Bitch @ Googie's Lounge, 04.08.09

Just back from their recent tour, Bitch (of B+TEC, Shortbus, and Bitch & Animal) along with Gabriel Kubitz (also of B+TEC and The Stationary Set) rocked Googie's Lounge last night! The venue is mediocre, at best--above The Living Room, Googie's Lounge is a tiny space from which the audience can hear the downstairs band. However, Bitch and Gabe took total command of the room and had the packed lounge completely captivated during their entire set.


Bitch has been working on two new albums, both of which may be available this coming fall. The project seems to have been formed around the music of the band, B+TEC (Bitch and the Exciting Conclusion), but in its' creation has spawned Bitch's next solo album, as well.


It's clear that B is excited about these projects, and life in general--she sent good vibes to the entire audience, particularly by playing a new song, "I am Happy." "Happy" includes allusions to everything from "Brooklyn skies" to politics; B sings, "I am happy, a black man's in the White House." In addition to the new material, the duo also played more relaxed versions of songs from B+TEC's EP ("B+TEC=!"), including two particularly resonating performances of "Highway" and "Open Up." A surprise inclusion was the Bitch-blast-from-the-past, "Pacman," which seems to fit better with her new sound than it did on Bitch & Animal's album, "Sour Juice and Rhyme."


All in all, Bitch and Gabe put out a fantastic set that makes me itch with anticipation for B's solo album, as well as B+TEC's fall release--but if you just can't wait until then, check out bitchmusic.com for videos, music, and more!

Review and photos by Laura. More photos are available here.

Ra Ra Riot @ Webster Hall, 4.4.09

with Cut Off Your Hands and Jon Moses

I arrived at Saturday night's sold out show at Webster Hall not long after doors, and was warned that the headlining band wouldn't be on until 9:00. Early as it was, by 6:30 a phalanx of teenagers already cluttered the floor around the stage, talking excitedly and snapping pictures of each other.

First opener Jon Moses was met with the unfortunate reception of an unknown act playing to a wholly uninterested crowd. Armed with two guitars ("Old Faithful" and "Old Blue") and a harmonica, he strummed and hummed his way through a handful of simple, sincere songs. If you listened closely, beneath the folky twang of one tune were sly lyrics where Jon expressed his wish to be your tube of lipstick, your pantyhose, and your underwear, hinting, perhaps, at a sense of humor not otherwise apparent in his rather unassuming manner.



Cut Off Your Hands could not have been more different. Lead singer Nick Johnston thrashed around the stage clasping his mic in a death grip while overhead the lights flashed in frenetic, strobelike patterns. A few times he tensed as if to throw himself into the crowd, but mercifully the histrionics were limited to the noise from on stage and a mic stand that got thrown around a bit.



The floor filled in during the wait for Ra Ra Riot to begin, and the end of each song piped in over the PA was met with anticipatory applause, only to die away when no band members appeared and the next song began. Finally, though, the lights dimmed for real and the crowd went wild.



Ra Ra Riot have been touring nearly incessantly since the release of their debut LP, The Rhumb Line, in 2008, and they were live staples even before that. Recently they've opened for acts like Andrew Bird and Death Cab for Cutie, and it's clear that these guys are on the cusp of being huge. Lead singer Wes Miles expressed his honor and gratitude at selling out their biggest space yet as headliners this very night, but watching the band play and the audience respond, the reasons for their success aren't a mystery. The songs are tight, well constructed and tuneful, anthemic enough to inspire upraised fists and with enough groove to dance to. ('Too Too Too Fast,' with its driving synths and boy/girl vocal interplay, is impossible to stand still during.) The whole band is in near constant motion onstage, and the crowd responds in kind, singing along to all of the words of the well known, clearly much listened to songs, and making the floor shake alarmingly with their jumping.



Of particular interest are the lush strings present in almost every song, played by the equally lovely and fascinating Rebecca Zeller and Alexandra Lawn. Positioned at opposite ends of the stage, these ladies provide the anchors, visually and musically, to a busy and vibrant scene. Rebecca spins and bops along to graceful bows of her violin like a music box ballerina, and Alexandra's passionate dance with her cello is breathtakingly sensual.





Ra Ra Riot will next be in the area for All Points West in August, and I highly recommend checking them out there. Review and photos by Amanda, more photos available here.

The Stationary Set @ Arlele's Grocery, 03.31.09

[For background information on The Stationary Set, see this post.













The Stationary Set wowed me, once again, at their show this past Tuesday at Arlene's Grocery. During the show, I realized that there's something unique about the band that keeps me coming back for more--something that makes them different from every other quasi-hipster, Brooklyn indie band. What is that "something" you might ask?

