lain’s Neighborhood

J. Tillman @ The Music Box Theatre, Minneapolis, MN 11.6.09
+ abridged album review

J Tillman ♥ Music Box

Despite his minor fame with unpopular, critically-ignored Fleet Foxes, Josh Tillman has been active in the music scene since 2004.  This past September he released Year in the Kingdom, a 9-track odyssey through stoic mountain towns by way of moderate folk sensitivity.  Merely 28, Tillman evokes an image of timeless worldly servitude that befits his preferred musical genre but also confuses.  He acts the part in person—bearded, casually nondescript, a man of few words; yet once he hits that first note, it’s obvious there’s something judicious beneath the weathered layers.  For one, the quality of his voice is beautiful.  There is simply no masculine way to describe it.  The probability that Tillman drinks and indulges like a big boy is high, but you wouldn’t know by listening to him sing.  Perhaps the impressive facial shrub is actually a clever disguise, masking a sweet, even-tempered fellow who rescues kitties and bakes things for charity.  Doubtful, but my point being Tillman’s ambiguity—it’s equally believable that he wandered into town from the wide blue yonder as it is that he stumbled on stage from the local, artist-packed watering hole.

Year in the Kingdom remembers a simpler era that Tillman was not alive to experience.  Softer tracks cite 60s folk influences like Joni Mitchell, had Mitchell penned her songs in a humble log cabin, without basic comforts save for canned beans and a faithful canine companion.  The sparse “Age of Man” is a few twangs/few stringed instruments short of Americana territory, while “Though I Have Wronged You” reminds us that Tillman isn’t seriously concerned by FF comparisons.  At times matter-of-factly somber (“There is No Good in Me”), the album lulls its listeners into a false feeling of peace (albeit reflective, disquieting peace) that does not prepare the ears for the sheer force of Tillman’s live rocking.

Kingdom-the-album clashed awesomely with Friday night’s show at the Music Box Theatre in Minneapolis.  I now have a physical point of reference for the expression “it blew my mind,” as I’m pretty sure I lost a piece of my skull when Tillman blew my mind.  Similar to the structure of the studio tracks—gentle start, build-up, full instrumental progression—the show began as one would expect had they listened to Kingdom:  Tillman + band = traditional 3-dimensional engagement.  Then, maybe a third of the way into the set, all hell broke loose.  Cue roar of full instrumental capacity, skin-tingling whine of amped slide guitar, psychedelic transformation, and crazy apeshit thrashing.  On top of everything unholy, we, the audience, bore witness to grown men playing plastic recorders and finger cymbals. Surely I wasn’t the only one to lose some head mass by the end of the night.

Cerebral hemorrhage notwithstanding, strong tracks like “Though I Have Wronged You” sounded ridiculously swollen with intensity and deliberate flair.  Not showy, per se; rather, phrenic but perverted by foggy invention.  It was like walking into the Louvre for the first time—extraordinary but strangely unfocused, as if the senses were forced into overdrive.  Had I lapped a taste of Tillman’s sweat*, the experience would’ve been complete.  Unfortunately, there was no exchange of bodily fluids; there wasn’t even an encore (a mumbled “thanks” and the musicians made their hasty exit).  It didn’t matter.  How do you follow an act like yourself?

J Tillman ♥ Music Box, Minneapolis (11/06/09)

A few random thoughts without homes:  in high school, Tillman visited Crown, a conservative Christian college in St. Bonifacius, MN; Miracle Whip is the default condiment of Fargo, ND, this according to the band; Josh’s younger brother, Zach, opened the show and also played bass for the elder Tillman’s set.

J. Tillman is currently on tour in support of Year in the Kingdom.  Upcoming shows include stops in Chicago and New York.  For more information or to listen to select tracks, visit his Myspace at http://www.myspace.com/jtillman. 

* I’m not a creeper, promise.

Crypticon 2009 was a bit disappointing, compared to last year. As with last year's cancellation of Tom Savini, this year it's Charles Band. What upset me was that Band's disinvolvement wasn't even mentioned anywhere on their website. As of this writing, their website still lists Band as a guest: "6:00pm Charles Band and his Full Moon Road Show in the Music Room 2nd Floor."

