The Gaslight Anthem
Murder by Death
Jesse Malin
Broadway Calls
House of Blues Boston
October 17th, 2009

It’s amazing how quickly the Gaslight Anthem, a band that was barely known outside the state of New Jersey until recently, has exploded onto the scene in 2009. After an opening slot at a free WFNX show this summer, the band returned to Boston to headline the House of Blues in an engagement that signaled the arrival of the blue-collar quintet as one of today’s most promising acts.

The night began with a set from Broadway Calls, an up and coming pop-punk act that has seemingly opened for about 100 different bands this fall. While their short set was solid, it wasn’t as nearly as well received as their performance supporting Streetlight Manifesto at the same venue a month earlier.

As the cavernous venue finally began to fill up, Jesse Malin and his supporting band took the stage to perform a set of sunny pop tunes that had the crowd slightly interested. I’ll have to admit it wasn’t exactly my thing, so I didn’t pay too much attention.

Next up was Murder by Death, a band that served as a perfect opener for the Gaslight Anthem with their gruff, no frills style. The band played a 40 minute set of songs that dealt mainly with whiskey, drinking, the desert, and being in jail. It seemed as if the quartet was straight out of a John Wayne movie, and the crowd ate it up.

Fallon Earlier This Summers straight out of a John Wayne movie, and the crowd ate it up.

The Gaslight Anthem would then take the stage as Beyonce’s “Single Ladies” was pumped over the PA system. With a huge smile on his face, lead singer Brian Fallon would strum the first notes to “High Lonesome” as the dance party instantly became a rousing rock show. The band would then tear through “Casanova, Baby!” and “Old White Lincoln” as the crowd surged toward the front of the stage and sang along.

As the set wore on, the New Jersey quintet seemed to pick up steam with every song, and those in attendance responded in kind. Fallon and co. would not only play every song from their breakout album The ‘59 Sound, but they would also play a number of tracks from their debut full length Sink or Swim, as well as from their more recent Senior and the Queen EP. While it was not surprising that they would venture into older material, it was surprising how enthusiastically the crowd responded to it. It’s good to see that radio success hasn’t created an army of fair weather fans.

The ear to ear grin that Fallon had showcased at the start of the set never left his face,  An outsider might have thought he had just won the lottery, and based on the size of the crowd that packed the House of Blues and their enthusiasm, he might as well have. After a show stopping rendition of “Here’s Looking At You, Kid,” the band would charge into “The Backseat,” a set closing number that had crowd serfers flying through the air.

Bassist Alex Levine

After a brief time break, the group would return for an encore that would feature zero songs from their most recent album but would still inspire quite a bit of chaos in the pit. “Blue Jeans and White T-Shirts” was followed by “Drive,” and the show was then closed with a cathartic version of “Say You Won’t (Recognize)” that saw nearly everyone on the floor crashing and bouncing into each other like bumper cars.

With smiles still intact, the band would leave the stage a full hour and a half after they had made their appearance, which is almost unheard of for a band with only two full length records. They had given their fans everything they had wanted and more, which is just one of the reasons why one of rock’s best kept secrets may officially be out.

 

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AFI
Gallows
Lupo’s, Providence RI
October 14th, 2009

Three years. That was the last time AFI had visited the northeast or done any major touring. For die hard fans like myself, it had been far too long. With the release of Crash Love, AFI was finally ready to hit the road and debut their new tracks, new outfits, and new hairdos.

Their second of four New England appearances brought them to Lupo’s Heartbreak Hotel in downtown Providence, where they had last appeared along with the Explosion in 2006. That show had seen the quintet at the height of their popularity, supporting both a chart topping record in Decemberunderground and single in “Miss Murder.” Crash Love has not seen the same type of success, which may be why the band performed as if they had something to prove to those in the audience.

Cater getting up close and personal with the crowd

The show featured only one opening band, UK-based hardcore outfit Gallows. What could (and probably should) have been another bland set from a band most weren’t familiar with turned into a thoroughly enjoyable 40 minutes. This was mainly due to the antics of frontman Frank Carter. After playing two songs that featured little crowd participation, Carter climbed down from the stage and into the crowd, mic in hand.

Positioning himself at the back of the small dance floor, Carter proceed to sing the remainder of the set from the complete chaos that surrounded him. While I haven’t been to many hardcore shows, I found this move to be both unbelievable and completely awesome. Gallows is apparently bigger in Providence than I had expected, for there were a host of bandanna-clad fans ready to mix it up and show off their headcore dancing skills.

And of course, there were some not so savvy fans who decided to join in as well. One was a young female who shoved Carter and then challenged him to a fight. The somewhat stunned frontman stopped the music and had the girl repeat the question into the mic, which earned a laugh from the rest of the crowd. Carter then shook his head and jokingly encouraged the girl to pick a fight with any of the other boys in the crowd, for they would be happy to oblige.

After closing the set back on stage with “Orchestra of Wolves,” Gallows would make their exit, along with at least a handful of their fans. After the standard 30 minute wait, AFI took the stage, one member at a time, dressed in their trademark black, except for lead singer Davey Havok. The charismatic frontman instead was decked out in a sparkling polyester suit. I don’t think anyone was surprised.

They would being the set with “Torch Song,” the first song from Crash Love. While it is a solid track, I don’t think it works well as an opener, and most in the crowd didn’t seem to think so either. Things would pick up quickly though as the band ripped though “Girls Not Grey” and “Leaving Song Pt. II,” both of which woke the crowd up in a big way.

Next the band would debut another Crash Love track, this being “Too Shy To Scream.” Unlike “Torch Song,” this did inspire quite the sing along, as did the moody “Ever and a Day,” the only Art of Drowning-era song to make the set list.

Throughout the set Havok danced around the stage as if he were the lead actor in a dramatic play, while guitarist Jade Pudget and bassist Hunter Burgan barely avoided crashing into each other as they raced back and forth. After playing “Kill Caustic” and “End Transmission,” Havok stopped to ask if anyone in the crowd was 18 years old. After a few in the crowd cheered, Havok proclaimed “so is this song” before launching into “Self-Pity,” which appeared on 1995’s Answer That and Stay Fashionable.

Following “Beautiful Thieves” was “Dancing Through Sunday,” which featured a blistering solo from Puget that was one of the highlights of the set. It’s remarkable how good this band sounds live, especially compared to some of their counterparts.  The show would then slow down considerably with “The Leaving Song” and “On the Arrow.” Both were a very nice addition to an otherwise fast paced set.

The band would close with the trio of “Death of Seasons,” “Medicate,” and “Love Like Winter.” Despite being Crash Love’s first single and most familiar track, it inspired only a half-hearted sing along. “Love Like Winter,” on the other hand, not only sounded CD-quality but also inspired another huge response from the crowd.

