Mar 18
[Indianapolis, IN] I understand that hipsters get annoying with their anti-style style, but it wasn’t clear if this band’s style was a step further (anti-any-style-at-all style) or genuine unstylishness – similarly, their music was rebellious and disobeyed melody and sense = no wave – the kind of funky tribal no wave that you can just about dance to – they had heavy drum beats with a dancing guitar – synth drops and strong vocals
Oct 26
A cappella, Art Rock, New Wave, Prog Rock, Thrash No Comments
complex and sophisticated music that was possibly based in Afro-pop or new wave but verged into prog rock – absolutely inventive – lead vocalist/guitarist communicated musical genius to me and I fancy he wrote the songs and what with his crazy guitar skills he couldn’t help but throw a little prog into the music – his voice was also very good… something between Antony and the Johnsons and Elvis Costello and Paul Simon – he was usually accompanied by three female backing vocalists who created a fabric of sweet noises that went from an ethereal drone to a’cappella to screaming – sometimes they would juxtapose their harmonizing almost in a beat boxing fashion so that it created a synthy sound which was amazing – departures from the general sound included the beginning of the set in which the lead guy used an electric guitar in a singer/songwriter style, when he accompanied the black-haired female vocalist in a very pretty jazz vocal, when the entire band would bend over at the waist and incongruously thrash to finish a song (just made me giggle), when the bass guitarist brought out an upright bass which added a jazz feel again to the music, and when the blonde female vocalist took over the stage in a liltingly funky M.I.A.-like song – in other amusing sidenotes, the band generally engaged in anti-cool posturing with the lead guy wearing two massive cardigans, the bass guitarist in an old-school sweatshirt that had some witty saying on it that I forget now, the black-haired vocalist in a plain black t-shirt with a little necklace, etc. etc. – there was also a drummer whom I’m sorry to say I could not see at all
Oct 26
Art Rock, Funk, Hard Rock No Comments
WomanInCharge, true to form, didn’t invite me to this show (Dirty Projectors) but told me I was going… this band was darling darling darling – smiles washed over the crowd – had the stage presence of Matt & Kim: happy clean jumping dancepunk – the little girl with the long hair in a barrette and the green eyelashes painted under her right eye was fierce and inflamed with a voice that reminded me of Grand Ole Party and maybe CocoRosie – her compatriot guitarist with the 70s fluffed hair matched her energy – lots of drums, a keyboard, a whaw pedal, occasional trumpet, sometimes a saxophone – a synthy disco rock inferno – maintained hyped up stage presence until it was certain that the audience had been saved – they almost outshone the headiners
Mar 19
Art Rock, Electronic, House, Techno No Comments
I went from hating this band to adoring them: a lesson in the value of staying for an entire set – it was more keyboard hell: they had a whole network of them (4?) with 3 guys managing them – guitar and drums too – everybody had on those fluorescent plastic sunglasses the kids like – initial impressions: “like one of those clap bands… ambient electronic… yawn” – then they started looping in video game sounds and then they started sounding like The Unicorns (which is a good thing) – and then there was disco and wah wah – I don’t know enough about electronic music to say but there’s a certain deep wall of undertone screech they can do that I really like – suddenly they were The Chemical Brothers and I began to adore them – there were some authentic pounding club moments but they tended to emphasize the goofy rather than the intensity but the intensity was there – the interesting thing about them to me was that they were a mix of an electronic band and a band-band – additionally, the vocals were dissonant with the music in some ways (kind of an indie rock complaint style) but once I got up and started watching them it made more sense – they also put on a great stage show, throwing microphones in a call and response across the stage to each other…
Nov 24
Art Rock, Indie Rock No Comments
Amanda Palmer stormed into Boston for the first two nights at the Paradise Rock Club, supported by the Danger Ensemble. Palmer’s solo album is a force of nature, as is the performer herself on stage. Playing keyboard solo and accompanied on about half the songs by violinist Lyndon Chester, Palmer ran through most of the songs from her solo album, keeping the audience riveted with soft love lorn songs like Ampersand and the tragic Blake Says. Musically, Palmer has never sounded better. She pounded through spirited versions of back to back Dresden Dolls’ tracks Backstabber and Coin-Operated Boy. During Guitar Hero, she played air guitar and lip synced to her own track from the front of the stage.
She stopped the set twice, once to auction off a signed guitar from the music video for Guitar Hero (it went for $790). Later, she went to a segment called “Ask Amanda” where she answered questions from a hat. It was that kind of show.