This year, the merchandise room was reduced to a size of a large bedroom, so you walk in and out in about a minute. I did manage to pick up some stuff, but they weren't cheap. Celebrities prints are costs anywhere from $20-40, we weren't allowed to take pictures (if you did purchase a print, then taking pictures would cost an extra $5). Last year, most of the nicer stars let us take pictures for free.

As for merch, the usual bootlegs, toys, horror t-shirts were there, but because of the smaller room - it feels like there weren't a lot of choices. Some commonly seen t-shirts were Nightbreed and Hellraiser, which I thought were cool, since I have always thought Clive Barker is genius. 

Also, this year they had music as part of the show. The person that was supposed to give me a pass to the music area was not at the ticketbooth and I didn't feel like paying extra to see music. Besides, all of the bands seems to be either punk or metal, not really my cup of tea, so I didn't bother to make much effort in getting the pass. 

Anyway, since Charles Band wasn't there, his Q&A was replaced with Linnea Quigley and Don Calfa (both actors appeared in Return of the Living Dead). If I had known, I would've rewatched the film to refreshed my memory. But it would seem even the stars had some trouble remembering what happened on set. 

Still, some interesting stories came out of it. 

First of all, they paid George Romero a million dollars to use the name "Of The Living Dead".  Romero's third sequel, Day of the Dead came out a year later, but was not as successful as Return. 

My favorite was when Calfa said one of the star wanted him to punch him for real, so he gave two hard slap. What's funny was that as he was telling the story, his hand gestured the slap and the next thing you knew: he had hit the microphone in front of him! Way to each that mic a lesson.

With the disappointing cancellation, incorrect/false information (is updating a website too much to ask?), the smaller space, and expensive admission ($30 at the door) - this will be the last year that my group will attend.

Parking in the college area known as "Dinkytown" in Minneapolis can be kind of hard, especially when the meters on 4^th Street runs until 10pm. I didn't mind walking a few blocks to the beautiful Varsity Theater as the weather was nothing less than perfect that Friday evening.

Opening up for Har Mar Superstar are three very different genre and acts. Starting with Koo Koo Kangeroo (official / myspace), whose music styling is that of hip hop - for toddlers. Their songs are dead simple, like "AOA" (sample lyrics: "aye oh aye oh aye") and "Cheh Cheh Chi" and "LMNOP", but they're catchy and easy to sing along. The highlight of their set was when they threw down a white tarp-like covering and the audience was dancing under it like a party fort.

Wow, Bang Bang Eche (myspace) are young. Someone told me that they're about 18 years old, but they certainly look much younger. Their music is very punk high-energy and reminds me a bit of Arctic Monkeys influenced. My easily favorite song from their set is "Fist Full of Dollars", perhaps a reference to Sergio Leone classic film? They ended their setlist with "Die Hippy Scum". Oh, also, it's worth noting that bassist T'Nealle sported a three keyboard cat moon t-shirt. Adorable.

The odd group on the bill was two-person group, Lookbook (myspace). The band is basically guitarist Grant Cutler, who plays guitars and handles the pre-recordings, with vocalist Maggie Morrison. Their music sounds like 80s pop, not exactly the "body-moving" type of music that you'd think Har Mar's audience would demand. Not really much to say, except I think Maggie looks really cute and I will be talking about them in further detail on my "book"-theme news on Sunday.

Har Mar Superstar ♥ Varsity Theater, Minneapolis (11/06/09)

Compared to the last time I saw Har Mar Superstar, which was basically a man and his undies and boombox - he now has a full band, all dressed in white with a red cross on the back. Also, the last time I saw him, he basically stripped down after the first few songs - this time, he started off very heavily dressed with an African cover, hat, etc.

After the first song, he took off his hat. After "DUI", he took off the overall to reveal a Prince "Purple Rain" shirt. He kept taking off articles of clothing as the night went on. From "EZ Pass", to "Girls Only", to "Creative Juices"... the audience was loving it all.