Well, it could be the unique combination of people in the band. As I've said before, each guy throws something different into the mix. Andrew is nothing short of a world-class poet with a powerful voice. Josh H. has a knack for creating an intricately woven ensemble of sound that lays beneath the melody and gives each track a holistic, and thus engrossing vibe. Josh D. can make a guitar do anything he might ever want it to--he can choose the perfect power chord, but he can also come up with complex licks. Gabe throws in an incredibly powerful bassline, but somehow manages to keep it from dominating the song. Logan is an absurdly talented drummer who keeps the beat while still managing to frequently change the rhythym to accompany the evolving mood set by Andrew's lyrics. Though the combination of these talents surely makes for a great listening experience, the band's worth is more than just the sum of its parts.

I could be coming back, show after show, for the songs, themselves. Catchy yet complex, The Stationary Set is able to take the best aspects of pop, like the I-just-can't-get-it-out-of-my-head melodies, and combine them with a much more altrock feel. However, if I only wanted to listen to the songs, I could download the free EP from their myspace page!

Although the band has a number of amazng attributes, the one thing that sucks me in at every show is the overwhelming vibe of excitement and fun that eminates from the stage. They dance, they jump, they just rock the hell out--and you can tell that they're loving every minute of it! During the show, a few random people poked their heads in from the bar on the other side of the venue, and after one song they were up in the front dancing like maniacs--you just can't help but love their music!!! Why? If for no other reason, it's because THEY love it, and THEY have a great time playing it for the audience.


So come to the next Stationary Set show, I'd love to see you there. I'll be in the front, dancing like a maniac . . . with everyone else!

Review and photos by Laura, more photos available here.

CHRIS MILLS @ Union Hall - Pi Day 2k9 (3/14/09)

Chris Mills is living the dream, calling all comrades living in the aftermath to smash atoms. Does this sound a bit familiar? If you feel a strange sense of comic fanboy nerddome, don't be alarmed. It only indicates that you are absolutely right. Chris Mills loves comics. And we love Chris Mills.

On a slightly chilly night in Park Slope, Chris rocked his own face off. It was a formidable feat of awesome, which is no overstatement. Performing songs from his latest album, Living in the Aftermath, and some of his earlier work, Chris and his band regaled the crowd with songs about everything from dictators (Hitler and Tojo) to true love (aww). His energy was infectious (rabid?) and the crowd was obviously prepared to bop around. And request "more waltzes!"

After a few weeks in Europe, Chris should be back in town with more U.S. dates.

For the record, Mills thinks the Watchmen movie is a poor representation of the original graphic novel. Also that Zach Snyder is a god-awful director with no artistry.

The Stationary Set @ The Studio at Webster Hall, 2.21.09

After B+TEC's amazing set, The Stationary Set hopped on stage to wow us once again! (For background info. on The Stat. Set, see my post below, "The Stationary Set @ Fontana's, 2.7.09").

First, it must be acknowledged that Gabriel Kubitz is a superhero for playing two sets with two different bands back-to-back. Here he is, rockin' out on bass, as per usual!

Second, it should also be stated that while playing, the band had almost NO sound coming out of the monitors (seriously). The audience could hear the band easily--but the band could not hear itself. Epic fail, Webster Hall, epic fail. However, not to be discouraged, the band played an UNBELIEVABLE set with really excellent attitudes! They looked like they were having a great time, and got the entire crowd (which, by this point, was drunk and chatty) totally engrossed in the music.












The set focused on songs from The Stat Set's new EP, which was made available for free download the day after this show. As a quasi-release party for said EP, the show was a HUGE success! Not only did they play all four songs from the EP to an ecstatic audience, but they also played other new songs that will likely be included on the upcoming album, to be released this fall.





It was great to see The Stat Set headlining (or sharing the headline with B+TEC) at Webster Hall. While the show had some sound problems, the audience was totally unaware and enjoyed every minute of their incredible set. As it should be.

Review and photos by Laura. More photos available here.

B+TEC @ The Studio at Webster Hall, 2.21.09

B+TEC, or Bitch and the Exciting Conclusion, is the ever-growing project of Bitch (Shortbus, Bitch and Animal), Gabriel Kubitz (The Stationary Set), and LeeFree (Inner Princess). Just back from their east coast tour, Bitch and Gabe reunited with Lee to play as B+TEC--and the crowd LOVED it.