As the band walked off stage and the house lights stayed down, I took a look at my watch to see that the band had spent less than fifty minutes on stage. I was hoping for a long encore, but knowing the band rarely played long sets, certainly wasn’t expecting one. After returning to the stage, the band would play an upbeat cover of The Cure’s “Just Like Heaven” before transitioning to two of their biggest hits, “Miss Murder” and “Silver and Cold.”

While “Miss Murder” may not be the band’s most original work, it certainly brings the house down in a live setting, and it didn’t disappoint tonight. Closing the show with “Silver and Cold” was an interesting choice and it worked well, as Havok raised the mic stand high in the air and let the crowd do the singing during one part of the song.

As “Silver and Cold” concluded, the band took their bows, and slowly left the stage. The set had only lasted an hour, and it absolutely flew by. It’s almost understandable that AFI would play a shorter set, for even a world class athlete would be exhausted after sprinting around stage the way they do. Havok’s vocal theatrics also must be commended. The frontman deftly moved from vocal cord-shredding screams on “Kill Castic” and “Death of Seasons” to huge melodic choruses on “Girls Not Grey” and “Beautiful Thieves.” Overall, the show was another memorable AFI performance, and while the absence of older material was disappointing, the new Crash Love tracks packed the type of punch that could rock stadiums. Maybe some day.

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Billy Talent
Poison the Well
The Paradise Rock Club, Boston
October 9th 2009

The Paradise Rock Club in Boston isn’t the city’s flashiest venue, and Billy Talent certainly isn’t one of the city’s best known bands, but when the two came together on a rainy October night, the results were anything but shabby. The Canadian quartet, along with South Florida’s Poison the Well, put on the type of show that delighted and damaged the hearing of those who packed the grungy club.

The show began with a set from AM Taxi, which I unfortunately did not witness (there was a Qdoba next door…). When we did make our way into the venue, we didn’t have to wait long for Poison the Well to take the stage. While I may not be a huge fan of the entire metalcore genre, witnessing them play was an enlightening experience. The band simply killed it. They performed a set that was that was insanely fast, ridiculously technical, and epically loud.

While many in the crowd (including myself) were unfamiliar with the veteran quartet, lead singer Jefferey Moriera displayed the type of stage presence that kept the audience completely absorbed throughout their 40 minutes on stage. Moriera mixed gruff screams and howls along with melodic choruses, while the rest of the band deftly sprinkled atmospheric elements in with their hardcore shredding. It served as the perfect warm up for Billy Talent’s headlining set.

Lead singer Ben Kowalewicz led the chart topping Canadian act on stage and they immediately burst into a rousing rendition of “Devil in a Midnight Mass.” Despite the over zealous security and “no moshing” rules at the Paradise, it was obvious from the start this show would be anything but tame.

The crowd surged towards the stage and shouted along throughout the set, and the band used this energy to their advantage. Kowalewicz spent most of the show at the foot of the stage, going face to face with those in the first few rows. With eyes wide and veins bulging, the dynamic front man alternated between melodic singing on tracks such as “Surrender” and frenzied screams on crowd favorites such as “Line and Sinker.” 

Between songs, Kowalewicz ran through the normal Billy Talent banter, most of it revolving around sports. He praised Boston for its successful teams, and declared his hatred for the Yankees.  Kowalewicz also made note of the large student population surrounding the club, joking that a group of  well dressed college girls had thrown change at him earlier in the day thinking he was a bum.

The musical portion of the set included an even mix of tracks from the band’s three full lengths. Songs from the recently released Billy Talent III sounded great and received a nice reaction from the crowd, but they couldn’t match the intensity of more familiar songs such as “The Ex” or “Try Honesty,” which closed the set.

The band would return for an encore consisting of “Fallen Leaves” and “Red Flag,” both from 2006’s Billy Talent II. The crowd filed out of the club more than satisfied with what they had witnessed, and looking forward to a promised return engagement in 2010. The group certainly seemed to enjoy their stop at the intimate venue, especially considering many of their shows in Canada take place in monstrous arenas that set fans far back from the stage. In fact, the band had announced an enormous 2010 Canadian arena tour with support from Alexisonfire and Against Me! earlier in the day.

While they might not be playing arenas in the states any time soon, Billy Talent is quietly building a dedicated fan base on the strength of their stellar live shows. High profile opening slots for bands such as Thursday, Rise Against, and Rancid have helped, but the quartet has proven that they can hold their own as headliners in any setting.

Set list (probably not exact)
Devil in a Midnight Mass
This Suffering
Line and Sinker
Rusted for the Rain
Saint Veronika
Surrender
Diamond on a Landmine
River Below
The Dead Can’t Testify
The Ex
Devil on my Shoulder
Turn Your Back
Try Honesty

Fallen Leaves
Red Flag

Bruce Springsteen and the E Street Band
Giants Stadium
October 3rd 2009

Bruce Springsteeen is the last of a dying breed. For well over 30 years, he has held the distinction of being Jersey’s favorite son, and his popularity may well be at an all time high. Such longevity is unheard of in today’s music world. Springsteen has managed to outlive Giants Stadium, the venue that helped signal his arrival as a certified rock star when he first performed there in 1985. The Boss was tapped to close out the (somewhat) historic venue with five farewell shows before it will be reduced to rubble at the conclusion of this year’s football season.

Springsteen and the E Street Band  marked the occasion by playing one of their most successful albums in its entirety each night. On October 3rd, the choice was “Born in the USA,” the 1984 breakout that has sold over 15 million copies in the US. In addition to the album’s twelve tracks, Springsteen would add a mix of old and new that had the 50,000 in attendance in a state of complete ecstasy.

I’ll start by saying I had never seen Bruce Springsteen live before, so I was more than excited to finally get the chance to see the man many consider one of today’s best performers. The most difficult part of the show was simply getting there. The trek from Southern Connecticut somehow required four different train rides, the final one a short trip from Hoboken to the Meadowlands that resembled a college campus on homecoming weekend, with frat boys and 50 year-olds alike readying for the party.

We were lucky enough to be on the field for the show, which was divided into two different pit sections. After arriving only a half an hour before the doors opened, we found a spot in the first pit that put us relatively close to the stage. While the tickets listed the show time as 7:30, the stadium was nearly empty as that time rolled around. Apparently the Jersey faithful knew something we didn’t, for the E Street Band wouldn’t take the stage until an hour later.

Once they did, Springsteen began the marathon set with a song titled “Wrecking Ball” written just for the occasion. It wasn’t Bruce’s best work, but the fans appreciated the effort and sang along with the words displayed on the huge video screens framing the stage. The band then broke into a raucous version of “Out in the Street.”  Working on a Dream epic “Outlaw Pete” followed, complete with a desert montage presented on the  screens. The song is one of Springsteen’s most unique, but at eight minutes, it seems a little bit much for a live setting like this.

