to wait in a long line to get in, many fans entered the show drenched, which is never a good way to start your night.

Another difference from nights 1-3 was the fact that somehow, this show was not sold out. While I’ll admit that most fans wouldn’t consider either of the night’s albums their absolute favorite Bouncing Souls record, I must say that I would take the combination of these two albums over any other night’s lineup.

Another factor in the non-sell out may have been the openers. Neither Iron Chic or Make Do and Mend brought the same type of recognition or fan bases that at least one band had during the previous three shows. However, that isn’t to say they both weren’t solid acts. Iron Chic’s thirty minute set of throwback punk with gruff vocals was very impressive, and I ended up buying their latest full length. Make Do and Mend also played a strong set, although their songs began to blend together seeing as I wasn’t familiar with any of their material.

The Bouncing Souls entered to the now familiar boxing match theme for the final time, and got started with 2006’s Gold Record opener “The Gold Song.” While this is a fast-paced track to begin with, the band seemed to play it twice as fast, challenging the crowd to keep up with the chorus of “heys!” “The Pizza Song” featured a number of guest musicians, including accordion and trumpet players, and sounded nearly as good as the recorded version. “Better Things” was a highlight of the set, as was the fan favorite and live show staple “Lean on Sheena.”

The politically-charged “Letter from Iraq” is one of my favorite Bouncing Souls songs, and I was thrilled to finally hear it played live. The only unfortunate part about the track was the fact that its “bring the troops home” message is just as relevant and pressing today as it was when the Gold Record was released five years ago.

In addition to being a great collection of songs like “Letter from Iraq,” The Gold Record stands out because of its sequencing. From beginning to end, every track seems perfectly placed, with each one nicely transitioning to the next. This was very apparent at the end of the set, as “Midnight Mile” and “For All the Unheard” acted as a tremendous closing pair. While these aren’t the type of songs that inspire a huge amount of crowd interaction, it was obvious everyone was enjoying every second.

Next up was the band’s latest album, Ghosts on the Boardwalk. Released as a series of single tracks each month throughout 2009, the album isn’t nearly as cohesive as The Gold Record. Of course, this had little to no effect on the live set, which began with “Gasoline” and “Never Say Die.” The crowd had caught their breath towards the end of The Gold Record, and they were now ready to give it their all.

At one point in the show, a brave stage diver realized that the Middle East security crew that had kicked out scores of fans over the first three nights, suddenly seemed uninterested in enforcing the venue’s strict policies. They had most likely been told by the band to “chill out,” and because of it, there were bodies flying through the air for the rest of the night.

The band’s performance of “Badass” was the most memorable song of the set, as cue cards appeared on stage to help the band remember all the “badass” things called out over the song’s two minutes and 38 seconds. The band then brought their eighth and final full-album set to a close with two of the record’s stronger and more melodic tracks, “We All Sing Along” and “Like the Sun.”

Despite the fact they had just played two albums that both clocked in at over forty minutes in length, the band would continue with a series of b-sides and rare tracks. I’ll admit that I’m not very familiar with their material outside of their full lengths, and it seemed like about half the crowd was in the same boat. However, this didn’t stop anyone from continuing the moshing and stage diving, and at least a few diehard fans got quite a treat in hearing these songs.

I do know they closed with “Wayfarer,” a Hot Water Music cover the band put out on a split 7 inch earlier in the year. The set ended on a high note, but you could feel a sense of instant nostalgia among the fans filing out of the venue.

The “Four All the Unheard” four night series had not only showcased how far the band had come over their 22 years, but it was also a testament to how much of their success they owe to their fans. If you’ve ever been a diehard fan of a certain band, you probably know what it’s like for them to not play your favorite forgotten track. The Bouncing Souls gave diehard fans exactly what they had been hoping for, which was the chance to hear that song. There were no real surprises, just a collection of great music and a band further strengthening the bond they have with their supporters.

