Live Review: Alkaline Trio @ Paradise Rock Club, 8/11/11

Halfway through the set, when Matt Skiba changed his electric guitar for an acoustic, the singer-songwriter for the band Alkaline Trio proclaimed he was in love. "I met the most amazing woman!" he yells, and then dedicates "Clavicle" to said woman. It was one of the cutest things I've ever seen.

Err... let's try that again.

Through all my years of enjoying traditional pop-punk bands, it's almost startling to reveal that I have never seen Chicago's famed Alkaline Trio. Singer-guitarist Matt Skiba has had my attention since the Asian Man Records days and the track "Goodbye Forever," and it seemed that they just didn't come to the area much. For the third or fourth time this year, I reverted to a high-school freshmen part of myself that I didn't know still existed.

This was truly a show for the band's longtime fans, as the room screamed with delight to Skiba's strumming the chords of Godammit! opener "Cringe." Many songs played were from the early part of their career, when Skiba's lyrics which much more playful ("Mr. Chainsaw," "Nose Over Tail" and "Old English 800.") Bassist and singer Dan Adriano got to showoff his excellent songwriting skills with "In Vein" and (arguably my favorite Alk3 song0 "Blue Carolina." Skiba and Adriano perfectly play their often-dramatic songs with the same passion and theatrics put into them. With this year marking the band's 15 year anniversary, here's hope that the guys have it in them to put out another album.

Setlist:

Cringe/In Vein/Private Eye/Nose Over Tail/Goodbye Forever/I Lied My Face Off/Old School Reasons/Mr. Chainsaw/Maybe I'll Catch Fire/Blue Carolina/Mercy Me/San Francisco/This Could Be Love/If You Had A Bad Time/Clavicle/You've Got So Far To Go/Blue In The Face/Old English 800/Radio

Encore: My Friend Peter/Crawl/'97

Live Review: White Denim @ Brighton Music Hall, 6/24/11

Despite the name of this blog coming from an Irish band's single, and despite the last two live reviews that I've written - this is indeed a forum for all types of music and reviews of said music and live reviews of said music. So in stark contrast to a show I reviewed the night before, I turn my attention to Austin's White Denim - a band I fell in love with last year after hearing their borderline divine and completely FREE kindof-album Last Day of Summer. (Please do yourself a favor and download this eargasm if you haven't done so by clicking here.) As per usual, pre-show questions clouded my brain: Are they just gonna jam? Is it going to be like Bonnaroo up in this? Glowsticks or no glowsticks?

This one, however, was best not to think about and allow the band to do all the work - and work they did. Right off the bat I was impressed with the band setting up and sound-checking all of their own equipment, something that I've grown accustomed to only when I'm seeing Ted Leo (with his Pharmacists or on his own). The group looked around at each other, signaled to the sound guy, and started right in on material from their latest album, D. May I also note that they started at 10:50 - 10 minutes before they were scheduled to go on. Definitely a first.

Singer/guitar-shredder James Petralli (yes reader, he is indeed the son of former Texas Rangers catcher Geno... Ya know, the guy who caught Nolan Ryan's 300th win!?) sings with his mouth and guitar, almost like he knows that Trey Anastasio's number is up. The rest of the group didn't need backup mics, as they just allowed their incredibly tight playing to speak for itself. In somewhat jam-band format, beginnings and endings of songs were transitioned into the next with such fluidity to even know what was being played. Only a few times did Petralli turn to us and thank us for being there, which seemed to be fine with everyone in attendance. Standouts included the new track'Anvil Everything,' 'I Start To Run' from Fits, and my personal favorite song of theirs, 'Tony Fatti.' Maybe next time we squeeze in a few more from Last Day of Summer, guys?

All in all, White Denim proved why they were worthy of playing much bigger venues than the former Harper's Ferry. They will continue to tour and put out music relentlessly until the masses catch on - and if they do, don't be surprised to see this little band that could playing at summer festivals for the next 10 years. And although there were zero glow sticks at this show, people were indeed rolling face. Hang tight, White Denim, your break is just around the bend.

Live Review: The Bouncing Souls @ The Middle East, 6/23/11

After talking to bassist Bryan 'Papillon' Kienlen for a few minutes several hours before he and his band went on stage, he admitted that Friday night's show would be better. "Ok, well tonight and tomorrow. It's those albums where we really hit our stride."