Har Mar and Melinda Park singing "Powerline"

By the time "Brothers & Sisters" was played, he inevitably took off his shirt. The pants disappeared with "Apple Sauce", followed by "Turn it Around". The finale song was "Tall Boy", which Zach, from Bang Bang, and some woman called Melinda Park (or was it Mindy Park?) joined on stage to help sing the song. Park would later turn up again to help sing one of the encore, "Powerline".

The very last song, Har Mar sang an a cappella version of Boyz II Men's "It's So Hard To Say Goodbye To Yesterday". He would pretend the song ended and everyone would clap... only he would continue to sing the refrain. After the third false ending and after he said "goodnight", he came back and sang some more.

Har Mar's latest album is Dark Touches, available from Dilettante Recordings. Read Andrew's review of the album, pick up a copy at amazon

I arrived at the 400 Bar sometime after the doors opened, and the place was pretty dead. I thought there would only be a handful of people out that night, but thankfully as the night got longer, the place filled up.

Brazos ♥ 400 Bar, Minneapolis (11/04/09)

Brazos (official / myspace) warmed up the crowd around nine. What I liked about them is that they have a lot of lyrics in their song. The highlight of their set is the Adrienne Rich poem turned into song. I didn't recall the title, but I'm sure it had "Africa" in the lyrics.

Personally, I thought the best song on their setlist is "Feeding Frenzy", featuring these lyrics "We're interlocking, we're interlocking. It's a bitter conflict, this staring contest."

White Denim ♥ 400 Bar, Minneapolis (11/04/09)

In contrast to the lyrics-thing, White Denim are more like crazy pyschedelic, garagey, experimental rock 'n roll - with minimal lyrics. Whatever singer James Petralli spouted out, it didn't matter because you were so in awe of his amazing guitar-playing ability. You can just tell the guy is a rock god, the way his fingers frantically moved up and down the neck of the guitar.

I reckon these Austin lads don't care so much to slow down or stop, so all their songs are medleys - one song flow into the next, and pretty soon about six songs have passed before they have to take a breather.

If you like your music loud, loud, and loud, White Denim is the band for you. Be sure to bring earplugs.

White Denim's latest album is called Fits and is available now at their record label, Downtown Music, or amazon.

Patience Hodgson, from the Grates, tells me for Halloween, she dressed up as a cowgirl. She went into a store and saw a guy working there, all decked out in a cowboy outfit. She complimented how great his costume was, only to realized that it was how he's normally dressed. That's Texas for you.

That's the kind of weird stories you hear from her, even on stage, they're referencing strange things like trying to hi-fi-ing the "fat guy with the beret" or asking if there were any vikings in the audience. But before I get to all those crazy details from the 7th Street Entry last night - opening up for them was Zoo Animal (official / myspace). I had seen singer Holly Newsom before, but as a soloist. This time, she's doing Zoo Animal songs, not just her solo material.

Holly made some jokes, like how 'grate' the Grates should be to noticing that They Might Be Giants were playing next door and how "we might be miniatures". Most of the audience that showed up early, I think showed up because of Zoo Animal and possibly Ice Palace.

Unfortunately, at the last minute, Ice Palace canceled (I am told the singer was sick), they were replaced by Story of the Sea (official / myspace). Bassist John admitted that they only had a five hours notice. Despite the feedback and false starts, I thought they held up pretty well all things considering.

I will say that they seem older, for the kind of crowd that was there last night. Their music sounds like classic progressive rock. I don't know any of their songs, but I did like the song that had something to do with eyes and being gone. 

The Grates came on with full energy with their often-intro song "Trampoline". Yes, Patience does do that weird rabbit hopping dance, as seen on their Til Death Do Us Party: Live At The Forum DVD. Patience is now a blonde, dressed in a gymnastic outfit.... making her look even more child-like than ever. Which may sound quite weird to hear her talk about wanting a baby of her own (I thought to myself, well there's always cloning...)