One of the highlights of the show was the next song, “Hungry Heart,” which featured the 60 year-old Springsteen leaving the stage, running about thirty yards down field, and then crowd surfing his way back to the front. The show as a whole did not rely on overblown theatrics like most  stadium shows. Instead, Springsteen provided the type of energy that is rarely seen in today’s performers, racing to all ends of the stage and firing up the crowd between songs with the enthusiasm of a southern preacher.

After an already frantic start to the show, Springsteen and the E Street Band, which at times swelled to eleven members, segued into the nights main attraction, Born in the USA. The crowd sang at the top of their lungs to the title track, and then didn’t miss a beat during lesser known numbers such as “Darlington County” and “Downbound Train.” It was apparent the crowd of 50,000 was of the die hard variety.

One of the night’s most poignant moments was “I’m on Fire,” where Springsteen sat in a chair at the end of the stage to perform the song. On the video screen, three teenage girls in the front row  sang along to every word. When Springsteen reached out and clasped hands with each of them, the look on their faces was priceless.

The next track “No Surrender” followed and was met by a huge reaction from the crowd and was another one of the night’s high points. During “Dancing in the Dark,” Springsteen brought a Syracuse orange-clad thirteen year old on stage for a “birthday dance.” While he may not be Fred Astaire, even at 60 the Boss still has the moves.

After closing out the Born in the USA portion of the set, Springsteen would assemble the members of the band that had helped make the record at the front of the stage for a great photo opportunity. It was a terrible idea to not bring my camera.

Springteen and the E Street Band would continue to thrill fans with selections both old and new. “The Promise Land” from 1978’s Darkness on the Edge of Town was followed by “Last to Die” and “Long Walk Home” from 2007’s “Magic.” The songs, and the crowd’s reaction to them is a testament to the band’s longevity and amazing staying power. Could you imagine the Rolling Stones playing two news songs that the those in the crowd not only were familiar with, but sang along to as if it were the band’s biggest hit? I can’t.

Springsteen and Co. would finish their set with an epic rendition of their signature track “Born to Run.” Without leaving the stage, the band took their bows and then began the “encore” portion of the set by taking requests from the crowd. This involved Springsteen grabbing elaborately crafted signs from those at the front, and then tallying the results. The first request was a cover of Tom Wait’s  “Jersey Girl.” This was followed by a long, drawn out version of “Kitty’s Back.” Like “Outlaw Pete,” there were many in the crowd (including myself) who were quite ready to move on by the end of the song.

“Detroit Medley” would then follow, featuring a collection of Springsteen’s favorite 60’s Motor City classics. The collection is an appropriate tribute to the struggling city. After 2001 “American Land,” (which could easily fit on most Dropkick Murphy’s records), “Waitin’ on a Sunny Day” featured a guest appearance by a pint-sized member of the crowd who happened to know every word.

The two hour and fifty minute set would come to a close with “Thunder Road” from 1975’s Born to Run. After a long ovation, the crowd would reluctantly make their way for the exits. I was thoroughly exhausted. It’s almost unfathomable to think that Springsteen puts on such a spectacle every single night, and yet he has been doing it for decades. His energy and passion is unsurpassed, a main reason why he has been able to remain relevant for so long. Throughout Springsteen’s 30+ years career, artists, trends, and even stadiums have come and gone, but the E Street Band has remained a constant. It doesn’t look like that will be changing any time soon.

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The Flaming Lips
Explosions in the Sky
August 3oth 2009
Bank of America Pavilion, Boston

It’s amazing how a bunch of chairs can change a rock concert. The cheap plastic furniture takes everything that is great about seeing a band live and sterilizes it. Gone is the crowd energy, the singing along, and the pointed fingers. Instead, thousands of enthusiastic fans are transformed into zombies, herded to their assigned spots by the orange-clad seating chart police. During the show, some fans dare to belt out the songs along with the band, but most simply bob their heads or stare blankly, not exactly urged on by the stranger sitting in the next seat over.

During their show at the Bank of America Pavilion on the Boston waterfront, The Flaming Lips attempted to break this familiar pattern, as is their trademark, they did their best to turn the event into a party of massive proportions, complete with flashing lights, balloons, confetti, and stage dancers. However, Wayne Coyne and company were never able to fully escape the amphitheater trap, failing to connect with the thousands of fans filling the seats despite putting on a solid performance.

The night started with a short performance from an opening band that I don’t recall the name of and no one paid attention to. You know you’re at an amphitheater when…

Next up was Explosions in the Sky, an instrumental band hailing from Texas that has developed somewhat of a cult following. This wasn’t their first high-profile opening gig, for I saw them with the Smashing Pumpkins about two years ago. Their brand of instrumental rock is sometimes soft, sometimes heavy, and never really all that interesting, at least not to me. While I certainly consider myself a fan of lyrics first and instrumentation second, there were some in the audience that thoroughly enjoyed the performance, head banging along to a set that was at times ear-splittingly loud.

Before the Flaming Lips took the stage, their road crew worked furiously to ready the elaborate stage set up, and they were joined by frontman Wayne Coyne. In between taping down setlists and tuning guitars, Coyne tried to pump up the crowd with a number of exagerated fist pumps and hand gestures. The night would only get stranger from this point forward.

Instead of taking the stage, the band was “born” from the image of a large flourescent woman dancing on the backdrop. Coyne was the last to step out from a door in the screen, and he then climbed into a transparent ball and proceded to “roll” over the fans in the first few rows.

The musical portion of the show began with “Race for the Prize,” and while the band would go on to play a number of fan favorites, it never seemed like Coyne and company made a connection with those in the audience. Much of this can be attributed to the venue itself. I don’t have anything positive to say about amphitheaters that are more concerned with selling nachos than with putting fans close to the stage (I think you could just leave it as, I don’t have anything positive to say about amphitheaters—just kidding). Another issue was the distractions the band provided. Large colorful balls, some filled with confetti some not, where thrown into the crowd during the first song. While punching them up into the air was amusing at first, it got old as the set went on.

In addition to the bouncing balls, there was also plenty of confetti, and dancers positioned on each end of the stage. These dancers, even the ones dressed in wolf suits, somehow managed to move and jump around throughout the entire set. Their enthusiasm wasn’t matched by those in the seats, most of whom  simply bobbed their heads throughout the night. This isn’t to say the band didn’t get the crowd interested on a few occasions. “Yeah Yeah Yeah Song” and “Yoshimi Pt. 1” were highlights of the set, as was “She Don’t Use Jelly,” which was the final song before the encore. The band would also preview three songs from their upcoming record Embryonic, which will be released on October 13^th. Of the three, the intense “Silver Tremblin Hands” sounded the best.