Those albums he's referring to - The Bouncing Souls, Hopeless Romantic, How I Spent My Summer Vacation, and Anchors Aweigh - are being played in their entirety as part of a series of shows the Souls are currently touring on: 8 albums, 4 nights in 8 cities around the world. Boston (Cambridge if you want to get picky) was one of those cities, as the band played The Middle East four nights in a row as part of their 20th anniversary victory lap. Thanks to Newbury Comics for hooking-a-brotha-up-propa, I was able to get into the sold-out second night of the stop, which included the band playing their self-titled 1997 album and (my personal favorite) 1999's Hopeless Romantic.

Blaring the Rocky theme as the lights go out is one of the biggest clichés in live performance, but tonight was an exception. A bell was dinged and a 'hot chick' came out holding a large foam-board printing of the first album the band was to play whilst an announcer told us the 'stats' of the album. Light-hearted, fun, and border-line corny, just like the band that took the stage. With the charging 'Cracked,' the band powered through The Bouncing Souls appearing slightly off. Singer Greg Attonito in his standard shirt and tie had a glazed look in his eyes, as though he really had to concentrate on remembering the lyrics to this 14 year old album, and the band kept the banter mostly to a minimum during the first set. At a 'punk show,' though, it's not about what the band is doing, really; It's about being sweaty and moshing around and yelling the lyrics and getting punched in the face. "Boston punks and skins," so goes the saying, "a rowdy bunch indeed."

*Not my photo

After taking a break and allowing 'Round 2' to commence, the band re-emerged much more loose and laid-back. All smiles, they jumped right into the title track of Hopeless Romantic and things went much more smoothly. I was just as happy to hear 'Kid,' 'Bullying the Jukebox' and 'Fight To Live' as the rest of the crowd, and for a minute I felt as though it was 1999 and I could go tell everyone about this 'cool concert' I went to in my 6th grade Social Studies class.

The Bouncing Souls didn't need to try to impress anybody after all this time. They have a solid fan-base that just wants to recapture the glory of the days gone by. People may not hold punk rock in the same high regard as other underground genres, but the fans don't seem to mind - especially if a band that's been around for 23 years thanks you by playing all of their albums over four nights in your city.

Live Review: Against Me! @ Paradise Rock Club, 6/9/11

Most times when I attend a show by myself, I like to think of myself as a modern day Kerouac - wearing plaid, talking to myself in prose, drinking cheap beer out of a paper bag, and just sortof letting those bohemians on stage pour their emotions while I take it in all sweating and Beatific and whatnot. Let's just say that seeing Against Me! is not anything like that.

Not that it couldn't be, though - as singer/songwriter Tom Gabel has always written politically charged and/or socially conscious pop punk that could totally breed the type of fan that goes to these shows to just scream the lyrics and 'experience' the music. Deciding that it was best to put myself in the latter category this evening, I entered the all ages show shortly before the main attraction took the stage.

I didn't think much of the 'All Ages' addendum to the familiar sign outside of the club until I walked in - "'All ages'? Does that mean I'm going to be fighting off twelve year olds? Do twelve year old kids go to shows or just watch stuff on YouTube? Do the real punks come to hear 'Pints of Guinness Make You Strong' and then leave?" Mind racing, I grabbed two beers and shouldered through the crowd.



Without much delay (and a really excitable roadie who checked mics by yelling 'YEEEAAAHHH BUDDY'), the band walked out waving, smiling and murdered out in all black. Thankfully wasting no time, they charged into the favorite 'Cliché Guevara' much to the delight of your author and everyone around me. This is a pivotal moment at a punk show - everyone hears that first chord (that could be about 8 of that band's songs) and a rush, a push, and a mosh pit. Fortunately, that broke out on the other side of the pole from me and I just swayed with the crowd as they plowed through 'Pints of Guinness Make You Strong,' 'From Her Lips To God's Ears (The Energizer),' and 'New Wave.' Thanks to major label money(Sire), the guys had great equipment that made Jay Weinberg's (yes, he is Max Weinberg's son) pounding drumming balance perfectly with Andrew Seward's low-end. That duo, I must say, also really likes being in this band - as they sang along with Gabel on every single song and made really intense, 'dude-I'm-totally-killing' expressions. Punk rock, bro.

We didn't get much banter from Gabel, as they paused only once or twice to switch guitars/take swigs/say that Boston effing rocks. I really wanted to hear Gabel open up a bit, as being in 'all-business' mode isn't too fitting for a pop-punk band. The band did charge through a variety of their best material however, including 'Rapid Decompression,' 'T.S.R.' and 2005's Searching For A Former Clarity highlight 'Miami.'