Night One: June 22^nd, 2011. The Good the Bad and the Argyle and Maniacal Laughter

Night one would begin with the Bouncing Souls first full length,  The Good, The Bad, and the Argyle. Seeing that it was released in 1994, there were plenty of fans in the audience who weren’t born when it hit shelves. This was practically true of the night’s other featured album,  Maniacal Laughter as well, and it seemed to have some affect on the crowd’s reaction to the set. While there were the diehards at the front who sang along to every word, many in the sold-out crowd seemed less than familiar with the older material.

While I didn’t sense the same type of energy normally found at a Bouncing Souls show, this could have been because of the fact I was sitting on a chair in the very back of the venue with my crutches propped next to me. The band did seem to hit their stride during Maniacal Laughter, ripping through the 24 minute album and providing a good number of fans with the motivation to stage dive, only to be kicked out immediately by the bouncers.

Prior to the Bouncing Souls appearance, the night had started with a set from Lenny Lashy. Unfortunately, I missed this because I was busy being soaked on the walk (crutch?) from my parking spot. If this four-night stand had been held outdoors, we all would have been in trouble. Bane served as the primary support, and the Worcester hardcore legends performed an intense 45 minute set that complemented the Bouncing Souls set nicely.

Night two: June 23^rd 2011: The Bouncing Souls and Hopeless Romantic.

At the start of the Bouncing Souls set each night, a Michael Buffer-ish recording was piped through the speakers, introducing the two records as if they were competitors in a heavy weight title fight. A ring girl even elicited cheers from the crowd by parading around the stage with a giant version of the album cover.  If night one had been the undercard, night two was the first round of “the moment everyone had been waiting for.”

Boston ska-punk act Have Nots kicked things off with an energetic 3o minute set that inspired plenty of circle pits and fist pumps. Not bad for an opener. Like night one, the main support was provided by another Massachussets punk stalwart, the Unseen.  Lead singer Mark Unseen had been pacing around the venue for what seemed like hours, and was rearing to go as the band began its first performance in quite some time. Like Bane the night before, they played a solid 45 minute set that not only pleased those in the pit, but probably won over some new fans at the same time.

Next up (of course) were the Bouncing Souls. They had held a meet and greet with fans  earlier in the night, and had seemed somewhat reserved. They might have been saving energy for the fury they knew they were about to unleash on an all too willing crowd.

With the opening notes of “Cracked” from 1997’s The Bouncing Souls, those on the floor  immediately showed more energy and enthusiasm than they had the night before, and the band seemed to respond in kind. “Kate is Great” had bodies flying through the air (and of course, out the door at the hands of the bouncers). As the band powered through the album’s 16 songs, the temperature inside the venue began to skyrocket, despite the fact it was a rainy 60 degrees outside. This is a testament to the type of chaos the band was inspiring.

While the band does include a few staples from The Bouncing Souls era on most of their set lists, it was the deeper cuts that both the crowd and band seemed to enjoy the most. In fact, the crowd’s reaction to tracks such as “Toilet Song” and “East Side Mags” inspired huge sing-alongs that were even bigger than those that came with other favorites. One of the most entertaining moments of the entire series was closing number “Shark Attack,” during which normally reserved lead singer Greg Attonito couldn’t keep the smile off his face, especially during lines such as “the Bouncing Souls only go on tour so they can eat other people’s food…. those Jersey mooches.”

After a short break, the band returned to play Hopeless Romantic, and with the opening notes of the title track, it felt as if the gates had just been opened at the Kentucky Derby and both the band and the fans were off to the races. Both groups refused to slow down, even as the temperature continued to rise, and it was obvious that the band was enjoying the moment as much as everyone else in attendance.

Like the first half of the set, the crowd roared their approval whenever the band would begin another rarely played track. “Bullying the Juke Box” was the first of these cuts, and Attonito commented the band would love to keep playing the track forever. “Ole” followed shortly after, and was the song that resulted in the largest number of crowd surfers being kicked out.