To bring the night to a close, the band performed a one song encore consisting of  “Do You Realize,” which finally had the crowd singing along. The show ended on a high note, but it was difficult to not be at least somewhat disappointed with the performance as a whole. While the Flaming Lips gave their best effort to keep the show interesting, their set lacked the intimacy of a club show, and couldn’t match the spectacle or sheer volume of an arena performance. While I would certainly see the Flaming Lips again, I can’t imagine I would be all that excited to do it at a place like Bank of America Pavilion.

Blink-182

August 29th, 2009

The show started off just like any other. Thousands of eager fans streamed into the sold-out Comcast Theater, eager to finally witness the return of Blink-182. Most of them, including myself, missed Chester French, and then witnessed a bland set from Taking Back Sunday, followed by a fantastic one from Weezer. When Blink first took the stage, the crowd roared and Mark Hoppus and Tom Delonge raced around the stage belting out the band’s biggest hits.

However, this was not a normal show, for during the band’s set, a teary-eyed Hoppus called this one of the most difficult shows the band had ever played due to the death of Adam Goldstein , aka “DJ AM.” Goldstein, who had died suddenly a day earlier, and had collaborated with Barker on a number of occasions (and). His death came as a shock to the music industry. Hoppus credited Goldstein with being an extremely talented musician, innovator, and friend. The band did their best to put on a great show, but it was often difficult to sing along to their bouncy pop-punk tracks after seeing the band so visibly shaken up.

The night started (at least for me) with a short set from Taking Back Sunday, marking the third time I had seen the group this summer. Unlike their memorable performance at the House of Blues in Boston in June, they seemed out of their element playing on such a large stage before the sun had set. The band went through the motions, trying to look interested without much success. The crowd in the pit stood still and silent for the first half of the set, finally getting involved during “Liar (It Takes One to Know One).” They may have been doing so more out of boredom than actual excitement.

After the unfurling of a golden “Weezer” banner and a hilarious “Welcome to Harford” video introduction, the veteran act took the stage, minus front man Rivers Cuomo. After playing the opening cords of Black Sabbath’s “War Pigs,” Rivers finally made his entrance, moving like a clunky robot and holding a football. As if this wasn’t strange enough, Weezer proceeded to rock the Sabbath cover as if it were their biggest hit.

The crowd seemed very confused. This changed with the intro to “Hash Pipe.” While this was a Blink-182 headlining show, you would have no idea based on the crowd’s reaction to nearly every song the band played. Weezer’s set was as enjoyable to watch as any I’ve seen recently, as Rivers egged on the crowd with his odd stage antics that included playing an accoustic guitar while jumping on a trampoline. It was obvious the Connecticut native wasn’t taking this opening slot lightly.

The set was so good because the band didn’t shy away from older material. Tracks from 1994’s landmark blue album were dominant and included “Undone – The Sweater Song,” “Surf Wax America,” “Say It Ain’t So,” “My Name is Jonas,” and “Buddy Holly.” In addition to this, the band would include more of their best work, such as “The Good Life, “Pork and Beans,” and “Perfect Situation.”

While the entire set could be considered somewhat outlandish, two of the wackiest moments involved Cuomo playing “Island in the Sun” by himself, looping drum, bass, and backing vocals and then taking care of lead vocals while playing an acoustic guitar, which he then tossed into the crowd. While the guitar would have made for an amazing conversation piece for one lucky fan, it was quickly ripped to shreds, providing small souvenirs for a few dozen involved in the scrum.

Weezer would then finish the set the way they had started it: with another over. This time, it was The Clash’s “Should I Stay or Should I Go.” After a half hour wait, Blink-182 took the stage to the delight of the completely sold out pavilion. The band would race through seven songs, beginning with “Dumpweed” and finishing with “Stay Together For the Kids,” before an emotional Mark Hoppus would address the crowd about the tragedy that had struck the day before. The emotional address and moment of silence that followed cast a notable pall over the next few songs.

Tom Delonge attempted to lighten the mood with jokes, but was largely unsuccessful. Finally, he took a moment to address the crowd, saying music had always served as an escape for him, and tonight would be no different. This rare serious moment from Delogne was surprisingly heartfelt, and seemed to rally the crowd for the rest of the show.

The band would finished their set with “Josie” and “Anthem Pt. 2,” before returning for an encore that did not feature Travis Barker’s traditional “flying” drum solo. Seeing as Barker considered Goldstein a close friend, it was understandable why the drummer had no intentions of taking center stage on this night. Following “Carousel” and “Dammit,” the band would take their bows and leave the stage.

Hoppus’s mid-show address was unlike anything I’ve seen at a live show. The night was obviously very difficult for the band, and it was somewhat surprising they hadn’t postponed or canceled the show altogether. Overall, the trio deserves a great deal of credit for their performance. They sounded great and looked to be having a blast, even if this was not at all the case. While a tragic plane crash that had involved both Barker and Goldstein only a year earlier was the main reason Blink was back on stage together, it was difficult to take any positives from this most recent tragedy.

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Blink-182
Comcast Center, Mansfield MA
August 6th, 2009

In the days leading up to the show at the Comcast Center in Mansfield, Ma, the idea of seeing Blink-182 live didn’t seem that strange. While they had gone on “indefinite hiatus” five years earlier, seemingly never to speak again, the announcement of their return in February didn’t come as a surprise. Since that Grammy night announcement, the band had played a number of small shows and made countless late night TV appearances, stepping back into the spotlight as if they had never really left.

However, when the unmistakable trio of Mark Hoppus, Tom Delonge and Travis Barker took the stage before 20,000 screaming fans, I couldn’t help but be shocked, even if it was only for a moment. It was really happening. Hoppus and DeLonge, who had barely acknowledged each other’s existence for nearly half a decade, were back to licking each other’s necks and making crude jokes. Barker, who was nearly killed in a tragic plane crash only a year earlier, was back behind the kit providing the band’s background, and the fans that seemingly stretched on forever were singing along like it was 2003. Most impressively, Blink was tearing it up, sounding better than they ever had before. In the end,  the band made everyone forget (+44), Angels & Airwaves, the indefinite hiatus, and all the bickering, proving they were back and in a big way.

Before the headliners would take the stage, the night began with two big name openers, and one very awkward one. The latter was Boston’ own Chester French. Their set, played in broad daylight before thousands of empty seats, included multiple attempts to get the crowd interested, all of which were miserable failures.  Luckily, the band made a quick exit after only twenty minutes.

