As with most 10+ year bands, Brand New is blessed and burdened with a fanbase-spectrum spanning multiple generations of listeners: the diehards who know every word to every B-Side starting at/before Your Favorite Weapon, the humalongs onboarded during Deja Entendu‘s runaway success (I’m in this group, more or less), the now-adults who found themselves enjoying the sudden lyrical and musical mastery in The Devil And God Are Raging Inside Me (I’m in here too), and the growing number of young folks who joined for Daisy‘s poignantly ferocious/fragile experimentation. Unsurprisingly, the show’s demographic was a little older, and equally unsurprising, the show was very, very sold out.
My buddy Dave flew up from LA to join me, and we happily parked a few blocks away to join a long entry line. Shoutout to the grown men in an SUV we saw belting Taking Back Sunday in super high-pitched voices on the way down to Showbox SoDo, and to the nice couple we talked to while waiting in line. With recent efforts to prevent scalping, and an inherently high-demand pair of artists playing, the queue for the door was as long as it was excitedly anxious. We walked in without a hitch, and settled into a nice spot upfront, near stage right.
BRONCHO
Oklahoma trio Broncho opened up, an expanded group currently touring in preparation for new album Just Enough Hip To Be A Woman, out 9/16 on Dine Alone. Featuring three guitarists, the strummy lo-fi rock band was right up the alley for a Brand New opener, and pushed their set along with a frenetic performance by main members Ryan Lindsey, Nathan Price, and Ben King.
JOYCE MANOR
Next up was California’s Joyce Manor, one of the fastest up-and-comers in the punk scene and certainly a frontrunner for best record this year: junior entry and Epitaph debut Never Hungover Again. Having seen them last year headlining a cut set at The Vera Project, it was fantastic to see this young band tear it up on a big stage with fan picks like ‘Constant Headache’ and a sped up version of ‘See How Tame I Can Be_’ early in the night. With a fun mix off the new record, the 2011 self-titled, and 2012’s Of All Things I Will Soon Grow Tired, Joyce Manor displayed a developed maturity onstage without sacrificing much edge. Electrifying frontman/guitarist Barry Johnson and talented bassist Matt Ebert traded the group’s signature yelps, screams, and irresistible harmonies, while lead guitarist Chase Knobbe and drummer Kurt Walcher stacked up the sear and sizzle in the full band sound. Uptempo versions of ‘Bride Of Usher’ and first single ‘Schley’ kept the energy levels up, all pointing to a promising future for this new Epitaph pick.
BRAND NEW
The wait was long between Joyce Manor and highly anticipated headliners Brand New. What might have been 30 minutes felt like hours, as the heat from the night steadily built up in the old brick venue. Traces of incense and low light set the atmosphere while the band ironically piped in Olivia Newton-John’s ‘Please Don’t Keep Me Waiting’ before taking the stage.
At nearly 15 years old, Brand New has a long and notable history traversing sounds, styles, and influences. I remember staying up late in middle school blasting ‘The Quiet Things…’ and ‘Seventy Times 7’ in my CD player, mad at no one in particular but testing out every spiteful lyric anyway. Hints of latent talent were apparent even then, furious lines involving jellyfish and windshields claiming teenaged vengeance more original (and less forced) than most of what was out there.
The fans around us eagerly trawled Setlist.fm for earlier shows, wondering if ‘Jude Law’ or ‘Jesus’ would show up, discussing rumors of a new song played in Portland the night before, and lamenting the lack of old hits like ‘Mixtape’ and ‘Play Crack The Sky’. When Brand New finally took the stage, it was with ‘You Won’t Know’, the eerie guitars framing frontman Jesse Lacey’s haunted murmurings.
Quickly following with the dramatic ‘Degausser’ and ‘Sink’, Lacey jumped easily from quiet singing to banshee howls while the other members flowed along flawlessly. Lead guitarist Vinnie Accardi emerged from his mane of hair to blast through the band’s many guitar breaks, carried by birthday-man/drummer Brian Lane and the fuzzy ploddings of bassist Garrett Tierney.
It wasn’t until a few songs in that Lacey started to settle into a singing role, most notably in the lush fingerpicking of Daisy first single ‘At The Bottom’. ‘You Stole’ gave way to a rousing version of ‘Sic Transit Gloria…Glory Fades’, the crowd eagerly slithering through the verses before shouting the chorus’ last line, “Die young and save yourself!”