For the duet “Wish Me Well (You Can Go to Hell),” the band was joined by a female guest vocalist, who perfectly traded lines with Attonito, who once again couldn’t keep a big smile off his face. “The Whole Thing” then provided a fitting ending to what had been a loud, sweaty, and downright perfect punk show. The band would really need to outdo themselves if they hoped to supply fans with anything as memorable as this show had been.

Rise Against
Bad Religion
April 29th 2011
House of Blues Boston

The night started off with a half hour set from Four Year Strong. As the local favorites, at least half the fans in attendance seemed to be into it, not bad for an opener. I was pleasantly surprised to see they had dropped the cheesy synth parts from their live show, which allowed the set to take on a much heavier, punk-rock feel than they displayed on their first record. All in all, probably a band I should get more familiar with.
Next was Bad Religion. After having played their own headlining show at the same venue last fall, they were easily able to get the crowd involved as they performed a set of material that spanned their 30 year career. Just like they had in October, they sounded great, and Greg Graffin was sure  to include quite a bit of “We’re so old” between song banter. They finished the set in particularly strong fashion with the trio of “We’re Only Going to Die,” “Los Angeles is Burning,” and “Sorrow.” Their 15 song set was, of course, too short for satisfaction, but seeing them twice in less than a year was already more than most fans could ask for.

A half hour later, Rise Against took the stage and proved why they are one of today’s best live acts. The intensity they bring to each and every show is practically unmatched among their peers. Every song seems like it is a call to arms, urging the crowd to d fight for what they believe in, or at least put their fists in the air and sing along.

Surprisingly, the band  strayed away from their new album Endgame, playing only four of the new tracks. Much of the setlist (7 songs) came from their  excellent 2008 release Appeal to Reason. No matter the song, frontman Tim Mcllrath looked like a man possessed, with his eyes as wide as saucers and veins ready to explode. This is, of course, par for the course at a Rise Against show.

In addition to the seven songs from Appeal to Reason,  the band also worked in five songs from their fan-favorite 2006 effort Sufferer and the Witness, and included an acoustic interlude that features “Swing Life Away” and “Hero of War.”The band would then close the set with the pounding Sufferer track “Ready to Fall.”

While the whole encore thing has grown old for pretty much everyone who goes to more than two shows a year, there is something to be said for a band that really puts effort into their encores. Rise Against is one of those bands, returning for a four song stint that did not include any of their big singles, but instead focused on choice cuts from three different albums. “Blood Red White and Blue” was the lone representative from 2004′s Revolutions Per Minute, while “Entertainment” and “Savior” were also included from Appeal to Reason. The closing number was the song that originally drew me to Rise Against, that being “Give It All” from 2004′s Siren Song of the Counter Culture. I still believe this is the song that embodies everything that makes Rise Against one of today’s most successful rock bands, from it’s sincere lyrics and epic bridge to it’s fist-pumping chorus.

Needless to say, I left the show  a very happy customer. While it was slightly disappointing to not be attending the second Boston show, I knew that Rise Against is the type of band that never stops touring, and would probably have another big announcement coming shortly.  It turns out I was right, as they were announced as the support band on the Foo Fighters Fall arena trek. Talk about a mega-tour.

Bamboozle Day 2
April 30th, 2011
Meadowlands Sports Complex

Bamboozle is hands down the biggest music festival of its kind. When it comes to the type of music that I cover on this blog, which coincidentally is also the type of music I listen to, it has no peers. After years of saying I was going to make the trip to New Jersey for the show, I finally did, thanks to it’s eye-popping Saturday lineup. The day featured scene stalwarts, up-and-coming acts, and most importantly, a few long-awaited reunions. While I had to make some tough choice with all of the conflicting stages and set timess, I did my best to see the best, and here is my summary:

Anberlin:
While it might not have been that early in the day, technically, you would have though those in the crowd at the Main Stage has just rolled out of bed during Anberlin’s  3PM set. The band was  met with general indifference as they performed a 30 minute show focused mainly on their recent release, Dark is the Way, Lights is a Place. This isn’t to say that Stephen Christian and Co. didn’t attempt to get the crowd involved, but considering they were playing another show later that night with 30 Seconds to Mars, they probably weren’t operating at 100%. Either way, they sounded good, and by the end of the set it seemed like those who had gathered around the stage were nowready to get the festivities under way.