The crowd screamed along and got rowdy, which is great unless you're a bro trying to protect his girl, yo. Usually I don't care about other people at these things, but this one bro started some stuff with other bros who were 'just tryin to have a good time, man' and yours truly wound up in the middle of it, prying bros off of each other. Two of them were kicked out when security came over, and a third bro thought it would be fun to cuss out the bouncer and try to tackle him. He was shown his way out as well.

Thankfully the band soldiered on and rounded out their raucous set with the sing-alongs 'Turn Those Clapping Hands Into Angry Balled Fists,' 'Sink, Florida, Sink' and 'Thrash Unreal.' With just a 'thank you,' Gabel and crew waved and walked off, waited for five minutes to make us all want it, and graciously came out thanking us all once more. "Here's the Clash," said Gabel so nonchalantly that no one really knew what was going on until the familiar snare and bass of 'Janie Jones.' Of course I incorrectly felt as if they played this just for me and I was the only one screaming every word - but isn't that the reason we all go to concerts? Following this was 'Baby, I'm An Anarchist' and one of the best endings to a punk album, the title track 'Searching For A Former Clarity.' I decided that this was the zenith of the evening and set off (even though they did do one more - 'We Laugh At Danger') down the hallway only to find the bros that got kicked out waiting outside the club, most likely to get their revenge or something. Goddamn it, punks, can't we all just grow up and not have to make every show a pissing contest?

SETLIST

Cliche Guevara/Pints Of Guinness Make You Strong/From Her Lips To Gods Ears (The Energizer)/New Wave/White Crosses/Russian Spies/Don't Lose Touch/Violence

Miami/Because Of The Shame/Walking Is Still Honest/White People For Peace
I Was A Teenage Anarchist/Tonight We'll Give It 35%/Americans Abroad/Rice & Bread
Reinventing Axl Rose/Rapid Decompression/You Look Like I Need A Drink/Turn Those Clapping Hands.../T.S.R./Slurring The Rhythms/Sink, Florida, Sink/Thrash Unreal

Encore:
Janie Jones (The Clash)/Baby, I'm An Anarchist

Searching For A Former Clarity/We Laugh At Danger...

(More crappy iPhone pics)

Live Review: Death Cab For Cutie @ Paradise Rock Club, 6/5/11

When I first heard about Death Cab For Cutie playing the Paradise a few months back, I actually thought that there was a mistake on the Live Nation listing. 'Death Cab For Cutie at the Paradise!?' was the reaction verbatim, in fact. A major label band with a huge fanbase playing at a 700 capacity 'you've kinda made it' venue? Unheard of. After doing a little more research, I found out it was no mistake and that the band was touring a number of smaller venues up the East Coast. I tried to equate this to another band in a past and similar situation as I stood in line on the mild Boston night.

Nobody seemed to be drunk enough (or sober anymore) after a line like that, as cutting through the beyond sold out audience was almost stressful. But when the lights cut and everyone starts screaming, suddenly there's more room and everyone is happy - it's a beautiful thing.

Ben Gibbard didn't even waste his breath on a superfluous introduction, but instead just powered through 'Your Bruise,' 'The New Year' and 'We Laugh Indoors' much to the delight of the fans. The band knew that it was going to be their dedicated fans that came to this show, as material from their early records was almost perfectly balanced with tunes from last month's Codes and Keys. Gibbard even paused at one point to tell the audience this, saying they wanted to play 'a place like this' because they knew their 'hardcore fans' would come out. (He also added that he "fucking loves Boston," maybe to appear more edgy after all the recent backlash.)

Thanks to all that major-label keesh it seemed like you could taste Chris Walla's production, as Nick Harmer's low-end strings and Jason McGerr's crisp drumming anchored it all. Even songs with synths and drum tracks ("You Are A Tourist" and "Photobooth") sounded as if they were actually instruments and not recorded tracks. Even Gibbard's vocals - which are often shaky - seemed to stand on their own against the wall of sound behind him. He truly put this to the test when the rest of the band ran off stage and he played the acoustic song that helped thousands of hipsters and college kids get laid, "I Will Follow You Into The Dark." The crowd swayed and sung. Very Dispatch or something.