The band continued through songs old and new, wrapping up a bone-chilling rendition of ‘Seventy Times 7’ before stopping to sing ‘Happy Birthday’ for Lane, a band at ease onstage from years of experience. Once the birthday rites were administered, the venue quieted before the incredible ‘Sowing Season (Yeah)’, the favorite for original set opener.
Considering at least one album was issued without any sort of lyric sheet or guide, the crowd did a remarkable job of following the sometimes unintelligible ragings of this veteran group. Older songs like ‘Luca’ and ‘Okay I Believe You But My Tommy Gun Don’t’ made up the rest of the set, finally giving way to the devastation of ‘Limousine (MS Rebridge), the magnificence of ‘Jesus’, and the nostalgia of Lacey’s acoustic closer ‘Soco Amaretto Lime’.
As with most other bands coming back into the limelight, Brand New is one of those bands where you’re never quite sure whether you’ll get a chance to see them again. There aren’t many artists whose engagement level and intensity translate so well from the studio to the stage, and I joked with some friends that Brand New’s live show rivals the passion and purity of Ellie Goulding’s, and with her being a fan as well, I’m sure that’s a statement I’m sure she wouldn’t mind. If you have a chance to see this long-running New York band, by all means, go.
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Last weekend, Being As An Ocean and Fit For A King headlined Seattle’s Studio 7, making their way up the coast with Gideon, Wolves At The Gate, and Capsize.
Washington bands Resolve And Reside and Vessels kicked off the night, both bands hard at work keeping PNW hardcore and metal fresh and new. Both also have new material and tours in the works, so be sure to keep up to date with them on Facebook.
California band Capsize was the first of the official tour lineup to take the stage, pushing their brand new record The Angst In My Veins. With album artwork circulating wildly on Twitter and Tumblr after only a week out on Equal Vision, Capsize has been making waves with their ferocious, lean-and-mean take on hardcore. Listen to ‘Linger’ (not at all to be confused with The Cranberries hit single) below.
Solid State veterans Wolves At The Gate kicked off next, the Cedarville OH band known for effectively fusing faith-based lyrics with furious metalcore touring in support of new album V x V. Now two records and an EP reissue deep on Solid State, the dual vocalists in guitarist Steve Cobucci and screamer Nick Detty propel this quartet through muscular melodic metalcore with no-nonsense heaviness.
Alabama breakout Gideon threw down next, a masterful young group just about ready to release their third album and third Facedown/First Strike release Calloused. Straightforward and brutal, this exciting group seared two circle pits into the eager crowd. Fit For A King guitarist Bobby Lynge lent his axe to round out the lineup and support brutal vocalist Daniel McWhorter, the band’s dry chugging easily pushing the pit into a frenzy. Blasting through new songs ‘Calloused’ and ‘Survive’, as well as old favorites like ‘Gutter’ and ‘Prodigal Son’, Gideon proved that their live performance meets and surpasses every bit of the heat and intensity of their studio recordings.
Fit For A King took the stage second to last, the Dallas quartet and Solid State roster leader blooming a massive metalcore sound with only four members. Vocalist Ryan Kirby lit the venue up with his volcanic screams, stirring the crowd into the most violent fever of the night with songs like ‘Warpath’ and ‘Descendants’. Guitarist Bobby Lynge returned to the stage with singing bassist Ryan ‘Tuck’ O’Leary and singing drummer Jared Easterling for the band’s earthquaking rhythms. Laying down new songs from the upcoming Slave To Nothing were featured prominently, including second single ‘Young And Undeserving’ (new music video below), and met with enthusiasm. Slave To Nothing is due out next Tuesday, October 14th, the band’s third release with Solid State.
Headliner Being As An Ocean came up last to a slighty smaller but undeniably fervent crowd. The Alpine California band is currently out supporting this year’s new release How We Both Wondrously Perish, a titan of a release through Ohio label InVogue Records. Lead vocalist Joel Quartuccio and new clean vocalist/guitarist Michael McGough plowed through a huge set of favorites off both the new and old record, Dear G-d, the 2012 breakout album of this talented hardcore band.