Tokyo Police Club
Next up on the main stage was Ontario’s Tokyo Police Club. While they wouldn’t normally be mentioned in the same breath as most of the other bands at the festival, they actually received a better reaction from the crowd than did Anberlin, and they seemed to feed off this energy. Despite the fact they  hail from Canada, the songs they  played featured a  California-esque vibe that perfectly fit this bright spring day. The sunlight seemed to breathe new life into the songs, the the  only disappointing aspect of the set was that that it didn’t last  longer.

Streetlight Manifesto

After Tokyo Police Club stepped of stage, I headed over to the “Jumbo” stage, which was comparable in size to the main stage.  When I got there, Streetlight Manifesto had already begun their set, and a large crowd had formed. Streetlight was the first band (at least that I saw) to get the crowd moving. A legion of fans danced and shoved along to the seven songs the band would play. As is customary for Streetlight, they played their songs fast, so fast that in this case you would think they really wanted to be in the front row for the Movielife set that would follow theirs. They finished with what is by far their best song, “Somewhere in the Between.”

The Movielife
Playing a show together as a full band for the first time in eight years, this set was expected to be the highlight of the day for many, and for me,  it certainly was. A rabid crowd gathered in front of the small stage to witness the reunion, which had been rumored for years and was finally happening today. Opening with “This Time Next Year” and going on to play 13 songs over 45 minutes, the band completely killed it. Save for one lyrical flub, every song  was spot on, with the band sounding like they had prepared for this moment for months. As would be expected, the crowd ate it up, singing and screaming along with the type of energy reserved for long-awaited reunions and farewell shows, of which this set could very well encompass both.

The band did an admirable job  in using their time allotment to cover much of their catalog, featuring a number of tracks from their 2003 breakout Forty Hour Train Back to Penn, as well as earlier material from This Time Next Year and It’s Go Time. The songs the band played from their Has A Gambling Problem EP inspired the biggest singalongs, while “Jamaica Next,” which the band rarely played during their first go-around, was a very welcome addition. The most telling moment of the set came in between songs, when Caruanna announced the band had t-shirts for sale at a merch table. He followed it up by saying “You better hurry if you want one though, because we didn’t realize how popular we had become.” Hopefully the huge crowd and even bigger reaction the set received will inspire the band to get back on the road again. But if not, this was a great way to call it a career.

New Found Glory
After the Movielife set, I headed back over to the Jumbo stage, where Alkaline Trio was just finishing up their set. As the band made their exit, a number of fans departed, while many others raced to the front in preparation for an appearance by New Found Glory. The band has worn the crown as the kings of pop-punk for over a decade now, and they never disappoint in a live setting. By the time they took the stage, an enormous crowd had gathered to jump and sing along throughout their 35 minute set.

The band opened with “Understatement” from 2002′s Sticks and Stones, and the crowd did what they could to charge towards the stage, creating a giant mosh pit on both sides of the barrier that extended through the middle of the lot. The band, wearing Miami Heat-esque NFG basketball jerseys, kept the talking to a minimum in order to fit 11 songs into their short time on stage. At this point in their career, they could pretty much throw darts at a dartboard and come up with a great set list, but they did include staples like “All Downhill From Here” and “Hit or Miss.” Towards the end of the set, the band covered the Ramones famous “Blitzkrieg Bop” with Marky Ramone taking over on drums. The set would then close, as always, with “Intro” and “My Friends Over You.”

Gatsby’s American Dream

After catching the first five songs from the Gaslight Anthem (which were great), I headed back to the same stage the Movielife had conquered a few hours earlier to witness another reunion or sorts. After a long hiatus, Gatsby’s American Dream has reformed earlier in the year to play a show in their hometown of Seattle,  followed by an appearance at Austin’s South by Southwest  festival.