Other things I learned from Patience: if you eat enough of your hair, you'll have to take a pill to poop out the hair. Hence "hair butt". Fist-bumping, she tells us is called "boning". She likes to climb onto things, or jump into the audience and singing... while using a twirling baton. Fun to watch, but they also require audience interaction.

"It was this big!"

I thought the highlight of their set was either "Howl" or "19-20-20". I'm not that familar with their new material, but I did recognize their single, "Burn Bridges", from the setlist.

If you are looking for a good time or see cuteness in action, check out Brisbane's export, The Grates touring through your area. They are quite approachable, so please have a friendly chat with them after the show. Their lastest album is called Teeth Lost, Hearts Won, which if you get it on vinyl, will come with a bonus CD. I might also suggest checking out their debut album, which four singles from that album made it onto Triple J Hottest 100. I'm sure Sally will keep us informed of the 2010's Hottest 100.

The Grates - Trampoline

 11/04/2009 04:57:32 ♥ vu () ♥ thegrates.com ♥ myspace.com/thegrates 

You must think it's so great to review music, even as a hobby. That is until you realize that I've been listening to nonstop Christmas music ... in October!! Most of the smarter record labels are releasing their Seasonal music of or prior to that American tradition known as "Black Friday".

What we have in store for you are three very special Christmas albums that's already released or coming out soon-ish.

Big Bad Voodoo Daddy - Is Zat You Santa Claus Big Bad Voodoo Daddy Read More Putumayo World Music http://weheartmus... Putumayo World Music was established to introduce people to the music of the world's cultures. Th...

Putumayo Presents: A Family Christmas
putumayo.com

Putumayo's Christmas album came out at the end of October, and features eleven tracks of very well-known Seasonal songs, including "Winter Wonderland" and "Frosty the Snowman". The emphasis seems to be on "family", as these are all very cheery and traditional-sounding. Which should also translate to boring/age-old songs, but this being from the folks at Putumayo, is nothing but predictable.

Starting with appetizers, Johnny Bregar's banjo-like strumming and snapping to "Santa Claus is Coming to Town". We move to some smooth drink with a jazzy "Holly Jolly Christmas" by Martin Sexton.

The main dish for me is a swingy big band "Is Zat You Santa Claus?" by Big Bad Voodoo Daddy. Now, I've heard of these guys when "Swing was the thing" movement, but I had no idea they were so good. Based on this Christmas song, I can see why the band was honored to play the half-time at Super Bowl in 1999.

My other favorite off the album is the Hawaiian Christmas song, "Mele Kalikimaka", as a duet between Debbie Davies & Matt Perrine. The song sounds very retro to me, like something you'd hear in the 1950s by The Andrews Sisters, especially because I have visions of Ukulele and Hulu hoops, as I'm drinking my Kauai Cocktail.

The rest of the album seems very snacky, especially with the acoustic version of "Winter Wonderland" by Deana Carter. This works because of Carter's sweet voice. The other girl-singer Kate Rusby, who brought an international flavor to "Here We Come A-Wassailing", you can tell with her English accent.

The album comes to a close with a dance-for-all jamboree "Frosty the Snowman" by Lars Edegran and his Santa Claus Revelers. This instrumental sounds very New Orleans to me, a bit of jazz and wild swing that grooves you to dance out of the restaurant.

As usual, with all Putumayo's releases, this release comes with a handsome packaging with large lyric book (two pages of biography is devoted to each artist, written in English, French, and Spanish). If you're not convinced, you can hear three more songs at putumayo.com with the option of downloading a free song from there.

Tour Dates 12/05/09 Vaughan’s New Orleans, LA 12/07/09 Blue Nile New Orleans, LA 12/10/09 Bullet’s New Orleans, LA 12/12/09 Vaughan’s New Orleans, LA 12/17/09 Bullet’s New Orleans, LA 12/19/09 Vaughan’s New Orleans, LA 12/21/09 Balcony New Orleans, LA 12/24/09 Bullet’s New Orleans, LA 12/26/09 Vaughan’s New Orleans, LA 12/27/09 Blue Nile New Orleans, LA 12/28/09 Balcony New Orleans, LA Read More JAZZ NOTE #6 KICK BACK & RELAX http://weheartmus... What I like about jazz is how multi-dimensional it can be. From Dixieland, Big Band to a small t...