The Danger Ensemble is a four-piece performance group that acted out scenes on stage while Palmer played. Some of the pieces were stunning, like the tour de force of “Will Kiss for Kash” during Coin-Operated Boy. During Have to Drive, the Danger Ensemble reassembled in the audience, pushing the crowd away to make a space to work with and proceeded to climb on each other like a living sculpture. It was engrossing and Palmer was happy to share the attention.
The show opened with a eulogy performed by Palmer’s mother (getting the crowd to sing along to Abide with Me) before Palmer herself appeared through the crowd in a white shroud and launched into Astronaut.
The show closed with a lip synced extended version of Rihanna’s Umbrella, a singalong cover of Bon Jovi’s Living on a Prayer with The Builders and the Butchers supporting and Ryan Sollee sharing lead vocals. Then Vermillion Lies and Emperor Norton’s Stationary Marching Band joined the rest on stage for a wild romp through Leeds United. It was that kind of night. Amazing.
Sep 27
Joshua Bennett-Johnson’s one-man show made its debut at Cholmondeley’s Coffeehouse at Brandeis University affectionately known as Chum’s. Chum’s, as the story goes, is the inspiration for Central Perk in the Friends TV show.
The six-song set was complete with quiet memorable hooks and his performance style, though understated, was perfect for the setting. The showcase exhibited Bennett-Johnson’s nimble songwriting craft, striking tunes evoking an assortment of autumnal imagery. Iranian Delight, a song about heroin, appropriately had the feel of a sweeping love song. Working through some tension early in the set, he hit his stride during Chase the Road, which he wrote in the last month. The Spaces in Between was the crowd favorite.
As Bennett-Johnson himself told the audience towards the last song of the night, “What’s the point of having these songs if you can’t go out and play them for people?” Indeed, hopefully this just the first time he does so.
The Joshua Band setlist
Iranian Delight
Gone Away
Chase the Road
The Spaces in Between
Untitled
Eleni
Aug 14
rock-jazz, very good, upright bass – trumpet – sax – guitar – drums – they had it all plus a female drummer, anti-pop but not abrasive, diverse songs and sounds, the type of band whose album wouldn’t get boring since there’s a lot to pay attention to
May 02
Art Rock, Jazz, New Wave No Comments
great: intense and interesting, jazz art rock, tangential rock with lead vocalist playing the sax at times, got a little more direct as they kept playing, Rockboy described as the real New Wave before it became pop
Apr 15
Art Rock, Indie Rock No Comments
friends of Red Leaves (names may be misspelled), daters who looked nearly exactly alike, reminded me of Yo La Tengo in terms of sound and the insufferable attitude (particularly the girl), she played guitar, keyboard, etc. and he played guitar, tambourine, etc. – something about her atonal voice reminded me of The Slits – they were stripped down but I quite liked them
Mar 30
Art Rock, Indie Rock, The Vault No Comments
April 12th starts at 8pm! Momo’s on Rio Grande/6th Street above Katz. Rockin’ for Rescue is Dedicated to ending the euthanasia of homeless pets by creating awareness and providing education to the public and provide support for non-profit animal rescue organizations. Please visit http://www.myspace.com/rockinforrescue Rockin for Rescue where you can make a tax-free donation or purchase some very cool t-shirts or wristbands!!! Hope to see your shiny faces at the show!!! Lisa Umbarger from the Toadies will be performing with her new band Tile. Come out and check out the new band.