Bamboozle marked their first East Coast appearance in over five years, and the band that was once considered “the future of indie rock” was hoping to make the long trip worth their while. Competing against the Gaslight Anthem and an upcoming set from Taking Back Sunday, the band didn’t attract the huge crowd that the Movielife did, but those who showed up were still very excited to witness the band’s return.

Playing eight songs, the band sounded as tight as they had when I had seen them six years earlier. While they opened and closed the set with fan favorites “Theatre” and “Shhhh! I’m Listening to Reason,” respectively, the highlight of the set was the lone new song they played. “Modern Man” manages to mix what has always been unique about Gatsby’s American Dream with something new and excited, and that something is why those in the crowd are anxiously awaiting the band’s new EP, due sometime this summer.

Taking Back Sunday
After the set from Gatsby’s American Dream, I did my best to make my way over to the main stage, but I was met with an enormous wall of people that seemed to stretch on for miles. As noted in previous reviews, Taking Back Sunday has seen an enormous surge in popularity since they reunited (seems to be the theme of the day, doesn’t it?) with original guitarist John Nolan and bassist Sean Coooper. Since the reunion, fans had been  hoping the band would play their seminal 2002 debut album Tell All Your Friends in it’s entirety, and on this night, they would get their wish.

While performing the record start to finish wasn’t too much of a stretch for the band considering they had been playing about 7 our of the 10 songs live, it was a treat to hear  “The Blue Channel” and closing number “Bike Scene” performed live for the first time in years.  The band would then move on to “part II” of the set, which included their more recent work and featured two new songs, “El Paso,” and “Faith (When I Let You Down),” neither of which generated a huge reaction for the crowd. Other tracks, mainly Straylight Run cover “Existentialism on Prom Night” and closer “MakeDamnSure” did cause quite a stir and finished day two of the festival on a very high note.

Overall, Bamboozle had been a great experience. The impressive line-up delivered on its promise, as each band I saw put on a solid performance, even while many of them where out of their element on enormous stages in broad daylight. This may have been my only chance to see bands like the Movielife and Gatsby’s American Dream back on stage together, and I’m definitely glad I took advantage of it. Music aside, the festival was very well run, especially considering the massive amount of fans and bands who made their way to the Meadowlands parking lots. So in conclusion, if you’re a music fan and find yourself with an extra $55 next May, this is probably the best possible way you could spend it.

Biffy Cyro
Brighton Music Hall
May 11th 2011

How does a band that is accustomed to playing in front of thousands of fans in stadiums and arenas across the world translate their sound to better fit a small club like the Brighton Music Hall in Boston? The simple answer is, they don’t. Instead, they perform an earth-shattering set that threatens windows and ear drums throughout the area.

In what was easily the loudest performance I have ever seen (or heard, in this case), Scottish trio Biffy Clyro tore through an hour and fifteen minutes worth of music that not only left my ears ringing, but managed to shake everything, and everyone in attendance. It was the type of set I would expect from a band like the Foo Fighters headlining London’s Wembly Stadium, or even Led Zepplin in their prime. Instead, it came from a band that is largely unknown in the US and in front of about 150 fans inside a glorified bar. While they may never be as well known in the states as they are in Europe, the members of Biffy Clyro seemed to be making the case for both the “best live band” and “biggest band in the world” designations on this night.

The show began with short opening sets from Mellow Bravo and Roman Traffic. Both were local Boston bands, and most in the crowd seemed occupied with other things while  they were playing. The mood changed very quickly when Biffy Clyro took the stage and opened with “The Captain,” the first track off their most recent album Only Revolutions. The sounds that was pumped from the Music Hall speakers was simply enormous. It was the type of sound that vibrates and shakes every inch of your body and leaves you needing to catch your breath at the conclusion of each song.