A great deal of Bitch's name recognition tends to come from her earlier project, Bitch and Animal, which released two CDs on Ani DiFranco's label, Righteous Babe Records. Since Bitch and Animal stopped collaborating, Bitch has been in John Cameron Mitchell's film Shortbus, released a solo record, Make This/Break This, and produced Ferron's latest album, Boulder, released on Bitch's own label. While a great deal of Bitch's work has garnered attention primarily from the LGBTQ community, her work with B+TEC is accessible to a much broader audience.

B+TEC is a punk, alternative, indie band that mixes Bitch's poetry with innovative and compelling notes and rhythm. B's words are much more than mere lyrics: they are stand-alone poems that, when set to music, take on a life of their own. B's electric violin, acoustic violin, or bass, paired with Gabe's bass and Lee's rhythm, captures the intense emotions behind the words. The songs have a punk-rock feel but induce emotions that might be more akin to a folk-rock experience.

The band's sound is incredibly unique, but not inaccessible. B's background in theater is clear--she has a captivating stage presence that allows her to connect with each person in the crowd. B+TEC does an excellent job of bringing the audience into the experience, winning over an incredibly diverse, and constantly growing, fanbase.

Review and photos by Laura. More photos available here.

The Stationary Set @ Fontana's, 2.7.09

After a lovely evening with Jay Brannan, we headed over to Fontana's in the LES for The Stationary Set, a band composed of Andrew Lutes (Vocals/Acoustic Guitar/Piano), Josh Hoisington (Backing Vocals/Keys/Guitar), Josh Davis (Backing Vocals/Keys/Guitar), Gabriel Kubitz (Bass), and Logan Baldwin (Drums). Originally from Michigan, The Stationary Set (lovingly abbreviated as "The Stat Set" by fans) was formed by Andrew and Josh H. and grew to include Josh D., Gabe, and Logan upon arrival in NYC.

Since the New York transformation, The Stat Set has been writing songs about life as a twenty-something living in Brooklyn...but don't be afraid! These guys are definitely not hipsters; more Park Slope than Williamsburg, the vibe is low-key, relaxed, and fun.

The show at Fontana's was short but amazing. With only thirty minutes to wow the audience, The Stat Set played songs from their highly anticipated upcoming EP, including "Constitution," "A Promise and a Threat," "Method Actor," and "This is Our Nature." The songs, composed by the band with lyrics by Andrew, are catchy but also unique. The vibe feels like a mix of Panic At the Disco, The Clash, and Robin Williams. (For those of you in the know, or from Rhode Island, they're also a more New York version of Zox.)

The guys are hilarious, incredibly musically talented, and compliment each other in some great ways. Andrew sings his lyrics with conviction and really connects with those of us who feel somewhat left out by the hipster/Williamsburg community. Josh H. plays what seems like three instruments at once, while singing, and never stops smiling. Josh D. is quiet onstage but has amazing chemistry with his guitar--and, DAMN, does that kid know how to play! Gabe is an incredibly talented bassist who frequently climbs on amps and jumps into the audience, pulling everyone into the fun that they're all having onstage. Logan is perhaps the quietest of all, but certainly makes his presence known by giving the songs a great beat. Not only are the guys talented, but each of their strengths compliment the others, creating an incredibly powerful sound.

The audience laughed with them, danced like crazy, and applauded like mad. The crowd consisted of friends of the band, fans, and those who had heard the buzz. By the end of the show, the whole audience was begging for an encore--but, alas, Fontana's had to get the other performers on stage.

Review and photos by Laura. For more photos, click here.

Jay Brannan @ Baruch College, 2.7.09

For those of you who are thinking, "Jay Brannan, who's that?", here's a basic intro: Jay Brannan was in Shortbus, an extraordinary film directed by the amazing John Cameron Mitchell (of Hedwig fame). In that wonderful film (let me just plug it one more time) Jay Brannan sang the poignant, honest, and absofuckinglutely hilarious song "Soda Shop." Since the film, Jay Brannan has released his first full-length CD, "goddamned," to critical acclaim--and by "critical acclaim," I mean that the hipsters, homos, radicals, internationals, and activists all love him. As I fall under several of those categories, I obligatorily listened to the CD--and, let me just say, I was not disappointed.

Since said "acclaim," Brannan has toured extensively, sold out shows at Joe's Pub in New York, and turned down marketing deals and record contracts that, in his own words, capitalize upon his sexuality. While Brannan is openly gay, sings about gay themes, and graphically discusses fucking men in the ass (FTW!), he's also much more than that. Brannan's songs are musically creative in their simplicity; he matches compelling, thoughtful, and challenging lyrics with somewhat "catchy" melodies, played on guitar or piano. He also updates a quirky-yet-hilarious blog, featuring many YouTube videos of him singing--frequently in foreign languages (http://jaybrannan.com).