April122008Show.jpg http://i74.photobucket.com/albums/i271/Flyinghellion/R4R/April122008Show.jpg
Mar 15
Art Rock, Gypsy, Punk No Comments
the favorite show of the year the first time we saw them but they were a little messy today, instead of white suits they had on white t-shirts because it was hot, they know how to put on a show: they started off with a drum circle of their band members, then it all got kind of crazy and our accompaniers wanted to move on, still think they’re better punk-gypsters than Gogol Bordello
Mar 14
Art Rock, Goth, Jazz No Comments
mix of Tom Waits and Nice Cave; Rockboy hears Jim Morrison in the singer’s voice, I hear sex in the singer’s voice: incredibly literate with a wry humor and ‘subtle’ neck tattoo; lead vocalist was dressed like a hobo and the rest were loungey in sharp clothes and sunglasses; drums, guitar, bass, guitar, percussion, saxophone, keyboard; nice and dark
Mar 05
Art Rock, Modern Rock, Psychedelic No Comments
pedal steel and drummer as before but this time accompanied by one or two guitars which possibly detracted from the purity and solemnity
Feb 14
Art Rock, College Rock No Comments
the costumes were fantastic – every band member had a rigged costume that allowed them to play instruments with the real rams and fake limbs to maintain arms-raised one-leg-crooked-in-preparation – this gave them a perpetually hyped appearance which was the only relief, an insufficient relief, from their inane tacky boring music, less talented and less creative version of They Might Be Giants, kept returning to the Karate Kid theme in the lyrics of their song, the kind of band that would amuse you if it was a good friend playing for a group of friends, low-level talent insofar as vocals and instrumentals, the sctichk was all they had
Feb 07
Art Rock, Hard Rock 3 Comments
anticipation built as they set up a mess of gear and wound sparkly lights around the microphone, the red glittery moog guitar player was dressed in red elf clothing and then took off his red jacket to reveal a red “Flash” t-shirt and put on historical pilot goggles, the lead vocalist came in his plaid pajama pants and leftover eyeliner from the night before, the drummer was a preppy slightly effeminate man and the electric guitarist was a squat metalist likely from San Antonio, they were sci-fi punk with departures into pretty average rock, the red man gave “spooky” narratives through a voice distorter that were often too quiet to discern, the electric guitarist played riffs that ought to have been a lot quieter, seemed like a band with a concept with potential but really poor sound management
Jan 09
tribal drums, some groove, but all energy concentrated on taking the pop out through stop-start punkish vocals or straight screaming, so I dub it art rock, verging on good
Jul 26
old blues jammers, they were good because they were old but they had a middle aged female on the Electric violin who was incredible, first it’s an Electric violin and then she played it with these wails and whines that just don’t normally come out of a violin
Jun 16
Adult Contemporary, Alternative Rock, Art Rock, Dance, Pop, Punk, Rock and Roll, Singer/Songwriter No Comments
The True Colors Tour for the Human Rights Campaign rolled into Boston with some amazing talent ready to dance the night away in the spirit of equality and community. Those themes embodied much of the political message of the night, and variously, performers weighed in with their own messages of encouragement. Beth Ditto, of the Gossip, told us one song was written in reaction to George W. Bush’s re-election, but the message of the song was “we’re going to fuck who we want to fuck.” Rufus Wainwright let his music do the talking with a stirring rendition of Going to a Town with its overt political message, “I’m going to a place that is already been disgraced, I’m gonna see some folks who have already been let down. I’m so tired of America.”
But the night’s most poignant moments were both from Cyndi Lauper. Before Erasure’s set, she came out to address the audience about supporting The Matthew Shepard Foundation’s “Erase Hate” Project, encouraging us to “not hate the haters.” She found the stairs and without hesitation, marched into the audience and greeted people from the stands, all while never losing her message of equality and community. And when she speaks “community” she means everyone.
The second amazing split second was during the ensemble finale of True Colors, as the song wound down to its finale chords, Cyndi embraced her fellow musicians onstage and there were genuine, unfettered tears in her eyes. The message and the means of expression were that important to her.
Cyndi Lauper is otherworldly. There is no other way to describe her performance. To the opening chords of Hole in My Heart, she stood behind a white ceiling-to-floor curtain, visible only by her silhouette before she came out on stage adorned in a wide umbrella hat decorated in rainbow color stripes and long black wig. She wore an inexplicable outfit that looked like a flak jacket dress with S&M straps that seemed neither functional nor decorative. She tore across the stage through every song, as if trying to reach out to every single person in the audience. She never lacked for energy, never suffered a dull moment even with technical difficulties marring her entire set. During one pause between songs, Cyndi explained that the doctor shut her mother’s legs right as she was cresting, to make her grand entrance into the world, “and I ain’t been the same every since!” she screamed before ripping off her wig to reveal the shock of short, purple hair underneath.
The new material held up equally well as the classic hits. She drastically reworked She Bop into a ballad rocker, something that could have come straight from an Eagles setlist. When You Were Mine was a pulsing rock number, and a duet with Amanda Palmer who knew she was vocally outmatched and did her best to stay out of the way. Girls Just Want to Have Fun closed out the night, and at the end, the performers from earlier came out with enormous rainbow-colored balloons and tossed them into the audience.