Despite only being a few years old, the quintet is immensely professional in their performance. Heart and passion are apparent from every member, from Quartuccio and McGough to lead guitarist Tyler Ross, bassist Ralph Sica, and new drummer Connor Denis. Waltzing seamlessly between softly sung and raging roars, the band teased out a flawless live set featuring songs like ‘The Hardest Part Is Forgetting Those You Swore You Would Never Forget’ and ‘L’exquisite Douleur’. Fully engaged and energized, this band’s deeply poetic song style is a must-see in every city.
Take a look below at a few of Andrew Mwangi‘s snaps of the night, and if you like what you see, hit him up on Facebook, Twitter, Tumblr, or Instagram!
]]>Toronto’s nastiest punk rockers Pup just kicked off Noisey‘s Everything Gets Worse tour, a massive North American run that will bring the phenomenal quartet down the West coast, through the South, and land them in the middle of The Fest in Florida in November.
Last time this young band was in town was with The Menzingers for the Rented World tour, an excellent lineup filled out by Cayetana and Lemuria. Pup was tour support, and busy pushing their newly released self-titled on SideOneDummy. Their tight live show and a rockin’ demeanor clearly left a great impression in our little city, immediately noticeable in the crowd’s buzzing excitement for this new headlining show. Kelly, Thomas, and I headed to the El Corazon lounge last Tuesday night to see this RCA favorite again, and the band did not disappoint.
The night kicked off with singer/songwriter Ryan Hyde and energetic local bands Random Orbits and Success. All three were a great ramp-up to Pup (heh), with Hyde’s acoustic strummings leading to the tight, throwback pop punk sound of Random Orbits and the intense punk/pop punk dealt by Success.
Pup hit the intimate stage of the very full El Co lounge at 10:15, and the crowd was ready to rock. Pup’s hard work in the studio and on the road has paid off, as the crowd sang and shouted along, joking heartily with Pup’s members as devoted fans do.
The four fellas in the band put on even more intense a show than last time, with vocalist/guitarist Stefan Babcock leading the charge. Flexing his incredible range in tone and timbre, Babcock’s furious singing was backed by gang vocals from bassist Nestor Chumak, guitarist Steve Sladkowski, and drummer Zack Mykula. Always perfectly coordinated in their mic attack, the band is aggressive, polished, and amazingly punk.
It’s not just that the band writes good songs. They play them really, really well. Opening with self-titled first track ‘Guilt Trip’, these four Canadians prove that being all-business on stage can be as fun as it is rewarding. Following up with album favorites like ‘Back Against The Wall’, ‘Dark Days’, and newly minted music video track ‘Mabu’, the band’s intensity was only paused between tracks for a few sarcastic comments and riffing. The night closed out with first single ‘Reservoir’, the epic ‘Yukon’, and a passionate/awesome/rowdy cover of the Beastie Boys’ classic ‘Sabotage’.
If at all possible, make sure you see this band every time you can. They’re gonna tear up The Fest in a few weeks, and it’s all systems go for these Canadian dudes. Paws up!
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The Honda Civic Tour has been a bastion of rock and pop rock for years, and the 2014 lineup is no different. Headlined by Brooklyn’s American Authors and supported by LA bands The Mowgli’s and Echosmith, this year’s tour has been bringing the best breakout artists to the American masses. With one album out each and a few EPs here and there, this tour represents some of music’s most promising new acts.
Hosted at Showbox At The Market, The Honda Civic Tour had the venue gussied up with a full color screen as a stage backdrop, fancy print media, and additional mood lighting in the venerable Seattle venue. Reasonably packed with a maximum capacity of 1,100, Showbox was the place to be on a Thursday night.