With the sun still shinning, Panic! at the Disco took the stage to a smattering of applause and launched into a set consisting of material mainly  from their wildly successful 2005 debut A Fever You Can’t Sweat Out. The quintet has fallen on some hard times of late with the flop of their second record Pretty, Odd, and the July departure of guitarist Ryan Ross and bassist Jon Walker. However, neither of these things seemed to bother lead singer Brandon Urie who bounced around the stage as he belted out all of the band’s hits. The only other time I had seen Urie and Co. was when they had opened for Fall Out Boy in October 0f 2005. At that show, they had been ear-splittingly bad, relying on recorded beats and stage antics to cover up for their lack of talent. What a difference four years makes. After throwing in Pretty, Odd tracks “Nine in the Afternoon”  and “That Green Gentleman,” for good measure, the band make their exit.

Next up was Fall Out Boy, who had headlined the same venue two years earlier and were in the midst of their final tour before taking a well deserved break in 2010. While their set did run close to 45 minutes, it seemed to fall flat due to the fact that the band focused only on their hit singles. The band played only two tracks from their latest record Folie a Duex, the rather obnoxious “I Don’t Care” and “America’s Suitehearts.” While favorites such as “Sugar, We’re Going Down,” and “Thnks Fr Th Mmrs” may have excited some in the crowd, that seemed quite tired to those who had seen the band in the past. This is not to say the band didn’t sound great, mainly because of lead singer Patric Stump’s spectacular vocal performance. Stump’s improvement over the past four years is nothing short of remarkable. If he were a baseball player, everyone in the crowd would be screaming for a drug test.

After Pete Wentz was finished with his rants and Fall Out Boy said good bye to the Boston area for the time being, anticipation began to rise for the return of Blink-182. An enormous black curtain was unfurled in front of the stage while the crew frantically readied what would be an immense stage production. As the crowd began to chant and those lucky enough to be at the front of the stage pushed forward, the lights in the enormous shed dimmed, and the curtain fell.

As the black curtain finally fell, there was a huge roar from the crowd, and the trio that had introduced thousands, if not millions to “punk music” stood ready, only a few feet from where I was being crushed by a few hundred other fans. They quickly burst into “Dumpweed,” and then followed  with “Feeling This” and “Rock Show.” As I mentioned in previous reviews, I am a fan of starting the show off strong, and Blink was doing just that.

One of the more surprising aspects of the show was just how good the band sounded. During their heyday, Blink was generally regarded as a terrible live band. They couldn’t play, they couldn’t sing, all they could do was make lame jokes. Suddenly, Mark and Tom both tore it up on their respective instruments, and Barker was his normal spectacular self behind the kit. Hoppus and Delonge raced back and forth from one edge of the enormous stage to the other, certainly in better shape than any of the sweaty and exhausted fans all around me. Of course, Tom doesn’t have the greatest voice, but while he was downright embarrassing as recently as the band’s national TV appearances, his vocal miscues were barely noticeable on this night as the fans helped to pick up the slack.

In between Tom Delonge jokes (some things never change) Blink played all of their hits, as well as a good portion of their last (and probably best) album, 2003’s Blink-182. While they were supported by an enormous backdrop and light show, it was the frantic movement of Hoppus and Delonge that took center stage. At times, the two displayed the chemistry that had helped to make them household names in the early part of the decade, most notably when Delonge licked Hoppus’s neck.

While the trio did stick mainly to their hits, there were a few surprises on the set list, including “Not Now” and “Man Overboard,” two b-sides which never made on to an official Blink record, but are just as good as any tracks that did. The band would close the set with “Anthem Pt. II,” and then return for the most memorable encore I’ve seen in a while. It began with Travis Barker performing a solo, from about 30 feet in the air. The all-world drummer was lifted above the stage on a platform that dipped and curved at perilous angles, thrilling those watching from down below. The stunt had been a staple of Blink sets even before the band when on hiatus, and it was obvious Barker was well-versed, dazzling the crowd for upwards of ten minutes.

Next was ”Carousel,” an early gem from the band’s 1993 cassette release Buddha, to the delight of longtime fans. “Damnit,” the band’s biggest hit followed, accompanied by showers of confetti. Despite its commercial success, the song remains a favorite of most Blink fans, which was quite obvious from the reaction it evoked. While everyone in attendance begged for more, we’re going to have to wait for another tour and another record. While both of these things seem quite up in the air, Blink’s performance on this night shows they would be foolish not to milk this reunion for all it’s worth. The band has returned from their self-imposed exile stronger than ever, and it’s hard to imagine their next record being anything but another huge success. Much like this tour.

Blink-182 Set List

Green Day
The Bravery
Times Union Center, Albany New York
July 25th, 2009

In 2004, Green Day released American Idiot, a record that not only revived their career, but will most likely define it. After selling more than 5 million copies of the album and playing sold-out arenas and stadiums around the world, it seemed like Green Day had little to prove with their next record, 21st Century Breakdown. In a way, this is true, for the band was more or less guaranteed to sell a ton of records and a lot of tickets no matter what they put out. Despite this fact, the band certainly didn’t mail it in, for 21st Century Breakdown is possibly more ambitious than its predecessor, and as proven by their performance at the Times Union Center in Albany, New York, the fans love the record, and the band continues to put on a jaw-dropping live show.

Stealing the show before taking the stage

The show was opened by New York’s own The Bravery. The band has seen some success with their first two records, but few in the crowd seemed at all interested when they took the stage. That changed when an ear splitting crash was suddenly heard midway through the band’s first song. Lead singer Sam Endicott literally ducked for cover and threw his hands over his head as those in the crowd snapped to attention. It happened again toward the end of the song, and then again at the start of the next one. Was it a problem with the sound system? Not exactly.

The noise, which was actually fireworks being set off behind the band’s enormous backdrop, was just the start of the prank, which Green Day had devised to celebrate the Bravery’s last of twenty nights on the tour. Next up was a parade of animals and mythical creatures (or at least, men dressed like them), including the Easter Bunny and a dragon. The costumed men danced along on stage for most of the set, and they were soon joined by a pair of male strippers, who danced uncomfortably close to Endicott throughout the rest of the band’s time on stage.

The most impressive part of the prank was not how elaborate or well planned it was, but the fact that the band played through it completely unfazed. This not only included the dancers and the fireworks, but also the fact that the individual members of the group were shot with a toilet paper gun on multiple occasions, and then a huge storm of popcorn and ping pong balls was shot onto the stage later in the set. The entire spectacle ended with the Bravery performing one of their biggest hits, “An Honest Mistake” in this projectile storm as Endicott held an enormous umbrella over his head. While their set was completely overshadowed by the onstage antics, they did sound good, and I would certainly like to see them in a less unusual situation.