Kermit Ruffins
myspace.com/kermitruffinsmusic

Speaking of New Orleans and jazz and Putumayo alumni, Kermit Ruffins has a Christmas album coming out on November 10^th called Have Yourself a Crazy Cool Christmas.

As expected, this is an album of Christmas standards, but with a jazzy twist. Lots of trumpets and piano-playing on the album. Ruffins does some scatting "What Will Santa Say When He Finds Everybody Swingin’", which you can clearly hear some Louis Armstrong-influences.

While I say these are standards, these songs often have change in either musical shifts or lyrics have been changed or sung in a very different way. I noticed that "swing" replaces a few words, like in "Santa Claus is swinging into town". Also, as with most jazz improvisation, the music often become its own entity, usually stretching out the songs into five or six minutes, when traditionally they're two or three minute songs. For instance, "Little Drummer Boy" is now a sad New Orleans-style six minute epic song.

My favorite on the album is the duet "Baby It's Cold Outside". My review copy does not include liner notes, so I do not know who the part of the woman is sung by. Anyway, it's not as cheesy as the Tom Jones and Cerys Matthews version, but it's still pretty funny whenever I hear this song about a couple fighting and the guy is locked outside his home. Ruffins' humor can be found on his title track, "Have Yourself a Crazy Cool Christmas" where he warns people to have a crazy cool Christmas, but "don't get knocked up!"

If you want to hear Christmas songs in a jazzy style, you do need to check out Kermit Ruffins' Have Yourself a Crazy Cool Christmas. The album will be available next week on Basin Street Records.

Tour Dates 12/12/09 Regent Theatre Melbourne 12/13/09 Regent Theatre Melbourne 12/15/09 Canberra Theatre Canberra 12/16/09 Opera House Sydney 12/17/09 Opera House Sydney 12/19/09 Thebarton Theatre Adelaide 12/21/09 PCEC Riverside Perth 12/24/09 QPAC Concert Brisbane Read More Tori Amos http://weheartmus... Tori Amos is a pianist and singer-songwriter. She is married to English sound engineer Mark Hawle...

Tori Amos
toriamos.com ♥ myspace.com/toriamos

On a similar note, Tori Amos' Christmas album is a reworking of classic Seasonal songs. While it's easy to dismiss these Christamosed song, I think she's doing a fantastic job on changing your expectations of these songs. If you have ever heard any Tori Amos cover songs, you'll notice that she always transforms the original song into something completely new and different. And that's exactly what she's doing on Midwinter Graces.

While some of the more popular and traditional songs, "What Child Is This?" (retitled as "What Child, Nowell"), "Emmanuel", and "We Three Kings" (retitled as "Star of Wonder"), are reimagined, I think there might actually be some original Tori songs such as "Pink and Glitter" and "Our New Year".

What else is new is that she has a full orchestra behind her on this album. You can clearly hear all the sweeping arrangements on all the songs, in particular "Harps of Gold". In contrast, my favorite is "Snow Angel", a quieter song with lots of violins and pianos.

If you're a Tori fan, there's something to like here: a bit of traditional with a bit of modern... but clearly a Tori Amos product. I've stressed before that Abnormally Attracted to Sins will only appeal to Tori Amos fans, with Midwinter Graces, I feel people outside of the Amos circle will like and understand. I mean, who doesn't like Christmas music?

Midwinter Graces is available next week on Universal Republic. You can pre-order the CD/DVD combo on amazon. Unfortunately, my review copy does not include the DVD portion, but I'm sure it's the usual interview and/or music video.

To understand The Slits, we have to take a look at their history. I mean, I have even heard about the Slits about the same time the Riot Grrrls thing started up in the early 90s, and by that time they had already split up. You see, back then, we didn't have the internet, most of the stories and mythology were read in letters and fanzines. Fanzines were important to indie music, because the major publications did not focus into these small niche.