They jammed "I Will Possess Your Heart," bopped out "Soul Meets Body" and pogoed "The Sound of Settling" before saying goodnight and making everyone scream for more. Successfully, the guys mixed in "Stay Young, Go Dancing," "Styrofoam," "A Movie Script Ending" and the epic "Transatlanticism." Whether you're into the younger, more literately-lyricked Gibbard or the newly married sober songwriter, there's no denying that this group is still a cohesive and sonic powerhouse.

Is this like Muse coming to town and playing here? My mind still churns away...

Live Review: The Morning Benders w/Twin Sister @ Paradise Rock Club, 11/9/10

A few major factors are going to affect this review. The first being that this show was on my birthday (yay!), so my expectations are always high whenever a band plays on my special little day. I always think, "These guys know that they're playing on my birthday, so they better kick ass." To be fair, the bar was set ridiculously high back in 2008 with the double-bonerific bill of Drive-By Truckers and The Hold Steady - a gig that ended with members of the 'Truckers coming on stage to cover The Band's "Lookout Cleveland," duet on "Chillout Tent," and rock the shit out of "Killer Parties." Obviously I knew the Morning Benders weren't going to bust into "Across The Sea" or anything, but I knew they did a whole album of covers (The Bedroom Covers) and Big Echo is one of the year's better albums.

When walking into the Paradise on Commonwealth Ave, I had remembered that they closed for the month of August to do some renovations, so it'd be nice to see if I would actually notice anything. Well, I did... and that shit ain't right! I'll spare you my displeasure about the renovations, because it's not going to go back to the way it was and we all just have to deal with it. The new setup did affect my overall experience, however, which is unfortunate. My cohorts and I made our way towards the balcony to get a better view only to find that it was chained off, something I never understood. The crowd wasn't sold out, but it was big for a Tuesday night, so I didn't get what the deal was. Ok, enough about that - I could go on for too long.

Twin Sister was the second band of the night. I missed Oberhofer. They're an indie band with a a song called ""o0O0o0O0o." Read about them on another blog. Twin Sister is yet another band from Brooklyn, and they play indie rock like every other band in Williamsburg. They were entertaining, but not knowing anything about them made them sound very generic. The band saved their blog hit "All Around and Away We Go" for last, which was fitting, as it is a good tune (listen to it here).

Headliners the Morning Benders took the stage with singer Chris Chu introducing them and promising the crowd that they would play Big Echo in its entirety. They chose to start things off with the mellow "Wet Cement," which immediately got the crowd singing along with its 'whoa-oh-oh-oh's. They faithfully played Big Echo highlights "Promises," "Cold War" and other tracks until they decided it was time for a cover. I yelled for "Lovefool," but they said they didn't remember it. Ok, so they played Fleetwood Mac's "Dreams," which was equally as excellent...although immediately following the song's conclusion I asked for "King Like Me" - shot in the dark, I know, but why wouldn't they do it? I mean they know it's my birthday! Along with Big Echo they played "Waiting For A War," a great cut from the band's first album Talking Through Tin Cans and saved the crowd-pleasing "Excuses" for last, which had every single person in the club singing along.

Live Review: The Hold Steady @ Royale Boston, 10/6/10

If you've ever listened to the radio program for which this blog is named (RIP!), or if you're a close friend of mine, or if you have happened to see pictures of me on Facebook, one thing is certain - I am a big fan of The Hold Steady. Boys and Girls In America is one of my all time favorites, seeing them live is an event, "Stuck Between Stations" might be my favorite song of all time, et al. All this aside, this will be a fair and balanced review of the band's live show this past week at the sometimes nightclub/sometimes indie venue, Royale Boston.

Nova Scotia's Wintersleep warmed the sold-out crowd up, using their organs and jammy guitar solos. Only knowing two songs, I can't say they were at the top of their game or anything, but they kept everyone's attention. Being from Canada, they have my vote, so click on the link and gave 'em a listen.

As the roadies swapped equipment around, I began to think about the last time I saw the Hold Steady - back in April. That show was out in Northampton, and the first without whom I had considered to be the band's 'secret weapon' - multi-instrumentalist and mustached Franz Nicolay. The band seemed like they were still trying to work things out, as new members Steve Selvidge (formerly of Lucero) and Dan Neustadt (formerly of the World/Inferno Friendship Society along with Nicolay) were still getting a grasp on the band's catalogue. Not to mention that the show was a month before their latest album, Heaven Is Whenever, hit record stores...or leaked on the internet. To me, there's nothing worse than hearing a band I love playing songs I don't know yet. These thoughts raced through my head, and as the guys took the stage with their signature plastered smiles, all of my doubts dissolved.