Green Day starts with more fireworks

While the Bravery had been a nice distraction, it was clear that each and every person in the cavernous (and not quite full) arena were there for the headliners, and they cheered widely as a recorded version of “Song of the Century” began to play. While other bands often avoid new material early in the set to ensure starting off on a high note, Green Day decided to do the opposite, opening with “21st Century Breakdown” and “Know Your Enemy,” both of which had those on the floor bouncing up and down while those in the stands sang along. While their new record may not achieve the same success as American Idiot did five years ago, it certainly didn’t make the slightest difference to these fans.

A Small Surprise

The band continued the new tracks with “East Jesus Nowhere,” which marked the first appearance on stage by a fan. This fan wasn’t your average Green Day die-hard however, for he couldn’t have been more than ten years old. If you ignored the fact that he looked absolutely terrified as he was being “saved” by Armstrong, he did bear a striking resemblance to the energetic front man. After the fireworks exploded and the pint-sized guest had hit the deck as if being shot, the band sprinted into three songs that would quickly work the crowd into a tizzy. “Holiday” (which included the obligatory microphone shouts from Billy Joe) was followed by “The Static Age” and “Before the Lobotomy,” two of the better tracks from 21st Century Breakdown. All the while, bassist Mike Dirnt strutted across the stage, looking calm and confident as Armstrong raged like a madman.

Back To Basics

With fireworks continuing to explode and the band members (especially Billy Joe) getting as close to the crowd as the barriers would permit, the band continued to pack the set list with new material, with “St. Jimmy” making for one of the shows best moments. Then just when it seemed as if everyone in attendance had forgotten about the band’s older material, the group launched into an extended trip down memory lane, beginning with “Hitchin’ A Ride.” While American Idiot may have been the record that attracted many in the arena to the band, they had certainly brushed up on the Green Day back catalogue, singing along as if each song was currently #1 on the rock charts.

It was during “Longview” that Armstrong called three different fans up on stage, with each getting to sing a chorus and verse, and then dive back into the crowd. This bit of audience participation is a novel idea, but only if the fans know every single word, which wasn’t necessarily the case here. During “King for a Day,” the band was joined on stage by an entire brass section, as well as other additional musicians. While these annonomous artists play with the band for most of the show, they probably don’t get the credit they deserve when it comes to making the entire spectacle possible.

It Wouldn’t Be An Arena Show If It Wasn’t Over The Top

The award for most absurd song of the night certainly goes to the band’s performance of retirement home aerobics class favorite “Shout.” Surprisingly, the crowd seemed to enjoy it, although it certainly didn’t leave anyone begging for more obnoxious covers. The show then suddenly took on a more serious tone as the band moved on to current single “21 Guns,” which came complete with an enormous audience sing along and a shower of sparks that rained from the ceiling and nearly engulfed the band. “American Eulogy” followed, and the band walked off the stage as the crowd cheered for “one more song.” They would get much more than that.

A Half-Hearted Attempt At Revenge

Green Day returned to the stage with “American Idiot,” and they were soon joined on stage by a heard of men wearing fake beards and plastic armor. They quickly unfurled an enormous “Woodstock ‘94″ banner, to the chagrin of Armstrong, who jokingly chided the group for messing up a serious song. As if  these men (who were soon throwing dirt around the stage) weren’t enough, the Bravely soon made their own appearance, this time dressed in drag. If there’s one thing that could be gleamed from their time on stage, it was that lead singer Sam Endicott is most likely anorexic.

While the band had done their best throughout the night to wow the crowd, the most impressive performance of the night was turned in by a young female fan who was called up on stage to play guitar on “Jesus of Suburbia.” She basically didn’t miss a step throughout the nine minute epic, strumming Armstrong’s guitar while sitting on one of the monitors at the front of the stage. Armstrong meanwhile bounced around the stage and onto the catwalk that extended out into the middle of the floor, working the crowd back into a frenzy. While the band had been on stage for nearly two and half hours, the music just kept coming. “Minority” represented the only Warning track the band would play on the night, and the crowd loved every second of it as blue and white confetti floated down from the ceiling.

The band, save for Armstrong, would then leave the stage, saying goodbye to the Albany crowd for the last time. Billy Joe, meanwhile, would grab an acoustic guitar and finish off the show with “Last Night On Earth” and “Good Riddance (Time of Your Life).” The crowd seemed more excited to hear the former, as “Time of Your Life” has worn out its welcome for most. This is not to say, however, that the show ended on a down note. The fans streamed out into the empty city center raving about what they had just witnessed: a full two hours and forty minutes of bliss from one of the world’s  best rock bands. While Green Day is a band that doesn’t need any gimmicks to put on a memorable live show, they showed that a few fireworks are a never a bad thing when you back up all of the pomp.

Brand New
Robbers
Music Hall of Williamsburg
July 11th 2009

Since the release of their breakout record Deja Entendu in 2003, Brand New have mastered the art of keeping a low profile why still becoming one of biggest bands in their scene. This was evidenced by their latest tour, a string of extremely small club dates that sold out instantly, as the majority of their shows do. The one I was lucky enough to get tickets to was a home town show (of sorts) at the Music Hall of Williamsburgh in Brooklyn. The band would not only preview material from their upcoming forth album, but also rip through a set of old favorites and one very pleasant surprise.

The night began with a short set from Robbers, a band from Long Island seemingly no one in the crowd had ever heard of before. I had listened to a few of their songs earlier in the day, and wasn’t impressed with what I heard. Maybe it was because I wasn’t expecting much, or maybe it was because the band was just that good, but I thoroughly enjoyed their performance, as did most of those in the crowd. Unlike the mellow tracks I was expecting, Robbers played fast, technical songs and brought enough energy to grab the attention of even those in the back of the room who had hoped to play around on their iPhones until the headliners took the stage.

The band’s lead singer (Andrew? Matt? Chris? They do a good job of hiding their identities) thrashed around the stage like a wild man, doing his

Robbers

best Glassjaw-era Daryl Palumbo impression while the rest of the band backed him up nicely. The group said very little throughout the set, instead squeezing as many songs into their half hour on stage as possible. The lack of between stage banter was somewhat surprising considering the band was playing a show close to home in front of a sold-out crowd, but I don’t think anyone was complaining.

After Robbers left the stage to a large round of applause, the wait was on for Brand New. The band had performed only a smattering of shows at colleges and smaller venues since the end of their last US headlining trek in 2007, so most in the crowd had been waiting quite a while to see Jesse Lacey and co. The band took the stage in typical Brand New fashion, looking like they might as well have been ordering an Iced Coffee at Dunkin Donuts or waiting in line for an ATM. That all changed or course as guitarist Vin Accardi strummed the opening cords to “OK, I Believe You But My Tommy Gun Don’t.” Only Brand New could open a show with the lines “I am Heaven sent, don’t you dare forget” and still remain completely credible.