The Slits shocked me when it was announced for their 30^th anniversary forming the band, that they had reformed. I believe only two of the original band members (Ari Up and Tessa Pollitt) makes up the new formation, but this is pretty common as far as reformed bands are concerned (see Guns n Roses, for example).

Most new "girl" band fans should pick up their debut 1979 album, Cut, as sort of a companion to their latest 2009 release Trapped Animal. Despite being thirty years apart, they sound complementary to each other. In some ways, my theory is that Animal is the direct sequel to Cut.

If words like raw, primal, tribal, experimental, doesn't appeal to you, then you probably won't like their music. While I do not generally like the pots & pans music that's so popular today, I do think The Slits are slightly better than most of the modern stuff. They've been doing it for ages, and, unlike modern music, they actually sing and sometime even have catchy melodies.

The other thing The Slits have going for them is that they're always tackling political and human right issues. "Issues" deals with child abuse, while "Ask Ma" deals about women rights. These kind of "freedom"/equality topics are generally associated with reggae music, and there are a few songs, "Babylon", & "Reggae Gypsy", on the new album that sounds a bit like reggae. Although, to be fair, The Slits have always been known to fuse a bit of reggae rhythms and angry female vocals.

My favorite song is "Cry Baby", which sounds more like a 60s girl group pop song than the usual Slits style. And speaking of not in their style, "Be It", sounds like they're singing in Japanese? It's brilliant, even though I have absolutely no idea what they're singing about. They are so different that if these songs randomly comes on the radio, you'd never guess it was the Slits, and I think that's saying something about their diversity and flexibility in the type of music they produce.

So find out why Le Tigre name checked The Slits, among others, in their song "Hot Topic". It's because The Slits are, and is, one of the most influencial and important band. Their latest album is Trapped Animal and available at all online stores. Old fans will welcome the new songs, while new fans will be in for a treat with Trapped Animal.

Lynhurst has the notable distinction of being the closest band to ever live by me. 

When the Big Chief, Vu, showed me their CD, my first reaction was, “I know these guys.”  And after seeing their picture on the inlay of the CD jacket, my second reaction was, “Wow, they have really grown.”

Let me explain.  I have always felt the role of proud, unrelated relative to this brothers-sister trio for over the years I’ve had the opportunity to watch them play at all the south Minneapolis hotspots like Minnehaha Falls, Betsy’s Back Porch and Famous Dave’s.

No matter how young they look, these musicians are already seasoned professionals.  Matt and Jake were regularly performing gigs before reaching their teens and Mari, the youngest, wasn’t too long to follow.  What amazed me watching them play at such a young age is how comfortable and confident they looked on stage.  Their debut album is no different.

The press promotion states that Field Day is the combination of The Carpenters meeting The Cardigans.  Some reviews I have read have labeled it as Radio Disney.  I would have to say with Mari’s nuanced voice and Matt and Jake’s robust sound, they have created something in between.  It's fun, well played rock ‘n roll.  “Kiss Me Now” is definitely the radio friendly hit, but I found myself liking all the songs on the CD.  In fact, I was surprised how long I kept the CD in the player of my car as I drove through the streets of Uptown, around Lake Harriet, past Java Jacks on my way home.

 

-Dave

Weezer - The Good Life Weezer 1 comment Insect Weezer ♥ Hammerstein Ballroom, New York (10/31/09) Tour Dates 12/01/09 Aragon Ballroom Chicago, IL 12/03/09 Eagles Ballroom Milwaukee, WI 12/05/09 Air Canada Center Toronto, ON 12/07/09 Agganis Arena Boston, MA 12/09/09 Patriot Center Washington DC 12/10/09 Susquehanna Philadelphia, PA Discography [1994] Weezer (Blue) [1996] Pinkerton [2001] Weezer (Green) [2002] Maladroit [2005] Make Believe [2008] Weezer (Red) [2009] Raditude Read More Weezer http://weheartmus... There's no additions to the original album, the first disc is relatively short, being barely 40 m...

To fully grasp the emotional scope of this review, you should know three things:

1. My first kiss took place at a seventh grade Halloween party with some dude named Eugene. “El Scorcho” was playing in the background.

2. My first non-paste-eating boyfriend was my ninth grade algebra tutor, who bore an uncanny resemblance to Green Album-era Rivers, minus the braces.

3. In high school I was co-president of a dedicated Weezer fanclub called The Cuomosexuals. We mostly dissected Pinkerton lyrics, line by line.

Needless to say, this show (on Halloween, of all days) carried quite a bit of sentimental weight for me. Like most seasoned fans, I’ve pretty much abandoned all hope of Weezer ever releasing anything remotely listenable, yet I’m still willing to brave Ticketmaster fees just to hear “Tired of Sex” – even if that means sitting through gems like “We Are All on Drugs” and “Can’t Stop Partying.” In terms of band-fanbase relationships, Rivers is Sid Vicious, and we old-school fans are doped up, masochistic Nancy.

The show was at the sprawling Hammerstein Ballroom, an odd place to see the opening act: Matt & Kim. (Unnecessary Personal Fact #4: My friends and I saw Matt & Kim right after our senior prom. This night truly was high school redux.) I’ve seen them play in the backroom of a Texan bar and the bowels of a Brooklyn brewery, but this venue was by far the strangest. Despite this, they were as hyper as ever, dressed up as Andy Warhol and Edie Sedgwick and hurling candy and condoms into the audience. They won the crowd over by using “The Final Countdown” to segue into “Daylight.” Yes, they had t-shirt guns and giant inflatable spiders, and they were playing in a 1200-capacity ballroom – but there was no denying that this was the same band I saw after my senior prom.

Alas, if that was only the same case for Weezer. I should go ahead and say that I had a fucking amazing time. I was front row at a Weezer show, mere inches away from Rivers. This was the epitome of my high school fantasies. But something was amiss. This may have had something to do with the fact that they came out dressed like insects.

Rivers

Yes, when Weezer took the stage, Brian was as a beetle, Pat was a praying mantis, Scott was something vague and sparkly, and Rivers –ever the Kiss fan—was a big, fuzzy purple spider. It was cheesy and nerdy, two of Weezer’s hallmarks, but what really brought it home was when Rivers stormed onto the stage, one of his many furry appendages got tangled in a microphone stand, causing him to stumble. All of this happened within the first few seconds of “Hash Pipe,” by the way.

The theatrics were obviously a priority that night. Some of the stranger items of interest: Rivers brought out a ukulele with the sole intention of kicking its ass, Leighton Meester (a.k.a. Blair Waldorf of Gossip Girl fame) made a cameo to help sing some song off of Raditude, Rivers proved to be quite adept with a trampoline, Pat played Rivers’ guitar parts for most of the show, Scott sang “My Name Is Jonas” (blasphemy!), and they ended the first set with their infamous MGMT/Lady Gaga medley. Oh, and Rivers rapped Lil Wayne’s part on “Can’t Stop Partying.” Vanilla Ice would be proud.

As both an insufferable snob and helpless Weezer fan, I was torn. I went beavershit crazy during any song from the first two albums, but during anything post-2001, I’d turn to my friend and shrug, mouthing, Do you know this song? (Yeah, we’re assholes.) Soon I noticed that we were pretty much the only ones not creaming ourselves over a song like “Pork and Beans.” Weezer plays stadiums and ballrooms for a reason – and it’s because of this new breed of diehard fans who unconditionally love Rivers, regardless of his questionable facial hair and fondness for Snuggies. These are the people who close their eyes and sway to “Beverly Hills,” while restlessly checking their Blackberries during “Surf Wax America.” In short, these are Weezer’s true fans, whereas I represent their bitter ex who is stuck in the past with the emotional stretch marks to prove it.

They ended the show with “Buddy Holly,” which was good enough for me. My inner-seventh grader was dying to hear “El Scorcho,” but it went unplayed that night. I’m sure it was for the best, as it wouldn’t have been the same without Eugene.

 11/01/2009 15:16:06 ♥ kateg () ♥ www.weezer.com ♥ myspace.com/weezer