First up was California family quartet Echosmith, led by sibling wonders Sydney and Jamie Sierota. Backed by Sierota brothers Noah and Graham on bass and drums respectively, this talented band is fresh off this year’s Warped Tour and making big league moves with mainstream radio play and a run on one of rock’s most prominent tours. With songs like ‘Tell Her You Love Her’ and title track ‘Talking Dreams’ featured prominently on the setlist, Echosmith had the audience enthralled through the night with onstage chemistry that can only be explained by talent and family bonds. The band closed with smash radio hit ‘Cool Kids’ and Summer jam ‘Nothing Wrong’, both key tracks on Talking Dreams, an album that turned a year and a day old at time of performance. Now signed to Warner Brothers Records, this young act can do no wrong, and is on a bright trajectory in modern music. Watch the music video for ‘Cool Kids’ below:
The Mowgli’s followed, a second Los Angeles band whose seven members are the kind of musicians who look like they live every bit of the fun their songs promise. Light, peppy, and built on unbelievable gang harmonies, The Mowgli’s’ (what do I do with the apostrophes in this situation? Seriously.) sound is forged for hosting that last Summer barbecue on the beach. With seven singing members and a slew of instruments between them, the flavors and sounds are immensely rich and offer no shortage of danceable tunes. Stomping through delightful choices off last year’s Waiting For The Dawn, the band is a party of dancing and clapping led by singing guitarist Colin Dieden and percussionist Katie Jayne Earl. Playing through songs like ‘Emily’, ‘Love Is Easy’, and ‘San Francisco’ (below), this fantastic seven-piece is poised to strike sun into your heart and Baloo dancing in your step with a new album in 2015.
Brooklyn headliners American Authors hit the stage at around 10PM, and put on a phenomenally energetic set for such a late night. As with the openers, this quartet only has major LP out, this year’s Oh, What A Life on The Island Def Jam Music Group. Singer Zachary Barnett powered confidently through singles ‘Trouble’ and ‘Luck’, smash hit ‘Believer’, RIAA double platinum ‘Best Day Of My Life’, and choice covers of Sam Smith’s ‘Stay With Me’ and Coldplay’s ‘Yellow’. Supported by drummer Matt Sanchez, bassist Dave Rublin, and guitar/banjo/mandolin slinger James Adam Shelley, the band is a harmony powerhouse with the flexibility, skill, and range often required in contemporary rock. Closing out the night with the hopeful ‘Keep Me Dreaming’ and victorious title track ‘Oh, What A Life’, this band of Berklee grads are patently making their own luck.
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October 13, 2014, Showbox at the Market. Anberlin‘s last Seattle show, ever. Sold out. 1,100 cap.
I have a few mixed confessions about Anberlin, but the facts are straight: I laid an old friend to rest that night.
I already know, Anberlin has been around 12 years. I’ve only known them for 10, so I’m starting there.
I remember discovering Anberlin in 2005, between Blueprints For The Black Market and Never Take Friendship Personal for them, and between eighth and ninth grade for me. In the undeniably awkward whole of my youth, I heard ‘Paperthin Hymn’ once and couldn’t get enough. Having mostly listened to pop punk and pop rock prior to this discovery, I was deeply drawn to the massive, muscular rock, Stephen Christian‘s sleek vocals, and boldly honest lyricism.
I remember hours with ‘Paperthin Hymn’: stewing on every word, noting carefully the genius verse that rhymed twice before giving way to the magnetic prechorus, the titanic lyrical wall in the chorus, the triumphant declaration of faith, that gigantic vocal leap that is the bridge.
I remember poring over the energetic music video for ‘A Day Late’, low def as it was (and still is, somehow), and studying Anberlin as a polished band blowing out every hint of a sophomore slump.
“This,” I thought to myself, “is what rock looks like.” Since it was too late at the time for me to pick up guitar and keep up with my talented guitarist friends, I watched with increasing interest what Deon Rexroat was doing with the bass.
I remember when Anberlin was my favorite band. It was a simpler time. I looked for music that was good, spoke to me, and, if not overtly religious, was at least morally respectable in lyricism.
I remember putting Anberlin and Acceptance lyrics in my AIM profile. I remember being that guy, constantly urging my friends to listen to these relevations of rock and not the poor drivel spoon fed to radio consumers.
I remember when Acceptance shuttered, and Christian McAlhaney joined Anberlin to take Nate Strayer’s place.
I remember when Cities came out, and it was the soundtrack to my freshman year in college. Endless plays of ‘Dismantle. Repair.’ and ‘(*Fin)’ on my knockoff iPod kept me sane through the blustery winter quarter. I remember learning to play ‘The Unwinding Cable Car’ on my acoustic before I knew 12 string guitars existed. Feeling like I’d failed Design School before I’d even applied. Waking up alone in the house while my parents went to the hospital for mom’s treatment.
I remember when New Surrender dropped, and with it, the teeth on ‘The Feel Good Drag’. I see why they did it now, but at the time I couldn’t let go of the ferocity and pure rage woven into the original. ‘Retrace’ was the song to beat on this record, but New Surrender cemented the hyper-polished rock that came to be Anberlin’s signature. I was too busy digging my way into pop punk and post hardcore instead.