The aural onslaught continued throughout  the night, but that isn’t too say that the volume in any way detracted from the performance. Instead, the shirtless trio of lead singer/guitarist Simon Neil, bassist/vocalist James Johnston, and drummer Ben Johnston sounded perfect. Neil was particularly impressive,  powering through  the band’s frantic verses and anthemic choruses while also nailing complex guitar solos and the schizophrenic twists and turns found in many of the band’s songs.

The group would focus on their most recent efforts, playing nearly every song from Only Revolutions, as well as a handful of tracks from their 2007 breakout Puzzle. The trio kept their foot planted firmly on the accelerator for most of the show, but slower tracks “God & Satan” and “Machines” were as entrancing as their quicker material.

While the first half of the set was completed at breakneck speed, the band somehow managed to up the intensity level during the second half. They closed the set with a string of their best tracks, starting with “Who’s Got a Match” and “Living is a Problem Because Everything Dies” from Puzzles, and then moving to “Many of Honor” and “Whorses”  from Only Revolutions. The latter may have been the single greatest four minutes I’ve ever experienced at a live show, as the song’s enormous chorus enveloped the room and seemingly could have blanketed all of New England.

After allowing the final note of “Whorses” to blare on in repeat as they left the stage, Biffy Clyro would return for a two song encore of “Cloud of Stink” and “Mountains.” The closer once again showed off the band’s incredible ability to construct gigantic choruses, and provided a very fitting end to the evening. The crowd certainly left satisfied, while also lacking at least some of the hearing ability they had come through the door with. Believe me, it was worth the sacrifice.

While Biffy Clyro has opened stadiums  for the likes of The Rolling Stones, Muse, Foo Fighters, and even Bon Jovi in Europe, American fans are more likely to see them at a small club here in the states. If you do get that  chance, jump on it. It is the perfect example of a show that you have to hear to believe.

Much like my last review, this one will cover some familiar territory. Alkaline Trio is one of my all time favorites, and I’ve seen them plenty of times. They usually do a great job of switching up their set lists to appease long time fans, so I’ve been lucky to hear them play a number of deep cuts and rarities from their back catalog. I was hoping for this type of performance from their show in Providence on April 28th, and for the most part, I got my wish.

Ok, so that first paragraph probably didn’t seem very enthusiastic, but don’t worry, the enthusiasm is on the way. Right after I describe the opening set from An Horse. The Australian duo, who have generated quite a bit of buzz recently, performed a bland set in front of about 100 people. It might have been the early start, or it might have been the empty building, but the band did little to involve the crowd and seemed to mail it in right from the start. That’s not to say they don’t have a number of good songs across their two records or that I don’t think they could be a very entertaining live band, but tonight wasn’t their night.

Next up, of course was Alkaline Trio. They took the stage…. like they had been there before? Not sure what the proper analogy would be here, but they normally aren’t ones to make a grand entrance. Instead, they sauntered down the stairs from the dressing room and took their time getting set before opening with “Private Eye.” Through all the shows I’ve been to, I’ve realized that it’s never a bad idea to open with a track that also serves as the opener to one of your most popular records.

From here on out, they bounced between well known crowd favorites and rarely played songs from the past. In what was a surprising and very well received move, the band focused on 2000′s Maybe I’ll Catch Fire. The album features “Radio,” which the band uses to close nearly every one of their headlining shows. Beyond this track, I don’t believe I had ever heard them play a single song from the record. On this night, they played four of them.

“She Took Him to the Lake,” “You’ve Got So Far to Go” and “Maybe I’ll Catch Fire” might not pack the same punch as “Radio” (what song does?), but the crowd still ate them up. Aside from the set list, the attribute that made this show different, and dear I say, special, was the crowd. Alkaline Trio crowds are always very enthusiastic. That enthusiasm can even border on violent at times. This crowd however, would best be described as euphoric. It was like everyone involved just experienced the worst day of their lives and were doing everything in their power to sing, dance, and sweat it all away. If that was actually the case, then mission accomplished.

Two other highlights of the set from my point of view were “This Addiction” and “We’ve Had Enough.” The former was the lead single from the band’s latest release and pretty much embodies everything I like about Akaline Trio. “We’ve Had Enough” meanwhile, was the undeniably catchy lead single from 2003′s Good Mourning, which for reason doesn’t make it onto many Trio setlists.

As always, the band triumphantly closed the set with a giant “This Could Be Love” sing along, followed by the “Radio” encore. It capped another great Trio set that once again satisfied both long time fans and newcomers. The only thing that could make their legions of fans happier would be to do the type of career spanning shows that a number of other punk bands have recently announced. Imagine Alkaline Trio playing each of their records in their entirety across three or four nights? Sounds like a can’t-miss proposition to me.

Edit this setlist | More Alkaline Trio setlists

If you read this blog regularly (which you almost certainly don’t), you know that I’ve seen Taking Back Sunday many times. I’m starting to lose count at this point, but I think the number is somewhere around ten, including their April 27th show in Providence, RI.

Now this show was very similar to one of  their first “reunion” shows last summer in Boston, so if you want a detailed account of what it’s like, look here. If you’re  looking for the abridged version, you’ve come to the right place.

To start, Taking Back Sunday is one of the best “club” bands you’ll ever see. Their intensity and stage presence are perfectly suited for small, sweaty venues full of  a few hundred (or even thousand) die-hard fans. Lupo’s fits the bill perfectly, and from the second the band took the stage until the final drum stick had been thrown into the crowd, it was bedlam.

As has become their custom, the band opened with the track that launched them from Long Island basements to scene kings in 2002, “Cute Without the E (Cut from the Team).  The song inspired the type mob scene usually reserved for  your local Wal-Mart on Black Friday.

John Nolan

As with any show, neither the band or the crowd could maintain this level of enthusiasm throughout the show, but they sure did come close. Like in Boston nearly a year earlier, the set list focused on songs from Tell All Your Friends and Lounder Now, with the former being the only album featuring the original (and now current) lineup.

Guitarist John Nolan, who along with Sean bassist Sean Cooper rejoined the band last spring, wore the kind of smile that said “getting back in this band was the best decision I’ve ever made.” Lead singer Adam Lazzara agrees wholeheartedly, as their  bromance was on full display between songs.

The band seemed eager to show off the results of their new-found camaraderie by previewing two tracks from their upcoming record. The first was the driving “El Paso,” which certainly won’t be a radio single, but will make for a great live track. The next was “Best Places to be a Mom.” This, in my opinion, is one of the best tracks the band has ever written and bodes well for the new record that will be out in late June.

As has also become a custom, Lazzara and Co. capped the night with “MakeDamnSure.” Thankfully, they felt no need to play the encore game, which would have been out of place in what had been a blistering set.

Anthony Green

With their performance, Taking Back Sunday had overshadowed a fine set by Circa Survive earlier in the night. The band had weaved through a mix of songs from their three full-lengths and ensured the crowd was adequately warmed up for the headliners. Circa  garnered quite a reaction from those on the floor, many of who danced, sang, and and swayed along throughout their forty minute set.

In conclusion, Taking Back Sunday is a pretty decent live band. While it looked like they were finished following the release of New Again two years ago, the return of Nolan and Cooper has reinvigorated not just the band’s members, but the band’s image as well. Suddenly the bandwagon is getting more and more crowded everyday, and as long as they continue to put on shows like this and release tracks like “Best Places to be a Mom,” I’m sure there will always be room for more.

The Movielife Acoustic Tour
Vinnie Caruana
Brandon Reilly
The Tower and the Fool
Middle East Upstairs, Cambridge, MA
April 8th 2011

It would be safe to say that Vinnie Caruana and Brandon Reilly are both on the comeback trail. After their previous band the Movielife split at the height of their popularity in 2003, the two strayed down very different musical paths. Caruana formed the Movielife-esque I Am the Avalanche, while Reilly went on to front indie-pop band Nightmare of You. Both projects were met with at least some amount of enthusiasm by fans and critics alike. When they released their debut LPs within weeks of each other in 2005, it seemed both bands had the potential of living up to the high standard set by their previous act.

Fast forward to 2011, and I Am the Avalanche has yet to release a follow-up to their 2005 debut album. Nightmare of You, on the other hand, released their sophomore album in 2009, and it flopped horribly. This is at least part of the reason why the two were back sharing a stage together for an early evening show at the Middle East in Cambridge, Mass. The two agreed to a Movielife reunion  at New Jersey’s  Bamboozle festival later in the month, but before they could cash in on the thousands of tickets they would help sell, they would shake the rust off in front of 100 or so diehard fans by playing acoustic shows across the country.

The night started at about 6:30, which was before the sun had set on one of the first real days of spring. The first band to take the stage was Providence’s The Tower and the Fool. While few, if any, in the crowd were familiar with the sextet, their performance definitely won me over.  I later learned that their lineup included former members of Therefore I am and Hot Rod Circuit, which will help further cement their status as a band to look out for.

Next up was Reilly, whose set could best be described as “quiet.” Those in the crowd seemed surprisingly unfamiliar with his work,

Reilly with Nightmare of You

which consisted mainly of cuts from the first Nightmare of You record, along with a few originals he said wanted to put out on a seven inch sometime in the near future.

While Reilly looked like he hadn’t slept in days and didn’t  interact much with the crowd, his songs translate very well from a full band to an acoustic format, making for an enjoyable but short set.

Next up was an acoustic set from Vinnie Caruana, which was better received by the crowd. Like Reilly, Caruana mixed I Am the Avalanche tracks with newer material that may or may not make the next Avalanche record, which Vinnie said was “being recorded right now.”

Caruana’s songs don’t work quite as well acoustically as Reilly’s, but  slower tracks like “Green Eyes” somehow seemed just as exciting on

this night as they did five years ago. A new song titled “Brooklyn Dodgers” will fit perfectly on the next Avalanche cd and had the crowd helping with the chorus and chanting “What happened to the Brooklyn Dodgers? What happened to me?”

After a very short break, Reilly and Caruana were ready to share the stage as the Movielife, with Reilly strumming the guitar and Caruana handling vocals.

“Kelly Song” served as the opener and began a forty minute set that provided a trip down memory lane for both the band and the crowd. Throughout the set, Canuana interacted with the crowd, telling jokes and thanking everyone for showing up, while Reilly remained mostly silent.

Caruana with I Am The Avalanche

Caruana mentioned the upcoming Movielife appearance at Bamboozle on a number of occasions, and he also made it apparent he would love to return to Boston for a show with the full band (probably to the chagrin of Reilly, who is expecting his first child in a month).

The pair focused on songsfrom their final release “Forty Hour Train Back to Penn,” as well as “The Movielife Has a Gambling Problem” EP. “Walking on Glass,” along with “

Hey” and “This Time Next Year” were among the highlights of the set.

Racing a strict 8:30 curfew, the band squeezed in “I Hope You Die Soon” to send the fans home happy, although they probably weren’t heading home considering the time. It didn’t take long before many fans began wondering if this was the final time they would hear Movielife songs in Boston, or if there would be a return engagement.

Will the band’s Bamboozle return inspire them to reform and begin touring again? It certainly seemed Caruana would jump at the chance. However, the Movielife was more than just Caruana and Reilly. In the  8 years since the split, the remaining Movielife members have likely found new careers and lifestyles away from the spotlight . Jumping back in the van with little assurance of success doesn’t seem like a great move professionally, but crazier things have happened. Few would have imagined Caruana and Reilly sharing a stage together again, but here they were on a nationwide Movielife acoustic tour. While the future of the band will remain murky for at some time, at least one thing is for sure: if they return to Boston as a full band, they certainly won’t be stuck playing the matinee slot.