Erasure’s 45 minute set came near the tail end, just as the sun had set. Though the five hour equality lovefest was never dull, the timing of Erasure’s disco-tinged, non-stop rotation of familiar dance hits was a welcome boost of energy.
They stuck to their biggest U.S. hits, folding in three songs off the new album, including the set opening Sunday Girl. Backed by three singers, Andy Bell and Vince Clarke came out on stage in matching vintage Blondie t-shirts with the words “Platinum Blonde” on the front in silver glitter. Vince wore army fatigues over his shirt and a platinum blonde wig. Andy was the most casually dressed he had been in ages. He looked good, just as seriously sexy at 43 years old as he was when he auditioned for Vince Clarke in 1985.
They launched into a string a hits and never dipped into their catalogue past the 80’s except for songs from the new album including I Could Fall in Love with You, the lead single from Light at the End of the World, and Sucker for Love, a disco anthem off the new album.
Andy’s voice was in fine form, and the three background singers, fitted in black wigs, added a great texture to songs like Chains of Love and some gorgeous harmonies on Oh L’Amour. Andy paused before launching into Love to Hate You to show off his glittery pointy toe footwear. Vince strapped on a guitar for rousing singalongs A Little Respect and Sometimes. From the opening synth note to the bows at the end, the crowd was on their feet and stayed there.
I had heard Debbie Harry was deliciously awful, so I was disappointed that from afar, her act sounded pretty good. Up close, however, her act was another story altogether.
Debbie Harry moved like a glacier across the stage, bouncing in place like a bobble head for long periods of time and then drifting to other points on the stage. Her crystalline voice was untarnished by a thirty plus year career and the music overall was enjoyable, but there was something so wooden and awkward about her stage presence, it riveted all your attention. During guitar solos, she moved to the back of the stage to stand placidly in the shadow of the drum set to await her turn. The closest she got to animated was a little Tina Turner kick but mostly, it was like watching the wax figurine of Debbie Harry sing Debbie Harry songs.
No Blondie songs in the setlist, and a few debuts from her upcoming album including Necessary Evil and Whiteout. The best of the night was the new single Two Times Blue which closed out her set. Afterwards, they rushed her body back to the cryogenic freeze to be thawed out when the tour hits Columbia, MD.
Rufus Wainwright walked out on stage backed by an entourage, and launched into a rousing version of the song Release the Stars from the album of the same name. He was wearing a red, white, and blue striped shirt, and his band looked like the sixties had puked all over them. There was a saxophone, guitar, bass, piano, French horn, drums, and a trumpet and each of the players sang harmonies. It made for melodious and heavenly renditions during the set including the new single Going to a Town and Gay Messiah, from the album Want Two.
The Dresden Dolls are the kind of band that cannot be described by mere words, but I’ll try anyway. One half Amanda Palmer and one half Brian Viglione, they are self-described as a punk cabaret. It’s a fitting, however limited, description. They came on stage calmly. Amanda was outfitted in fishnet stockings and a corset and Brian in a white nightgown, with his face painted mime white, pajama-bottoms with his underwear on the outside.
This was a hits show of sorts. They knew that the audience would be largely unfamiliar and pulled out some of their best known songs including Shores of California and Coin-Operated Boy. Amanda does the singing, pounding on her keyboards while Brian accompanies on drums, and once, guitar. He’s silent, but makes theatrical facial expressions throughout. This might not sound like a recipe for a concert, but trust me, they were both equally arresting on stage. At one point, with a beer in her hand, Amanda sings with the gusto of a drinking song (it was a drinking song) as the beer boils and bubbles over the lip of the bottle, sending foam and beer spraying the stage and running down her hand. Brian, who stripped off the nightgown after the first song and played shirtless through the end of the set, was never boring to watch. He effortlessly managed to play, act and command his share of the attention.
They closed the set with an audience vote between War Pigs (yes, that War Pigs) and Girl Anachronism from their self-titled album. To our credit, the vote was overwhelmingly in favor of the Dolls’ own song.
The Gossip had the unenviable task of opening for the True Colors Tour in Boston, MA promptly at 6pm. They got a rousing introduction by host Margaret Cho, who effusively praised lead singer Beth Ditto. Of the crowd, half of whom hadn’t arrived yet, most weren’t at their seats when The Gossip launched into their first song.
Not knowing what to expect, I was mostly taken back at first by how close we were to the speakers. I think I would have enjoyed their set much more if we had been further away (the only other time I have ever said that was during The Dead 60’s and then I wanted to be so far away, I was in another building…) but as a band and as a human being, The Gossip and Beth Ditto were entrancing.
There’s no other way to describe her performance. Beth is overweight and outspoken. She painted on her dressed, which showed every nook and cranny of her body and she wasn’t afraid to move it and twist and contort with the music. You could not take your eyes off of her. She also spent a few moments between songs addressing the audience. She admonished us for not cheering when she talked about the other bands playing tonight, “When someone says the name of a band, you usually clap.” Later, she also let us know, it’s okay to dance if we want to. She also told us that the band was 2/3 gay and 1/3 GBA “Gay By Association.”
The Gossip, it turns out, has been around the entire decade, producing three albums and there were a handful of people in the crowd that new every song. I wasn’t one of them. But after the initial shock of seeing Beth Ditto’s pantyline etched into her dress like a concrete handprint on the Hollywood Walk of Fame, and getting a straight shot view down guitarist Brace Paine’s butt crack, it turned out they were an amazing band.
Margaret Cho started her night as hostess of the True Colors Tour subdued by saying frankly, “We’re all happy Jerry Falwell is dead.” Yes, that was subdued. Cho was happily inserted between each band while the crew changed sets behind her with marvelous efficiency, giving us small chunks of her stand-up routine that got dirtier as the night went on.
If you have never seen Margaret Cho live, she is one of the rare comedians who is not only not afraid to talk about anything, but she’s seriously raunchy and so unbelievably funny. Without missing a beat on topics including the Pope (she called him a queen), gay cruises “Being gay is not a choice, it’s a lot of fun,” George W. Bush, and of course, Paris Hilton, using her “I’m a prisoner” to great effect more than once during the night.
It’s rare that a festival show completely lives up to its billing from start to finish but the True Colors Tour did without a doubt. The message of equality was so fully integrated into the night, but it was never intrusive or out of place. The music was simply awesome. Even the breaks between acts was short, the set changes efficient, punctuated by the hysterical Margaret Cho so that time passed like it was nothing. At the end of the night, I was almost dizzy from the overwhelming feeling of euphoria. And damn if I didn’t want to do it all over again.
Jun 16
Art Rock, Singer/Songwriter No Comments
Seeing Rufus Wainwright live solo, and seeing him perform backed by a seven piece band are quite different experiences. So tonight, he walked out on stage backed by an entourage, and launched into a rousing version of the song Release the Stars from the album of the same name. He was wearing a red, white, and blue striped shirt, and his band looked like the sixties had puked all over them. There was a saxophone, guitar, bass, piano, French horn, drums, and a trumpet and each of the players sang harmonies. It made for melodious and heavenly renditions during the set including the new single Going to a Town and Gay Messiah, from the album Want Two.
The problem was the set was short and Rufus mostly avoided up tempo numbers. He also had little time for his trademark banter, which typically trails off into all sorts of remarkable and vain tangents. So while the music was sumptuous, it was also an atypical Rufus Wainwright experience.
Rufus was playing two nights on the True Colors Tour, at Boston and the next day in Columbia, MD.
Jun 16
Alternative Rock, Art Rock, Punk No Comments
The Dresden Dolls are the kind of band that cannot be described by mere words, but I’ll try anyway. One half Amanda Palmer and one half Brian Viglione, they are self-described as a punk cabaret. It’s a fitting, however limited, description. They came on stage calmly. Amanda was outfitted in fishnet stockings and a corset and Brian in a white nightgown, with his face painted mime white, pajama-bottoms with his underwear on the outside.
This was a hits show of sorts. They knew that the audience would be largely unfamiliar and pulled out some of their best known songs including Shores of California and Coin-Operated Boy. Amanda does the singing, pounding on her keyboards while Brian accompanies on drums, and once, guitar. He’s silent, but makes theatrical facial expressions throughout. This might not sound like a recipe for a concert, but trust me, they were both equally arresting on stage. At one point, with a beer in her hand, Amanda sings with the gusto of a drinking song (it was a drinking song) as the beer boils and bubbles over the lip of the bottle, sending foam and beer spraying the stage and running down her hand. Brian, who stripped off the nightgown after the first song and played shirtless through the end of the set, was never boring to watch. He effortlessly managed to play, act and command his share of the attention.
They closed the set with an audience vote between War Pigs (yes, that War Pigs) and Girl Anachronism from their self-titled album. To our credit, the vote was overwhelmingly in favor of the Dolls’ own song.
Mar 16
An Austin band — looks like it’s made up of record store employees. Their name is literally their exclusive focus. Lead woman singer has a great persona going – robotic but pretty. The girl is much better vocalist than old man. Art punk. I totally buy their message (service jobs will suck the soul and life out of you). Diverse and can’t pin down their sound. People that know rock writing these songs, lots of influences, rich. Rockboy didn’t like them.
Oct 29
Art Rock, Singer/Songwriter Comments Off
I LOVED this show, the most minimal guitars you’ve ever heard (at times) and a totally unpredictable voice which all fit with their studio work. The surprise was the dynamism of Mike — he was all repressed insanity – face contortions while he sang a ballad. Great lyrics and then these monologues in between each song that were Hilarious. He came off as this tortured smart ex-gothic (eyes very close together) who was saved by this band. And when the guitars stopped being minimal all three of the boys played well, one guy did keyboards at times. So interesting and bizarre in a not very loud way.
May 11
Art Rock, Indie Rock No Comments
painful to watch and didn’t like the aspect of making a spectacle of mental illness, but after all the conflicting reports regarding the authenticity of his eccentricity I was surprised at the simple musicability of his music, it was basic and repetitive but enjoyable, genius in its way – lyrics are the key I think, has been covered by Nirvana and others
Apr 24
Art Rock, New Wave, Tribal No Comments
fantastic, lead vocalist antics were very reminiscent of The Grates but she was a little older and stranger, Slits influenced with a droning and sometimes thumping bass drum throughout
Nov 26
Art Rock, Blues, Psychedelic No Comments
a Tom Waits tribute band that made me love Tom Waits, they may have made him harder but it was great dark bluesy rock with some carnival horror-pop type stuff too, engaging band as well with two married nerd punks playing drums and guitar (flaming lighter as a slide) and two average music guys and a new member who was terrified of it all
Nov 02
Art Rock, Goth, New Wave, Punk No Comments
sounded more Velvet Underground than Lou Reed, he was the force behind jumpy songs like “Waiting for My Man,” Lou fought with him and kicked him out out of jealousy, his solo work anticipated punk and new wave scenes, he wasn’t AS impressive as his bio made him out but definitely a #1 in-store
Oct 16
Art Rock, New Wave No Comments
fantastic!, cutey girl in a retro dress—I was embarrassed at her leaping and little-girl antics but it proved infectious and punkish, happy guitarist but freakishly happy drummer staring and smiling broadly in her little boy hair cut with ear curls, great variety, beautiful voice, rocking guitar and drums, interesting and entertaining and captivating, different, new wave says Rockboy but then more, from Australia, fantastic!
Oct 16
Art Rock, Heavy Metal, Thrash No Comments
screaming thrash metal from skinny fey boys, very odd, singer was thrashing so much in his audience of two that he nearly lost them, when the chaos would stop he would adopt a very gay persona, there was something artsy about them
Jan 08
bizarro mix of B-52s and …., two keyboardists crooning to each other (large girl in prom get-up and slim fellow), motley guitarists, drummer, pure novelty
Sep 17
have seen them on t-shirts forever and they did please me, happy songs annoyed me shitty but when they got serious it was tight and swirly, per Chronicle “Liverpool…experimental…blues rock…mad scientists”
Jul 25
Art Rock, Indie Rock No Comments
saw them with IndieBoy at The Parish and we spent so much time mocking their art student film that we disliked them, I quite liked them, fully recognized the first song and then somewhat others, dreamy floating and complex, really disliked the organ keyboard—think that was the childish element that annoyed before
May 22
Crust: band formed from Bontempi Brothers—used to have following some ten years ago, seemingly gay middle-aged lead posed as reverend and praised country/Bush and asked up to open our hymnals, quality punk with lots of variety (I was enjoying until the beer struck me ill after three of them), threw bread at the crowd and all the cool boys lost their composure in the joy of throwing it back, lots of humor and lots of political statements, too much video nonsense behind them and to right of stage, eventually stripped to lingerie, GayBoy in typical GayBoy fashion denied that they were gay boys, they even had a dick song I believe, GayBoy has an interesting unique store of music knowledge—all old Austin with lots of Texas psychedelia, this was the end of our fated sexual encounter (I swore I’d have sex this weekend and he called out of the flaming blue late Sat and said others would be there and they weren’t and we were out til 4 and…)
by Andrew Marx and Dara Shifrer
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