I remember seeing Anberlin headline (and probably sell out) El Corazon, on tour with There For Tomorrow, Straylight Run, and Scary Kids Scaring Kids*.
I remember when Deon partnered with To Write Love On Her Arms to create “the Deon“: the TWLOHA logo printed on a girl’s long-sleeved, hooded t-shirt. I already loved the TWLOHA mission, and after seeing Deon wear a few in show photos, I absolutely had to have one. I still have it. Baby blue. Girl’s XXL.
I remember buying my first bass at Guitar Center and settling on a Fender Jazz, just like Deon. He prefers an offset Fender-style Jag these days, and I can’t blame him for that. So do I.
I remember Dark Is The Way, Light Is A Place. I remember edging back into Anberlin’s arms with the gorgeous ‘Impossible’ music video, the alluring album art, and the aching heartbreaker ‘Art Of War’.
I remember Vital, and sitting in my car floored by how far Anberlin had come in their songwriting. Simple, massive choruses built on Stephen’s astronomical vocals. I remember when Vital was re-released as Devotion. I didn’t buy it.
I remember meeting my dear friend Jake, and hearing his behind-the-scenes stories of years with Anberlin, and the deep ties that the band has with our city.
I remember when lowborn was announced, and the wake up call that was news of the band’s imminent breakup. I’ve lost a lot of bands through the years, but of the old guard, Anberlin was the last band I thought would call it. Jake and I texted a lot that day.
I remember when Anberlin announced that they would be on the Vans Warped Tour in 2014, including Seattle. I remember being excited about seeing Nate Young drum with Yellowcard, which meant that I would see him take on the kit twice in one day. I remember being torn between a late afternoon Neck Deep set concurrent with Anberlin. I ran out of Neck Deep’s set halfway and caught the end of Anberlin in the White River Amphitheater. Worth.
I remember going to Silver Platters and picking out my lowborn cover: ochre, with green nail polish.
Here’s a confession: I still haven’t listened to lowborn. I can’t bear to. Let it be known that I bought it, though.
I remember when Anberlin’s farewell world tour was announced, and felt an overwhelming sense of relief when I saw that Seattle was on the tour bill. It had to be. We had to be.
I remember buying tickets minutes after they went on sale. The Showbox couldn’t hold Seattle’s love for these veteran rockers, and I wasn’t about to be left behind.
I remember heading to Showbox the night of the show, anxious and unsure of what to expect. I remember entering the packed out (and sold out, by then) venue, scoping the fantastic date-specific tour merch, and heading to take my usual place: stage right near the front.
I remember when Anberlin burst onto the stage to deafening cheers, and blasted through ‘Never Take Friendship Personal’, ‘We Owe This To Ourselves’, and (my heart stopped) ‘Paperthin Hymn’.
I remember watching Joe Milligan tear through the face-melting solo on ‘Readyfuels’, switching between a handful of gorgeous guitars and searing the fretboard on every single one. I was the one grinning stupidly up front, Joe.
I remember when Stephen high-fived or otherwise engaged almost every person who crowdsurfed to the front.
I remember when the band played ‘(The Symphony Of) Blasé’, and the line “This is our last goodbye…” felt all too real. I remember when Stephen told us about coming up with an early version of ‘The Unwinding Cable Car’ while walking through Seattle. I remember when the band played one request: ‘Dance, Dance Christa Päffgen’, and I couldn’t believe that I’d totally forgotten about the gorgeous NFTP closer. To the person or people who requested that song: Thank you, thank you, thank you.
I remember feeling disappointed about not remembering many of the lyrics of the songs I’d spent years memorizing, and I remember tears coming to my eyes when the words to ‘Dismantle. Repair’ came back to me in the middle of the second chorus. Dismantle me down.
I remember thinking “This would be a great time for people to throw up the lowborn crossed fingers…” And Stephen did.
1,100 other people did, too.
I remember when the band closed out with ‘Godspeed’ and ‘Feel Good Drag’, and I made my peace with the radio-friendly version of the latter.
I remember when the venue blacked out, and Anberlin left the stage to heaps of praise, only to return for the finale, ‘(*Fin).’