To put it simply, it seemed that Craig Finn and company have not only ironed all the kinks out, but have put to bed the idea that there ever were any kinks in the first place. It could have also had something to do with Minnesota being in the playoffs, as Finn said, "We all have our favorite teams, but tonight, we can all be Twins fans" and blasted into the no-holds-barred anthem "Constructive Summer." The crowds surged, bodies surfed, and fists shot up on cue as they powered through some their most raucous songs like "Massive Nights," "Hurricane J," and "Barfruit Blues." Tad Kubler showed off his slide-guitar skills on the new slow-burner "The Sweet Part of the City," but kicked things back up again with the B-sides (or 'treats' as I refer to them) "Ask Her For Adderall" and "You Gotta Dance (With Who You Came With)." Everyone was tight, there were no awkward pauses, and the usually long-winded Finn kept the banter to a minimum.

There are two main components that made this show so great to myself, the 'huge fan.' Number one: They didn't close with 'Killer Parties.' Up until this tour, the band had been closing nearly EVERY SINGLE SHOW with the excellent song from their 2004 debut ...Almost Killed Me. Instead, they opted for 'Slapped Actress,' an equally great closing anthem. This to me says that the band knows what their cliches are and can climb out of a rut without anyone in the crowd complaining about it. I would be willing to bet that most people at the show have seen them do that before or are just as fine with 'Slapped Actress,' as 2008's Stay Positive was a much bigger album for the band.

Number two: Craig Finn. Always happy, always animated, and always forces you to be a part of the show. He can always say the same things onstage, too, however. The first time I saw this band, in 2007 at this exact location (although known as The Roxy back then), he stated during one song that there was 'so much joy in what [they] do.' I almost cried, because I had never heard a musician being so frank. But then as I went on to see them a few more times and watch videos, I realized that Finn said this almost every show. Not this show, however. Instead of verbalizing it, everyone in the band made it perfectly clear that they love what they're doing and don't plan on slowing down. Perfect.

SETLIST:

Constructive Summer/Massive Nights/Hurricane J/Sequestered In Memphis/Barfruit Blues/Rock Problems/You Can Make Him Like You/The Sweet Part of the City/Magazines/Stevie Nix/Ask Her For Adderall/You Gotta Dance (With Who You Came With)/Chips Ahoy!/Stuck Between Stations/Lord, I'm Discouraged/The Weekenders/Southtown Girls/Your Little Hoodrat Friend/Stay Positive/A Slight Discomfort

ENCORE:

Hornets! Hornets!/Banging Camp/Slapped Actress

Live Review: LCD Soundsystem w/Sleigh Bells @ The Orpheum, 9/28/10

Quick preface: it's Thursday, September 30th at approximately 6:28pm... and my ears are still ringing.

This has been a surreal last few weeks for me, concert-wise. Pavement was one of the best band of the 90's, and LCD Soundsystem was one of the best bands of the 'aughts' as they were. Not to mention that 2007's Sound of Silver is on my shortlist of favorite albums with "All My Friends" probably in my top 10. So yes, this was another dream come true. Add to this terrific opportunity the fact that newcomers Sleigh Bells were the opening act, and I'm feeling like they picked me for the Make-A-Wish Foundation. Did I mention I was sitting really close again? Oh, I guess not. I WAS FIVE ROWS BACK AGAIN! Sorry to brag, but I guess I've just been on a hot streak. On to the show, however.

Ok, so it was really hard to get a good shot of Derek Miller and Alexis Krauss of Sleigh Bells. That's due to the fact that their performance was so goddamn intense! Flashing lights! Stack upon stack of Marshall amps! Gypsy-esque dancing! Although Miller had some guitar issues (he was constantly tuning), Krauss carried the show with her just-like-the-record vocals and ear-piercing screaming in songs like "Kids" and "A/B Machines." Both egged on the smaller than expected crowd, who didn't think that the opening band would start at 7:30 like the ticket said. The absolute highlight was hearing a new song that kicked ass and "Rill Rill," which is hands down one of the best songs of the year. Sleigh Bells proved that you can still have only two people on stage and still blow the audience away. Literally.