The band then moved on to “Sic Transit Gloria, Glory Fades,” followed by “The Quite Things That No One Ever Knows.” Right off the bat, Brand New had played the three biggest songs from their breakout record, and while they sounded great, the crowd seemed hesitant to do anything but sing along.That changed with “The Shower Scene,” a song the band continues to play at almost every show, not because it’s a fan favorite, but because it gets the crowd moving. Things would then slow down slightly with “Jaws Theme Swimming” as the crowed swayed along. For the first part of the show, the band made little attempt to acknowledge the crowd, steamrolling through songs and barely giving anyone in the venue time to catch their breath.

The Long Island quintet has always operated this way, seemingly trying as hard as they can to wear down the crowd by playing their fastest songs first, and then mixing in slower tracks and crowd interaction later. While the set was moving in a seemingly predictable manner, the band threw in a huge curve with the surprise of the night: “Flying at Tree Level.” The Deja Entandu b-side, which they had never played live before this tour, is arguably one of the best songs the band has ever written. While there were plenty in the crowd of 550 who weren’t familiar with it, those who were (such as myself) pretty much flipped out when the opening notes came without any type of introduction. Surprisingly, it sounded as if the band had been playing the song for years. Hopefully, they continues to play the song live after this tour, but I’m not betting on it.

While Brand New once went through a stage where they shied away (that’s putting it mildly) from playing songs from their debut record Your Favorite Weapon, they now seem comfortable with including the best songs from that album on their set lists, and the band showcased this with the next three tracks, “Mixed Tape,” “7×70″ and “Jude Law and a Semester Abroad.” Now I attend shows pretty frequently, and I have to say, New York crowds are consistently better than their counterparts in New England, especially when Brand New is involved. This fact shined through during this part of the set, as everyone in attendance sang along as if they had written every single word themselves, giving even the venue’s impressively loud sound system a run for its money.

After the crowd had screamed themselves horse to “Jude Law,” the band would move on to the part of the set where they would slow it down, talking about their upcoming record and debuting two songs from it. Before beginning the song “Bride,” Lacey would say “We have a new record coming out. Some people will try to tell you that’s it a big deal. It’s not, it’s just a new record.” It still amazes me how a band that has seen such great success and has such a rabid underground fan base can either be A) this humble, or B) this good making people believe they are. I’m not quite sure which one it is, but I sure would like to believe it’s the former.

Brand New also played the new song “Gasoline,” which sounded great and even had some in the crowd singing along (what would we do without digital cameras and youtube?). Then the band would finally venture into territory from 2006’s The Devil and God are Raging Inside Me. First would be “Sowing Season (Yeah).” It incited a huge sing (and screen) along (but that was true of just about every song on this night). One aspect of the show I was highly impressed by was the venue itself. Considering the Music Hall of Williamsburg had undergone recent renovations and a name change, I was expecting a shiny new venue complete with obnoxious bouncers, “no photography” rules, metal detectors, and of course more bars than you could count on both hands. To my pleasant surprise, I found the complete opposite. The venue was small and intimate, and while it was clean, it certainly didn’t seem new or sterile. To top it off, the sound was great, there were no searches, no barriers, and no bouncers. There was nothing to get between the crowd and what they come to see.

Next, the band would play two more Devil and God songs, “Archers” and “Jesus Christ,” which both earned huge reactions from the crowd and sounded great. The band followed with what they described as one of the slower songs from their new record, apparently titled “Bed.” While it’s difficult to judge a song based on one listen, it certainly seems like the band’s upcoming record will be another outstanding effortt.

The next three songs would bring things back up to speed, and they included “Geurnica,”"Degausser,” and “You Won’t Know.” As is true of most Brand New shows, the latter track was one of the highlights of the night, with Jesse screaming practically the entire song as the rest of the band tore it up behind him. Following this track would be the point where most bands walk of stage and then return for the encore, a trend that is as played-out as any will ever be. Luckily, Jesse remained on stage to finish the show with “Soco Amareto Lime,” and “Play Crack the Sky.” While these two tracks provide the perfect closing note to the band’s first two records, they were also a perfect way to finish off the show, for this is where the crowd truly felt like they were part a part of it, drowning out Lacey’s acoustic strumming.

It was also during these two songs that Lacey let the crowd know just how grateful he was of their support and how happy he was to be (close to) home. I’ve never gotten the idea the band loves being out on the road, and it was obvious they appreciated the support of the hometown crowd, which included many family members and friends. As Lacey completed the set’s final song, the crowd begged for an encore, but thankfully wouldn’t receive one, for night could now end on a very high note. As the fans filed out of the venue, they received flyers announcing a Brand New headlining show along with Glassjaw at the Nassau Coliseum on Long Island in November.  While this will truly be a homecoming show for the band, it was obvious that they were in their element on this night, providing the lucky500 or so in attendance the type performance they’ve come to expect from one of today’s most consistently spectacular performers.

Taking Back Sunday
Anberlin
Envy on the Coast
House of Blues, Boston
June 27th, 2009

If you’re a borderline-obsessive music fan like myself, you probably know what I mean when I mention those special bands. They are the select few you fall in love with the first time you hear them. You think they’re speaking directly to you, even when thousands other people feel the exact same way. These are the bands that you discover early on, and they go on to shape your musical tastes for years to come. You compare every other band to them, and you never miss their live shows. There were a few of those bands for me, and they represent a pretty generic list. AFI, Alkaline Trio, Brand New, Northstar, and of course, Taking Back Sunday. My infatuation with the band began as a sophomore in high school when I picked up their debut effort Tell All Your Friends not having heard a single song, but struck by the  title. After John Nolan left the band, most critics left them for dead, but I (like most of their fans) didn’t. Their next record, Where You Want To Be is still one of my all-time favorites. A show they played with Jimmy Eat World in Providence in support of that record was one of the first shows I ever attended, and and one of the best.

Then came Louder Now. The band’s third album, while not a bad effort by any means, couldn’t match the previous two. Their live shows, which had once been frantic, rousing affairs with plenty of mic swinging by frontman Adam Lazzara, began to feel less urgent, as style slowly replaced substance in the form of huge backdrops and blinding light shows at arenas across the country. When the band parted ways with guitarist/vocalist Fred Mascherino in 2007, I, like most of remaining critics, was ready to give up on Taking Back Sunday.

Earlier this month, the band released their fourth album New Again, with new guitarist Matt Fazzi attempting to fill the rather large role Nolan and Masherino had once played. While I would like to come out and say it has completely restored my faith in the band, it hasn’t. It’s decent. It contains some great songs, maybe some of the best the band has written, but like Louder Now, it is still lacking something that’s difficult to put my finger on. While the band attempts to capture the sense of urgency found in their first two records, they come up just a little bit short.

And that is why I came into the band’s show at the House of Blues in Boston with very few expectations. I figured the quintet would have a difficult time replicating Masherino’s gruff backing vocals, and I wondered if they would focus only on material from New Again to avoid this problem. I did, however, have high expectations of the two opening bands, Long Island’s Envy on the Coast, and Anberlin, a band that has seen a great deal of success with their major label debut New Surrender.

Envy on the Coast

Envy on the Coast provided the show with a somewhat odd opening, beginning their set with the haunting “(X) Amount of Truth.” They then transitioned into “Vulture” and later to a new song from their upcoming second record. None of these songs seemed to interested  the crowd, although there was a small contingent towards the front of the venue that were singing along. Things picked up with “Sugar Skulls,” before losing steam once again with “Paperback” and then another new song. Being that this was the last night of the tour, lead singer Ryan Hunter stopped between songs to thank Taking Back Sunday, saying that Tell All Your Friends would always symbolizes a certain period in his life, just like New Again would symbolize this one.

After being awarded an autographed bottle of wine by the members of Taking Back Sunday, the band got to the song that has been responsible for much of their early success, “The Gift of Paralysis.” The track’s opening notes instantly brought the crowd to life, and the band was soon joined on stage once again by members of Taking Back Sunday and their road crew. The crowd loudly voiced their approval as Lazzara and Hunter stood back to back and chanted the song’s memorable chorus.

While the crowd had stood fairly motionless throughout Envy’s set, that would change when Anberlin took the stage, but certainly not during the

Anberlin

first two songs. Beginning their set with “The Resistance,” frontman Stephan Christian, sounding more nasally  than on CD, bounced around stage, trying in vain to get the crowd moving. After a solid rendition of “A Whisper & A Clamor,” the band would move on to “Disappear,” which finally got things going. It was as if the band had finally struck down a dam that had been holding back all of the crowd’s pent up energy, as it spilled over into the rest of what would become a great set. The band did a nice job of mixing new and old, even including a cover of New Order’s “True Faith.” The band finished the set with their two biggest hits, “Godspeed” and “The Feel Good Drag.” Anberlin executed both with surgical precision, and the crowd responded in force, with fists (and bodies) flying through the air.

After the standard 30 minute break between sets, it was time for the moment of truth. Taking Back Sunday took the stage, launched into “You Know How I Do,” and, at least temporarily, erased all concerns that they were past their prime. The band’s first song form their first record was an absolutely perfect choice to start the show, as the crowd surged toward the stage and practically drowned out Lazzara and co., screaming along to each word. With the energy level already dialed up to 11, the band took another swing at the doubters as bassist Matt Rubano pounded out the opening cords to “”Error:Operator.” If there was anyone in the room that wasn’t completely absorbed by the band’s performance at this point, they were doing a good job of hiding it.

With many in the crowd now gasping for air after these two enormous sing-alongs, the band kept their foot planted firmly on the accelerator  with their performance of “Set Phasers To Stun.” The song’s chorus rang true, for there was no where else I, or most of the other fans in the crowd, would have rather been. A band that I hadn’t expected anything from had come out swinging, playing a fan favorite from each of their first three records to start the show. While no one would have been surprised if they had come out and played a set heavy with “New Again” tunes, it was obvious that Taking Back Sunday was determined to connect with the fans and give them what they had come for. Another bonus was the fact that, unlike on past tours, the band seemed completely focused on the music and the crowd. There were no fancy backdrops, costumes or gimmicks.

The band finally debuted a New Again song with “Carpathia,” one of the hardest-driving tracks from the new record. It didn’t receive the same type of reaction the first three songs had, but those at the front of the stage weren’t exactly standing still, either. Throughout the rest of the show, neither the band nor the crowd were able to match the sky-high energy level both displayed during the first three songs, both this isn’t too say they both weren’t trying their hardest.

Following “180 By Summer” and “Lonely Lonely,” Taking Back Sunday once again returned to a fan favorite from their first album, “You’re So Last Summer.” Considering the band’s more recent efforts have been so successful, it would be understandable if some in the crowd weren’t familiar with these older tracks, but instead, the four Tell All Your Friends tracks the band would play turned out to be the highlights of the show. While members of the band are often critical of the album and state how they have moved on and become a better band, it is obvious that the record will always be special to their fans.

Next, the band moved to a rather sloppy version of “Liar (It Takes One to Know One). After New Again’s title track, which probably received the best reaction of all the new songs on the setlist, the band once again worked the crowd into near hysteria with “Cute Without the E.” It was difficult to judge just how well Matt Fazzi performed in his role as the band’s new backing vocalist due to the fact that, for most of the show, he was drowned out by the frenzied singing of those in the band, but when his vocals could actually be heard, they certainly sounded passable, even if they weren’t quite as distinguishable as those of the two men he replaced.

The band would end the set in the same way they had begun many shows in the past, with Louder Now opening track “What’s It Feel Like to be a Ghost?” The band would then begin the encore with “Everything Must Go,” one of the better songs from New Again, and an interesting choice for an encore. While the crowd sang along to the song’s memorable “You quote the good book when it’s convenient” chorus, it would be the final three songs of the show that would truly illustrate why, despite all the line-up changes, Taking Back Sunday is still a live band that is well worth the price of admission (and even the service fees).

The first of those three would be another Tell All Your Friends classic, “Timberwolves at New Jersey.” Lazarra would then stop to thank the road crew for their hard work throughout the tour, and grant a special request from one of the lighting technicians, which happened to be Louder Now’s “Spin.” Despite all of his vocal theatrics throughout the show, Lazarra was still able to nail all of the high notes in the song’s chorus. Finally, the band would close the show with “MakeDamnSure,” to the delight of the crowd, which dug down and sang along as if they weren’t completely exhausted and hadn’t been abusing their vocal cords for the last hour. The band would then walk off stage knowing that their first nationwide tour with a new lineup and in support of a new record was over, and was a succes. The fans would leave the venue knowing the Taking Back Sunday they knew and loved was still alive and well, and wasn’t going anywhere anytime soon. Both, I’m sure, where beyond relieved.

Setlists:

Envy on the Coast
(X) Amount of Truth
Vultures
New Song
Sugar Skulls
Paperback
New Song
The Gift of Paralysis

Anberlin
The Resistance
Whisper and a Clamor
Disappear
Breaking
A Day Late
Paper Thin Hymn
True Faith (New Order cover)
Dismantle.Repair
Godspeed
Feel Good Drag

Taking Back Sunday
You Know How I Do
Error: Operator
Set Phasers to Stun
Carpathia
One-Eighty By Summer
Lonely, Lonely
You’re So Last Summer
Liar (It Takes One to Know One)
New Again
Cute Without the “E”
Sink Into Me
A Decade Under the Influence\
What’s It Feel Like To Be a Ghost?

Encore:
Everything Must Go
Timberwolves At New Jersey
Spin
MakeDamnSure