I remember when Stephen, true to form, demolished the unbelievable heights in the song’s gigantic bridge. I remember when he leapt onto the rail of the photo pit and threw himself into the roiling crowd.
I remember when Joe, Deon, Stephen, Christian, and Nate joined together on stage to say goodbye to our city one last time.
I remember.
]]>Last Friday, Seattle heroes Emery and The Classic Crime wrapped up a two-week tour in their hometown’s familiar El Corazon venue. The pair of long-running Seattle bands brought Louisville Tooth & Nail band Artifex Pereo on tour while inviting a trio of PNW acts to open the night: A Taste Of Daylight, Black Sky (formerly To Paint The Sky), and talented pop punk band Shoreline Drive.
Between A Taste Of Daylight’s progressive post-hardcore, Black Sky’s heavy rock, and Shoreline Drive’s triumphant pop punk set despite several technical difficulties, the night was primed for three huge acts from the tour bill.
Kentucky sextet Artifex Pereo took the stage first, a newer name to us but a band that immediately demanded the attention of the full venue. Sitting sonically between Circa Survive, The Fall Of Troy, and Chiodos, this powerful six-piece threw out a furious set of songs swimming with skill and experience. Currently supporting 2014 release Time In Place, the band boasts fiery fretwork, moody synth parts, fast-paced time changes, and a vocals sitting impressively between Issues’ Tyler Carter and Chiodos’ Craig Owens in singer Lucas Worley. As with most sextets, the energy and intensity onstage of Artifex Pereo was vicious, all six members focused on the band’s complex songwriting. It’s clear that this five-year band is off to great things with Tooth & Nail.
Tooth & Nail alum The Classic Crime took the stage next, the decade-running Seattle quartet as comfortable and confident on a hometown stage as ever. Frontman Matt MacDonald stormed off with a series of the band’s huge rock cuts, supported by guitarist Robbie Negrin, bassist Alan Clark, and drummer Paul ‘Skip’ Erickson. Though the band is fresh off releasing the Kickstarter-demolishing What Was Done: Volume 1, an album full of acoustics, this longtime quartet delivered a huge list of loud, confident rock. Among the list of favorites was “The Coldest Heart”, “Vagabonds”, “Beautiful Darkside”, and “Seattle” (but interestingly, not “The Fight”). If you missed The Classic Crime this time, they’ll be playing with our friends The Wild Things at the Nectar Lounge on December 11th.
Emery blasted away the rest of the night with “Studying Politics” and “Disguising Mistakes With Goodbyes”. Now hard at work on their new album You Were Never Alone and BadChristian, the band continues to set new standards for “bands hard at work”. Frontman Toby Morrell was as energetic as ever, boasting an impressive arsenal of vocal support from guitarist Matt Carter, keys player Josh Head, and touring bassist Jeremy Spring. Longtime drummer Dave Powell maintained the quintet’s vicious pace as each member contributed to Emery’s trademark intensity. Confident and comfortable on a hometown stage, Emery relentlessly knocked out a diverse mix of songs featuring “The Party Song”, “The Butcher’s Mouth”, and “Listening To Freddie Mercury”, finally closing the night by asking about what song the crowd wanted to hear as an encore. With a deafening response of “Walls”, the night closed out on an incredible high note. Emery delivered in every way as they always do.
Check out some pictures from longtime friend of RCA Jake Gravbrot. If you’re looking for portraits or haircuts, he’s your guy. Check out his work on Facebook or on his professional website.
]]>Illinois’ biggest emo/pop punk name Real Friends has been hitting the road hard lately, this time bringing a trio of Hopeless bands through North America: UK upstart Neck Deep, Maine hardcore act Cruel Hand, and Maryland’s Topshelf alum Have Mercy. Currently pushing brand new Fearless release Maybe This Place Is The Same And We’re Just Changing, Real Friends’ presence is undeniable in today’s music. Unfiltered emotion and raw pop punk are the fuel of Real Friends’ live show, and though the genres on this tour were varied, the intensity was consistent across the bill.
The tour stopped in El Corazon on November 2nd for a nearly sold out (possibly actually sold out) night, with Have Mercy kicking off. This Maryland band’s new album A Place Of Our Own is out now, and the quartet moved deftly through selections from their several major releases. Favorites like ‘Weak At The Knees’, ‘Let’s Talk About Your Hair’, and new tracks ‘Pete Rose And Babe Ruth’ and ‘Howl’ made for a dynamic set showcasing frontman Brian Swindle’s impressive vocal colors.