James Murphy and company took the stage a little late, but it was worth every second of anticipation. Thanks to such a multi-talented and large group of musicians, LCD sounded unbelievable. It was a bit of a treat to see Hot Chip's Al Doyle filling in for the rest of the tour as well. New tracks like "Dance Yrself Clean," "I Can Change" and "Drunk Girls" bombarded the crowd, and not a person was standing still in the whole place...although I wished some would (I was standing next to a middle aged mother and her daughter...quite enough). It was a delight to hear staples like "Movement," "Daft Punk is Playing At My House" and the jam that started it all, "Losing My Edge." Clearly not the case, Mr. Murphy, as the 'art school Brooklynites in little jackets' have learned their lesson over the years. "All My Friends" was not the closer, as I had thought, but was probably the fifth song or so in. After that, it seemed like they wouldn't be able to top themselves, but they kept the same excitement and tenacity right up to the closer - This Is Happening ender "Home." Just amazing.

SETLIST:

Dance Yrself Clean/Drunk Girls/Get Innocuous!/Yr City's A Sucker/Daft Punk Is Playing At My House/I Can Change/All My Friends/You Wanted A Hit/Tribulations/Movement/Yeah

Encore: Someone Great/Losing My Edge/Home

Live Review: PAVEMENT @ Agganis Arena, 9/18/10

I know, I know - this was so LAST Saturday. But to be fair, mon frere, I had to give this one time or else I would have just gushed my happy little heart out about how amazing Pavement is, how under-appreciated they still are, and how loud Bob Nastanovich can yell. That being said and after waiting a week, I'll now tell you how amazing Pavement is, how under-appreciated they still are, and how loud Bob Nastanovich can yell.

The first time I heard Pavement was in late 2004, my senior year of high school and definitely what you would call a 'transition' year. It was all about trying different things, hanging around different people, and ruining bathrooms at Nichols College. Add to that that the Red Sox won the World Series for the first time in 86 years and you know that there was a new page being turned. Thanks to the internet and LimeWire, I had a whole new world of music at my disposal - checking out both new and old bands I had never heard or really 'gotten into.' To make a long story short, Pavement was one of them, and the song "Summer Babe [Winter Version]" sounded like nothing else that was going on on mainstream radio. The best part? Not one of my friends heard of them.

It's fair to say then, that I had been hoping for a reunion for quite some time. When I first heard the news that Stephen Malkmus and Co. would be playing this Boston show, I immediately ordered a ticket for my brother and me. That was back in March, and I had the presale code, so the tickets I ended up with were five rows back. Umm, yes, it looked like this -->

After pre-gaming at the Sunset Cantina across the street and drooling at the merch table, it was quite a thrill to walk down to seats like-a this. One minor mistake, however, was that we missed openers Jenny and Jonny, composed of none other than Jenny Lewis (Rilo Kiley/Awesome solo artist in her own right) and Jonathan Rice (Lewis' longtime guy pal who hasn't quite got there yet). Walking in I did hear "Next Messiah," so I guess it was kinda nice? I'll just say that if it was just Jenny or if she was with Pinski and the rest of Rilo Kiley, I would have been there when the doors opened. The merch table was drool-worthy as well, featuring the classic 'Sunny Side-Up!' shirts from their Crooked Rain days as well as new ones with Quarantine The Past inspired artwork. I got one of the latter and my brother got two of the former - one for him and one for his 15 month old/my nephew. Rock and roll... now enough of my rambling and on to the main attraction!

This is where I gush. They opened with 'Silent Kid' and never slowed down, honestly. We were lucky that night, because the band was tight, in synch, and decided that they would just play their greatest hits. Stephen Malkmus can be a snob, but he did have a few interactions with the crowd, and Bob Nastanovich keep things lively when SM didn't feel like yelling. My brother and I air-guitared and sang along a la I Love You, Man. The songs reverberated in me for the next week, and I felt privileged to see something that I honestly never thought I would. Now if the Descendents would just reunite...

The Set list:

Silent Kid / Starling Of The Slipstream / Two States / Trigger Cut / Heckler Spray / In The Mouth A Desert / Stereo / Date With IKEA / Stop Breathin’ / Gold Soundz / Conduit For Sale! / Loretta’s Scars / Grounded / Summer Babe / Frontwards / Unfair / Fight This Generation / Perfume-V / We Dance / Brinx Job / Fin / Cut Your Hair

ENCORE 1: Rattled By The Rush / Kennel District / Range Life

ENCORE 2: Spit On A Stranger / Shoot The Singer / Here

More Pics: