Category Archives: live review

Beale Street Music Festival 5/4-6, 2018, Memphis

Dates: May 4-6, 2018

Location: Memphis, TN

TEXT AND PHOTOS BY MARK JACKSON

The Beale Street Music Festival is an annual music festival that takes place in downtown Memphis, with the backdrop of the mighty Mississippi River and the iconic symbols of the Bass Pro Shop Pyramid, and the Tennessee/Arkansas Bridge. Every year this is one of my favorite festivals for many reasons, first being the staff. Memphis holds a month long celebration every year for the month of May and celebrates a different country each year (this year was the Czech Republic), including events such as the music festival, BBQ cook off contest, Great American River Run, exhibits, and more.

This festival always has a great mix of rock, alternative, rap artist, and a blues tent that only has blues artist for the entire three day event. This festival is always packed, but this year sold out completely on Sunday by five o’clock. I think it may have had something to do with having a “Rockstar” artist who is all over the radio and Youtube with hit after hit. You may have heard of him, he goes by Posty aka Post Malone. If Post alone was not enough, Sunday also had Juicy J, Young Dolph, Delbert McClinton, Dram, Erykah Badu, The Flaming Lips, Flor, Andrew W.K., and a band who I was especially excited to see live called Misterwives an indie pop band based in New York City. The lead singer, Mandy Lee, reminds me of Haley Williams from Paramore, with her onstage presence and dance moves. Misterwives had the crowd jumping, dancing, and everyone singing along.                                                                                                                                      Other great acts from the weekend included Alanis Morrisette, Third Eye Blind, Margo Price, North Mississippi Allstars, Queen of the Stone Age, Kaleo, Clutch, Tyler, The Creator, Cake, Chevelle, Gov’t Mule, David Byrne, Ludacris, Al Kapone, Logic, and of course Jack White, who once again banned the photographers with a closed pit with no photos allowed (as he has done many times in the past). Jack also kept low blue lighting for the entire show, which I assume was to not allow fans to have any photos as well.

We want to send a special thank you to the promoters and staff of the Beale Street Music Festival for having me and Blurt back for the fourth year in a row – I can’t wait to see who’s playing next year!

Among the artists who performed:

ACTION BRONSON

AL KAPONE

ALANIS MORISSETTE

ANDREW W.K.

CAKE

CHEVELLE

CLUTCH

DAVID BYRNE

ERYKAH BADU

FLOR

JUICY J

KALEO

KINGFISH

LOGIC

LUDACRIS

MISTER WIVES

NORTH MISSISSIPPI ALLSTARS

POST MALONE

FLAMING LIPS

THIRD EYE BLIND

TYLER THE CREATOR

VANCE JOY

YOUNG DOLF

 

Rock On The Range 5/18-5/20, 2018, Columbus OH

Dates: May 18-20, 2018

Location: Columbus, OH

TEXT AND PHOTOS BY MARK JACKSON

This year’s Rock On The Range was bigger than ever with 140,000 people attending over the three day festival. This year marked the 6th consecutive sellout for Rock On The Range, and with names like Tool, Alice In Chains, Avenged Sevenfold, A Perfect Circle (pictured at top), Greta Van Fleet, Machine Gun Kelly, Stone Sour, Three Days Grace, And Stone Temple Pilots (just to name  a few of the nearly 60 bands who played this year), you can see why this is the biggest and best rock festivals of the year!

The festival did have a weather delay on Saturday and a three hour mandatory evacuation due to lighting in the area. This had many festival goers worried that the festival would be canceled for the day or at least miss many of their favorite bands, but this was not the first time that the promoters and staff have had to deal with Mother Nature. The promoters were able to get an extension on the city curfew, and with a few set trimmings and only having to cut Bullet For My Valentine’s set completely, all other bands were able to perform.

I love festivals because you get to see so many great bands in one weekend while enjoying the festival atmosphere. To me the atmosphere is totally different than that of a single concert where everyone is trying to get in and get out as quickly as possible. A single “big name band” night also means that most of the people skip the opening bands. In my opinion, you miss the up and coming bands that could very well be your next year’s favorite new band. When you attend a festival you get to experience these bands through out the day.

A couple of the new acts that I caught this year included joyous Wolf and The Fever 333. Both of these bands not only sound great but have a unique and wild stage presents. Some of the highlights for me from the weekend were Machine Gun Kelly who never fails to deliver. Stone Temple Pilots who are back and better than ever with a new singer whom sounds and moves a lot like Weiland, but you can tell he is his own front man who should continue to make hits with this seasoned powerhouse band behind him. Cory Taylor is always a great show. Cory’s voice is amazing wheatear he is pushing the limits of his voice with Slipknot or hitting the sweet spot while fronting Stone Sour.

Sunday’s lineup was a full schedule, with all three stages giving the crowd more rock than they could handle! Greats included Shaman’s Harvest, Red Sun Rising, We Came as Romans, I Prevail, Code Orange, Stone Temple Pilots, Godsmack, and of course Tool, just to name a few of the 21 acts.

And that’s not counting The Comedy Tent. The Comedy Tent also brought the funny this year with Taylor Tomlinson, Big Jay Oakerson, JB Smoove, and my favorite of the weekend Jay Armstrong! We even got a little Rap Rock this year with Jelly Roll, Tech n9ne, Body Count, Yelawolf, and Machine Gun Kelly.

Music fans from around the world even got to join in on the action this year as LiveXLive live streamed performances and backstage interviews through out the weekend. One of the busiest attractions on the grounds was A.D. Farrow Co. Harley-Davidson — America’s Oldest Harley Dealer, who had a motorcycle demo that festival goers who have never been on a motorcycle could get a little taste of the feeling of riding a Harley Davidson. While the bike was safely locked into a vise, it allowed the rear wheel to move freely and the rider could shift gears and use the throttle. This made for a lot of smiling faces. On Sunday A.D. Farrow also hosted a bike run with over one hundred motorcycles in attendance to raise money for the Ohio Fallen Heroes Memorial.

I would like to thank the following for allowing us to once again cover this great event. Rock On The Range, AEG Presents and Danny Wimmer Presents. Thank you for another great year and I can’t wait to see who makes the lineup next year! If you want to be in attendance I suggest you get your tickets early as this event will surely sell out for the 7th year in a row!

Among this year’s performers:

10 YEARS

A PERFECT CIRCLE

BIG JAY OAKERSON

BLACK VEIL BRIDES

ICE T & BODY COUNT

BREAKING BENJAMIN

CODE ORANGE

GODSMACK

GRETA VAN FLEET

I PREVAIL

JAY ARMSTRONG

JELLY ROLL

JOYOUS WOLF

MGK

RED SUN RISING

SHAMAN’S HARVEST

STONE SOUR

STONE TEMPLE PILOTS

TECH 9

THE FEVER

THREE DAY’S GRACE

WE CAME AS ROMANS

YELAWOLF

Rolling Blackouts Coastal Fever / Turvy Organ / Serpentfoot 4/28/18, Denver

BY TIM HINELY

A few friends had bailed but I  wasn’t about to miss the Denver debut (Larimer Lounge) of Australia’s Rolling Blackout CF (at least I don’t think they’d played here before).

Had to endure a few openers but the first one, Serpentfoot, wasn’t hard to endure. A trio from Fort Collins who had a fierce yet fun sound. Taking at least a few cues from Thee Oh Sees they hammered out a good 30 mintues of gritty, psychedelic rock that wouldn’t have been for the faint of heart had the main vocalist/guitarist guy not belched into the mic a few times and offered a few cheery greetings to the crowd. They didn’t take themselves to seriously, but a handful of the songs were seriously good. Definitely worth your time.

Up next was Denver’s own Turvy Organ and I couldn’t get a handle on this bunch. Their quirky indie rock I know that they didn’t do much for me and that’s about all I can muster in this review.

Rolling Blackouts C.F. came out amid a mini light show and the 5-piece (3 guitarists: Fran Keaney, Tom Russo and Joe White, all of whom sing and the rhythm section of (Joe Russo on bass and Marcel Tussie on drums) and they wasted no time, busting right into a couple of hits off of their handful of EPs (released here in Sub Pop) and their forthcoming album (which, judging by the songs played tonight, is gonna be a doozy). They specialize in fast, strummy pop tunes with slithering guitar leads all over the place (think The Feelies raised on Vegemite instead of Land O’ Lakes and you’re in the ballpark). Each guitarist sings which gives a real vibrancy and depth to ther songs while the rhythm section hung in there in near-perfect cadence.

We heard a clutch of songs off EPs Talk Tight and The French Press including the title track of the latter and “Clean Slate” off the former plus other cuts like “Julie’s Place,” “Fountain of Good Fortune” and “Sick Bug” and had the packed house at the Larimer eating out of their hands. We heard a few new ones too, off the bands forthcoming LP, Hope Downs, including “An Air-Conditioned Man” and “Mainland” which both sounded ace.

The frenetic energy of these songs couldn’t be denied, the band was locked in and plenty of mouths were agape. Denver certainly gave them a much-deserved warm welcome.

It seems like the future is bright and endless for these 5 gents. With songs this good they can just keep going. I’m going along for this ride.

 

 

 

 

Nelly / Bone Thugs- N- Harmony / Juvenile 4/27/18, Jackson TN

Dates: April 27, 2018

Location: The Ballpark, Jackson, TN

Hip-hop show hits a home run at The Ballpark.

PHOTOS/TEXT BY: MARK JACKSON

Jackson, Tn. was ready to “Back That Thing Up” and shake their tail feathers all night long! How can you not have a great night when you have three great old school rap acts on one stage which just happens to be an open air baseball stadium? The night started off with the hot boy himself Juvenile. Juve got the crowd jumping and dancing with hits such as “Back That Thing Up” and “Slow Motion”. (Juvenile pictured below.)

 

Next up was the old school rap group Bone Thugs-N-Harmony, I have had the honor of seeing and photographing Bones a couple of times in the past and they never disappoint! Bone Thugs-N- Harmony have had hits such as “Crossroad”, “1st of tha Month”, and “Thuggish Ruggish Bone”. They continue to add new fans, many who weren’t even born when these hits were released, and why shouldn’t they with their great beats and fast raps. Before leaving the stage to make way for Nelly, Bone Thugs-N-Harmony paid tribute to such greats as Snoop Dog, Easy-E, Tupac, and Biggie Smalls with some smash up songs. (Bone Thugs pictured below)

 

By the time Nelly took the stage the crowd was at a frenzy and ready to sing along while dancing nonstop and Nelly delivered big time! I had forgotten just how many great songs that he had and he sang them all from “Air Force Ones”, “Shake Ya Tailfeather,” ” Batter Up”, “Pimp Juice”, “Country Grammer”,  “E.I.”, and of course ‘Hot in Herre”. Fun Fact about Nelly that I didn’t know until tonight is that Nelly used to wear a band aid on his face when he preformed. I didn’t know it was for his brother who was locked up and couldn’t be with him. Nelly now doesn’t have to wear it because his brother is on stage right there beside him. Before the night wrapped up Nelly also announced that he is working on new album called All Work No Play.

 

DISTAFF VERSE CHORUS DISTAFF VERSE: Speedy Ortiz Live

Live at The Root Cellar one fine May evening, 5/16/18, indie rock and hip-hop/punk — courtesy opening act Nnamdi Ogbonnaya—ruled, okay!

BY JENNIFER KELLY

An odd pairing, the hyper-verbal, slant-riffed, feminist indie pop of Speedy Ortiz and the complicated hip hop/punk/math rock adventures of Chicagoan Nnamdi Ogbonnaya, but that’s what’s on tap at the Root Cellar on a mid-May evening in bucolic Greenfield, Massachusetts, and we’re lucky to have it.

I arrive with Ogbonnaya already mid-set, bouncing antically through the first few rows of the audience with a mic cord trailing. Ogbonnaya made a big splash last year with his full-length Drool, a slinky, slippery, verbally dexterous set of songs anchored around the performer’s voice, but lavished with all manner of instruments and samples. It seems to have been a rule, somehow, that all writers, no matter how much they liked the record, had to include the word “weird” in the lede, so let’s just get it out there, Ogbonnaya has carved out a very eccentric niche.

 

Sadie Dupuis explains later on that Drool was one of her favorite albums last year, but that Ogbonnaya set is very different — equally wonderful, but its own thing— and indeed, for much of the set, what Ogbonnaya and his band are doing is more like math-y punk rock than hip hop. It is complicated and frenetic, anchored by a good drummer and bass player and with one guitar and sometimes two (Ogbonnaya plays guitar sometimes), very much in the rock idiom. Because of the acoustics, it’s hard to hear the lyrics, and so, hard to pinpoint which songs he played, but the set gains momentum as it goes and the last three songs are awesome.

Then it’s on to Speedy Ortiz, whose Twerp Verse, released in late April, is a sharper, sweeter, more pop-friendly iteration of the band’s off-kilter art. It’s a home field, more or less, for Sadie Dupuis, who earned an MFA in poetry at nearby U. Mass Amherst and lived for a while in Northampton. As always she channels the vibe of liberal arts prof crossed with the smartest tweener you ever met, long pigtails trailing, short shorts and pink and aqua tinted guitars at the ready. Her band includes bassist Darl Fem, her long-time drummer Mike Falcone and new guitarist Andy Monholt (Devin McKnight has gone on to form Maneka).

The set begins as Twerp Verse does with the churning, buzzing bass of “Buck Me Off,” that’s tall, striking Fem, who midway through the cut joins Dupuis in exultant full-body hops, straight up and down. It’s as good an introduction as any to Speedy Ortiz’s latest album, with its meandering verse and big pop pay-off, the whole thing knocked silly and sideways by the way that Falcone whales on the drums. Dupuis nimbly injects feminist discourse and cultural references into her effervescent songs, skewering digital dating mores in “Buck Me Off” and giving Sheryl Sanders the side-eye in “Lean in When I Suffer.”  Yet though politically pointed, the songs are anything but didactic. In the big single “Lucky 88,” Dupuis trades vocals with Fem, her acerbic asides punctuated with the bassist’s high girlish counterpoints.

The set borrows heavily from the latest album, but takes a detour towards the past with “The Graduates” from 2015’s Foil Deer and “Plough” from her long-player debut Major Arcana. This latter song she wrote while living nearby in Northampton, she explains, though it was mostly about drinking at the Boston pub, The Plough and Stars.

 

The rest of the show mixes old and new, the simmering vulnerability of “No Below,” the stretchy tempo’d snap and pop of “I’m Blessed,” the blaring punk rock fuzz of early single “Taylor Swift” and the off-balance tunefulness of Twerp Verse’s “You Hate the Title.”  Heard side by side, the old songs sound leaner, tougher, less ingratiating than the new material; the new songs are giddier and more euphoric. And yet, even at their fizziest, Speedy Ortiz’s songs carry a sting. They’re smart, articulate and absolutely onto male/female foolishness, even as they bounce and entice.

 

 

Moon Taxi 5/16/18, Port Chester, NY

Dates: May 16, 2018

Location: Capitol Theater, Port Chester, NY

Jammin’ at the always-dependable (and legendary) Capitol Theater, natch.

TEXT & PHOTOS BY GREG KELLY

Never having seen Moon Taxi, I was looking forward to a good blend of music from some talented musicians, who were touring for their latest release, Let the Record Play—and the crowd was eager to hear the new material. The band, clearly, were just as happy to be playing for their fans at the legendary Capitol Theater. A really nice blend of alt-rock, a touch of reggae, and a little jam band. I really felt that the band has a bright outlook on things, and it was clearly heard and seen in their performance. A great highlight of the night was when 15 year old Brandon “Taz” Niederauer, an amazingly gifted—and young—guitar player joined the band for a cover of “All Along  the Watchtower.” (Look out for Taz in the future.) Moon Taxi played an inspiring set, and I see this band branching out to reach a potentially much bigger fan base in the future.

Parkway Drive 4/29/18, Memphis

Dates: April 29, 2018

Location: New Daisy Theatre, Memphis

Live at the New Daisy Theatre for a crowd ready and willing for a night of metal.

PHOTO AND TEXT BY: MARK JACKSON

Parkway Drive is out touring for their new album Reverence and played to a packed house at New Daisy Theatre on Sunday night. Formed in Australia in 2003 Parkway Drive had completed and released their first album in 2005 called Killing with a Smile. Parkway Drive is no stranger to touring and has played many big-name Festivals, such as Danny Wimmer Presents festivals Rock on the Range and Louder than life which was my first experience with the powerful voice of Winston McCall. Winston commands the crowd’s attention and pulls them in deeper with every song. From great vocals to piecing screams, tight hard riffs, and pounding drums Parkway Drive is a Metalcore band at its roots, but has just enough rock to win and keep the not so hard rock fans coming back for more.

The crowd at the New Daisy was ready and willing for a night of metal music. It didn’t take long for the seas to part and the mosh pit to be in full effect! One after another crowd surfers made their way to the front like a blow up wavy arm car lot advertisement man. The show had to be stopped twice due to injuries, the first being a security guard who twisted his back trying to catch a crowd surfer. The show was stopped for about 10 minutes while paramedics tended to the guard and waited for an ambulance. Winston came down to the pit and checked on the injured Security Guard, who was later released from the hospital with no serious injuries. The second time the show was stopped was for a girl who hit her head on the front barricade while crowd surfing, this was during the encore. When Winston noticed the injured girl he stopped the show again and announced that this was the end of the show. Safety Tip Kids: Crowd Surfing Can Be And Is Dangerous!!! The band wasn’t upset, it was just near the end of the show and wanted the staff and medical to be able to tend the girl.  Look for Parkway Drive out on tour now starting with a spot on the Carolina Rebellion lineup.

 

King Krule 4/25/18, Denver

Dates: April 25, 2018

Location: Ogden Theater, Denver CO

Live at The Ogden Theater, the King did come.

BY BEN CURNETT

Rock and roll belongs forever to the young. Sure, with age comes wisdom, but the wise tend to sleep on audacious geniuses who make stunning art out of shit that’s just lying around. In the case of Archy Marshall, the man behind King Krule who lit up the Ogden Theater in Denver on April 25, that was equal parts brit dub, blue jazz guitar, guttural baritone sax, and a London accent fished out of can of wet cigarette butts.

The band, washed in hollowed-out reverb over off kilter electronics from DJ Connor Atanda, dove one after another into five songs from the louder side of the catalog including the single “Dum Surfer” from last year’s essential LP The OOZ (a play on Krule’s previous moniker Zoo Kid) before settling in and slowing it down for a solid 30 minutes. During that time, Marshall seamlessly transitioned the music and the crowd over to the keyboard, where he showed off soulful songwriting chops that could stand shoulder to shoulder with any Winehouse torch song you’d care to mention.

Marshall is a crooner at heart, but a decidedly two-thousand-and-teens one. He stands the genre on its head, at once pulling in modern and disparate house elements while lingering on drawn out lyrics like some east-end Bing Crosby. But then he’s a producer, too, and it shows in King Krule’s live set. Throughout the night, brilliant live elements not available on King Krule’s records kept popping up, like the driving rhythm when the drums came in on “Easy Easy” after the achingly long build up. It’s a little something you want so badly on the studio recording and proves perfect in front of a crowd.

Marshall put his mark all over the show with his signature barbaric AAARRRUUGGGHHH! It’s an aching wail that turned King Krule’s echoing, aching songs into a wild display of genre bending brilliance on stage, captivating to beat poets and b-boys alike.

setlist:

Has This Hit?

Ceiling

Dum Surfer

A Lizard State

The Locomotive

Cadet Limbo

Cementality

Biscuit Town

The Cadet Leaps

Logos

Rock Bottom

Little Wild

Midnight 01 (Deep Sea Diver)

Emergency Blimp

(A Slide In) New Drugs

Badoom The Ooz

iPhone (My) X

Half Man Half Shark

Baby Blue

Easy Easy

Encore: Out Getting Ribs

 

Ghost 5/15/18, Port Chester NY

Dates: May 15, 2018

Location: Capitol Theater, Port Chester NY

Capitol Theater plays host to the Ghost!

TEXT & PHOTOS BY GREG KELLY

Cardinal Copia and the nameless ghouls took over the sold out crowd at the Capitol Theater. Seeing Ghost a few times now I was highly anticipating this show. The band has a highly devoted fan base and tonight was no different. This would turn out to be by far the most theatrical show I have seen at the Capitol. The stage was set up like an altar with stain glass windows and a stair case to the floor. The lighting was amazing and the crowd could not peel their eyes off of it. The band opened with “Ashes” and quickly went into their new single “Rats”. Cardinal Copia had his followers willing to do what the church asked. I found myself being drawn in more to the service.

Introducing a few new songs from their upcoming album and the name of it is called “ Prequelle” and a mix of past material the band finished Act  I of II. Taking a short set break the crowd was just as eager for Act II. The curtains open and the band started with “Spirit” from the album “Meliora” and the night service continued. In between two songs Cardinal Copia had a small sermon about the female orgasm, which was quit entertaining, the crowd seemed to agree.

Again mixing some new and old material, a point of the show that really stood out was the cover of the Roky Erickson song “ If You Have Ghosts,” a great original that the band made their own. The band finished with the highly entrancing “Monstrance Clock” the evening was incredible both sonically and visually. If you have a chance to join the congregation, I advise you do. Amen!

 

 

 

Messthetics / The Van Pelt / Tiers 5/17/18, Easthampton MA

Dates: May 17, 2018

Location: The Flywheel, Easthampton MA

Live at the Flywheel, in which erstwhile Fugazi-guys brought the noise.

BY JENNIFER KELLY

Fifteen years ago, Fugazi played a benefit for the Flywheel at the Holyoke War Memorial, a show that has become legendary (you can view it in its entirety here) but which I remember mostly as something that sold out before I had even heard about it. The show came about a year before Fugazi’s hiatus, and while Ian MacKaye has been back as Evens since, other members of the band have not. The news that Messthetics, comprised of Fugazi’s Joe Lally and Brendan Canty plus guitarist Anthony Pirog, had booked a show at the Flywheel was therefore exciting. The trio’s self-titled LP, released this spring on the Dischord label, is a monumental jam, proggier and shreddier than you’d maybe expect (that’s Pirog) but powered by monstrous pummeling rhythms.  It’s the kind of record that you hear and immediately want to experience live, and here was a chance.

To add to the appeal, The Van Pelt, a much revered 1990s post-hardcore band out of New York City, was also on the bill, as well as a space rock/shoe-gaze-y trio from Brooklyn called Tiers. My first thought: how great that they’re playing the Flywheel. My second: I hope to hell we can get in. (Dischord very kindly put me on the list, though that has been known not to work on occasion.)

Long story short, we do get in. It’s a nice size crowd but nothing crazy.

The tiny stage is stacked with electronics, an Akai AX 50, a couple of Rolands, a sampler and a drum pad. Tiers, as it turns out, sculpts its eerie, shoe-gazing sound largely from keyboards and synths. Glen Maryanski, who is also the drummer in post-punk Love as Laughter offshoot Cult of Youth, presides over the largest rack of electronic instruments; Jennifer Mears, the singer, makes due with one Roland synth and occasional whacks at the drum pad. Chad Dziewior, who also plays in Minneapolis hardcore band Threadbare, plays a trebly atmospheric guitar, alternating between pick and e-bow.

 

Tiers recorded a 12-inch with Hand Drawn Dracula’s Artificial Records imprint in 2013 but seems not to have left much of an internet trail since. Their music is full of cathedral sized synth swells and hypnotic drifts of vocals, anchored by hard, four-on-the-floor beats. It’s a very dream-pop, shoe-gaze-y vibe, with echoes of the Cure (those Roland synths) and Cocteau Twins, but also a dance-y post punk vibe a la New Order.

The next band is the Van Pelt – original members Chris Leo (whose brother Ted may be familiar to you) on guitar and vocals, guitarist Bryan Maryanski, bassist Sean Greene and drummer Neil O’Brien aka Foggy Notion. The Van Pelt emerged out of a mid-1990s NYC post-hardcore scene and made two records—Stealing from our Favorite Thieves in 1996 and Sultans of Sentiment in 1997—before disbanding. In 2014, after a long hiatus, the band re-formed and released Imaginary Third, a collection of previously unreleased material and also reissued the two original albums.

The Van Pelt let loose an onslaught of hard, Minuteman-ish punk, the bass thudding antic, off-kilter lines while Leo unspools strings of hallucinatory beat poetry. “Here it is, plain and simple,” chants Leo coolly over a heated mesh of mathy rock, as “Nanzen Kills a Cat” sputters to life. Indeed, it’s hard to reconcile the explosive bass-drum-ruckus of live Van Pelt with the chillier temperatures of their recorded output. “Young Alchemists” comes closest to what you hear on Sultans of Sentiment, liquid and pensive as it contemplates trading the mystic for the scientific,  while “We Are the Heathens” brings on colliding waves of dissonance and hurtling stop-start rhythms. This is a band that’s clearly glad to be there, banging out the same complicated, poetic shards of chaos, 20 years on from the heyday. There’s some grey hair on display and Greene’s bass looks like it’s been through a war, but all four of them are tossed in the same waves of sonic vibration, bobbing and nodding in unison as these side-slanting riffs kick in. The set closes with “The Speeding Train,” the final track from their post-hiatus album, and it’s a blistering, pummeling, hypnotically propulsive song, the train rattling on towards wherever, bolts flying, destination uncertain, the motion itself everything.

And now, it’s time for Messthetics whose set up is basic – bass, drums, guitar – but whose sound is unclassifiable. The set starts, as the self-titled record does, with “Mythomania,” a relentless, unstoppable, muscular chug of bass and drums, layered over with Pirog’s vaulting guitar. Live it becomes apparent how fundamental Pirog is to Messthetics, even though we writers tend to spend more time on the ex-of-Fugazi hook. He plays wild, shreddy solos and works loops and effects with the pedals; he’s the color and light in Canty/Lally’s monumental architecture.

Messthetics follows album order for this show. “Mythomania” segues into faster, squallier “Serpent Tongue,” then the liquid lyricism of “Once Upon a Time,” a Sonny Sharrock cover. The impossibly note-stuffed “Quantum Path,” is just as frenetic in concert as it is on the record. All three of the musicians are very good in distinct ways – Joe Lally is compact and contained, eliciting blistering basslines with a minimum of visible effort. Brendan Canty is flushed with concentration, working furiously over his kit with an athletic abandon (at one point, he’s playing eighth notes on the kickdrum for so long that my ankle starts to hurt in sympathy). And Anthony Pirog has the air of an introverted virtuoso, pulling off complicated things and then peering out under his hat bill to see if anyone appreciates the difficulty.

It’s a great show, and though of course lots of people came because of the Fugazi connection, Messthetics has made its own case by the end. Though really 15 years is a long wait. I hope they’ll be back again before that next time.