Cruel Hand quickly followed up in a drastic genre change led by frontman Chris Linkovich. The Portland, Maine quartet stirred up some serious pit action with songs like ‘Life In Shambles’ and ‘Monument Square People’. The relentless other Portland-ers kept the night going on a vicious, Southern-tinged brand of hardcore showcased on new album The Negatives, the band’s first full-length since 2010.
UK breakout Neck Deep followed with their second-ever appearance in Seattle following last year’s Warped run. Slamming out a dozen songs in quick succession, this incredibly talented young band favored older material off EPs Rain In July and A History Of Bad Decisions while only playing a few cuts from the newer Wishful Thinking. EP hit ‘Tables Turned’ and acoustic heartbreaker ‘A Part Of Me’ were the stars of the night, and the band’s breakneck pace didn’t keep frontman Ben Barlow from his massive belting or constant crowd engagement.
Guitarists Matt West and Lloyd Roberts, bassist Fil Thorpe-Evans, and drummer Dani Abasi filled out the night with skillful delivery of the band’s riffy, punk-leaning pop punk. The set closed out with a furious rendition of the brutally spiteful ‘What Did You Expect’, the fan favorite throwing the crowd into a raging frenzy. Only two years into their career, this energetic young quintet is on a thrill ride on the back of a rock solid first full-length and wide acceptance within the genre. Don’t miss Neck Deep.
Headliner Real Friends stitched up the night with a towering 14-track setlist. Led by music scene darling Dan Lambton and completed by bassist Kyle Fasel, guitarists Dave Knox and Eric Haines, and drummer Brian Blake, Real Friends’ explosive success has been as meteoric as it is widespread.
Last seen at El Co with The Greatest Generation Tour and sharing the stage with Modern Baseball, Citizen, and The Wonder Years, Real Friends returned to Seattle to find themselves showered with love. Setting off with 2013 EP hit ‘I’ve Given Up On You’, the band started soft but quickly ramped into the band’s full blown, revival emo/pop punk sound. New songs like ‘I Don’t Love You Anymore’ and ‘Loose Ends’ maintained the pace, while longtime fans were pleased with older cuts like ‘Skin Deep’, ‘Floorboards’, and ‘Anchor Down’. Lambton kept the heat up with his frank, emotional vocals and innate comfort onstage, supported by Fasel, Knox, and Haines buzzing wildly alongside him. This band is an El Corazon veteran, and filled the stage and area with a familiarity equal parts experience and passion. Closing out on mammoth hit ‘Late Nights In My Car’, Real Friends proved they are here to stay, and absolutely worth your while.
]]>RCA had the pleasure of hosting American Island, STRNGRTHNGS, and Peace Mercutio at The High Dive in Fremont. We sold out the cozy little bar with this trio of major Seattle players, packed with smooth croonings, lights and lasers, and an emotional farewell to Peace Mercutio… hence the working title “Peace Out Mercutio”.
Although American Island is a band of veterans, the moniker is a newer one, and we’ve been honored to host this fantastic group several times at RCA shows. This quintet’s brand of slick rock is a pleasure to listen to, stacking effortless harmonies and energetic keys parts on a tight live show. Favorites of the set include “Dream Of Me” and an astounding cover of David Bowie’s “Space Oddity”. Check out some of their tunes on the American Island website.
STRNGRTHNGS followed up, the four-piece taking the stage together for the first time. Led by Nick Emacio, the lighting, fog, and laser rig of this newcomer is enough to rival arena shows. Running through a diverse set including first single “The Party Is Over”, this ensemble of experienced musicians string together mysterious loops, towering rock, huge bass parts, and Emacio’s haunting voice to create an intense live experience. Look for more from this band soon.
Peace Mercutio closed out the night with a moving farewell show. The Seattle transplant slammed through their full-length Weather The Storm, the recent EP You Vs. The World, and the runaway success “Say Something” cover without a hitch, sharing memories and behind-the-scenes stories throughout. The Peace boys celebrated four years as a band by bringing out original bassist Dave Oquist to join drummer Taylor Jurgens and frontmen Andy Lundman and Dan Buckley.
Tons of local musicians and familiar faces came out to say their last goodbyes, singing loudly along to the extended set, moshing playfully and jumping onstage for the huge extended outro of closer “(And That’s How) Good Charlotte (Got Famous)”. Supporting local bands through thick and thin and making memories in the Seattle scene is exactly why we do what we do. Our deepest gratitude to the bands and fans who came out to celebrate Seattle music and lay Peace Mercutio to rest last week.
]]>Portland’s Our First Brains opened up, a warm punk quartet whose fuzzy riffings were a perfect fit for this punk-centric tour. Playing through songs like “Funeral For A Former Self” off of their 2014 Summer Tour EP, the band’s tunes are smartly assembled listens. Definitely keep an eye out for this talented band, and check out their EP on Bandcamp. You won’t be disappointed.
Long-running San Pedro band Toys That Kill followed up, celebrating 15 years as a band by releasing an upcoming split with Joyce Manor. Led by singing guitarists Todd Congelliere and Sean Cole, this band’s roaring punk made for an energetic and fun set. Bassist Chachi Ferrara and drummer Denis Fleps kept the rhythm section tight with simple, in-your-face beats. As most of this band’s songs are on the short side of two or three minutes, the setlist probably featured a mid- to high- teen number of fun, riffy songs. Easily one of the most fun punk sets I’ve seen.
Joyce Manor closed out the night, the Torrance wunderkinds out in support of this year’s fantastic Epitaph release Never Hungover Again. This talented young band blew out the venue with a massive setlist spanning all of their (excellent) releases. Older favorites like “Leather Jacket”, “Beach Community”, and “Violent Inside” were brought out with newer songs like “Christmas Card”, “Schley”, and hilariously simple earworm “Heart Tattoo”.
Frontman Barry Johnson and backing vocalist Matt Ebert powered through the demanding setlist with admirable performances, supported by lead guitarist Chase Knobbe and drummer Kurt Walcher. The crowd responded in kind, moshing wildly, singing and shouting along, and stage diving very gently given recent events. Joyce anthem “Constant Headache” and fan-requested “Five Beer Plan” were two of the band’s final songs, ending a massive night of punk rock on the highest of high notes.
]]>Local hardcore bands Singled Out and Motion opened up the night, but unfortunately I couldn’t get there in time. Keep an eye out for more news from these bands, as we’ll be keeping a closer eye!
I was especially excited to see To The Wind. This local band has been taking off on the national scene, signing to Pure Noise and dropping a major release earlier this year titled Block Out The Sun & Sleep. Following the Hawks win earlier in the day, several of the members were sporting team jerseys while doling out their hardcore sound. Frontman Tanner Murphy led the chaos with a hoarse roar, allowing bassist Anthony (great name) “Tron” Laur and guitarist Ryan Murphy to tag in for a truly mammoth vocal section. Drummer Cory Lamb kept the pace up, making for an outstanding performance received well by a welcoming Seattle crowd.
Trial followed up, the Seattle veterans as informed and charged as they were energetic. The political, straightedge hardcore from such an experienced and respected band pushed the crowd into a frenzy, making bold inspiring statements for people to think for themselves and examine society as it is. Vocalist Greg Bennick led this furious band through a powerhouse set of songs that left the pit breathless.
Alpine, California’s Being As An Ocean followed up, the third performance in Seattle this year for the world’s sixth hardest touring band. Notably missing clean vocalist/guitarist Michael McGough, the band played as a quartet with frontman Joel Quartuccio leading, bassist Ralph Sica, drummer Connor Denis, and lead guitarist Tyler Ross taking up clean vocal duties. While the band delivered passionate heartbreakers with their traditional fire, McGough’s absence dealt Ross a heavy task of triple duty. The band performed admirably nonetheless, most notably engaged when Quartuccio dove into the crowd to pass the mic around and mosh with the band’s most faithful fans.
Stick To Your Guns closed out the night, blasting high-octane hardcore rock in opener “Nobody”. Frontman Jesse Barnett dealt out his fiery range of vocals as Chris Rawson and Josh James pounded out the band’s quick-fingered guitar parts. Rhythm section members Andrew Rose on bass and George Schmitz on the kit kept the pace fast and furious. After the searing 2012 record Diamond experienced runaway success with hardcore fans, 2015 is going to be even bigger with February Sumerian release Disobedient. All in all, a killer night of hardcore and post hardcore!
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