Needless to say, I just had to see this kid in person.

The show was at a small (quickly sold-out) venue at Baruch College, with whom Brannan has some sort of previous relationship (he was recently on a radio program there as well). The audience was receptive, knew the material, and engaged with Brannan in a lighthearted, supportive way. Such support was needed, however, because JBran is adorably self-deprecating. Much like everyone's favorite Winnie the Pooh character, Eeyore, Brannan is endearingly (rather than "Good Charlotte"-annoyingly) emo. He likes his songs and he knows who he is; however, he also comments on his "spare tire" (?!), failure at relationships, and fear of audience disapproval. This tone, however, did not keep him from making the audience roll with laughter on several occasions--not always at his own expense. Brannan achieved a low-key-yet-nervous attitude, which actually made his music even more accessible!



His stage demeanor was welcoming, and he drew the entire audience, even new listeners, into his songs. While much of the audience was familiar with Jay's songs, familiarity with his music wasn't necessary to enjoy the set. Jay discussed the background behind some songs, explained the tone of the lyrics, and successfully interacted with the audience while playing. The songs themselves were even better live than recorded; he seemed comfortable playing--or as comfortable as an "Eeyore" ever could be!

A particular favorite of mine was a new song about the recent war in Israel and Palestine. Brannan has a keen way of humanizing the incredibly complex situation, simply calling for peace. Like John and Yoko's "War is Over," Brannan states the obvious in an emotionally captivating, yet shockingly simple way: peace is possible, if we make it so. . . Though not in those words. His words were better. (Buy his upcoming CD. Insert shameless plug here.)

After the show, Jay came out and spent over an hour talking to everyone there. He sold "cracked case" CDs for $10, and "pristine" CDs for $15. He signed as many CDs, tickets, and programs as you wished, and did so with his adorable smile. His immense thanks for our presence there was obvious; he clearly loves what he does and is glad that his audience does, too!


All in all, the show was a roaring success--though I'm sure that Mr. Brannan would argue with my assessment in his typical Eeyore fashion!

Review and photos by Laura, more photos available here.

Metallica @ Prudential Center, 2.1.09

Metallica is a legend. They are gods in the world of metal. Regardless of their mid-90s output (Load and ReLoad) and their more recent lackluster albums (St. Anger) anyone who goes to a Metallica concert knows that they are in for a show.

After the first two songs, both cuts from Death Magnetic, James went to the microphone and said, ‘You know what we found goes really well with the new stuff?’ and everyone screamed back at him, ‘THE OLD STUFF!!!’ And he was right: the new songs did fit in quite well with the old ones – because they sound almost exactly the same. Sometimes this was a good thing. Despite not knowing any of the new songs, I could anticipate the song structure and continue headbanging to the beat. They were familiar to my ears although I had not heard them. Of course, the downside was that the songs were predictable and even slightly cliché. Death Magnetic’s lead single ‘The Day That Never Comes’ is at its essence a combination of the ‘Fade to Black’ riff, ‘One’s guitar solo, and a simplified (read: pretty awful) version of the ‘Harvester of Sorrow’ lyrics. The song’s structures followed the Metallica template set forth in earlier albums (with some variables): intro, verse, verse, chorus, verse, chorus, (breakdown,) solo, (verse,) chorus, outro. I barely had to pay attention to know what was happening, which in retrospect was probably a good thing because the new lyrics are fairly dreadful.

Metallica balanced the song order by playing two new cuts followed by a few signature tunes. The way they presented them blatantly drew the parallel between old and new, highlighting the contribution of bassist Rob Trujillo in returning to their metal roots. A lot of press about Death Magnetic has mentioned that in striving to recreate their old sound, they ended up becoming a parody of themselves because they tried too hard. It seemed their attitude at this show was to demonstrate that the album was not just a fluke or a gimmick; Metallica’s return as a serious metal band was legitimate. The setlist reinforced this point, drawing heavily from the early records that represented quintessential Metallica. They attacked hard with ‘Master Of Puppets,’ ‘One,’ ‘Creeping Death,’ and ‘Seek And Destroy.’ The band played everything with extreme vigor to the point where they sped up a lot of their older songs. Perhaps they thought the songs sound better when played faster, but my inclination is to believe that they did it just to prove they could.

Metallica earned their reputation as metal gods partially because of their relentless touring and massive stage presence. This still holds true today. James Hetfield is one of the great frontmen of rock, and his towering figure is impressive even from the nosebleed seats. Bassist Rob Trujillo lumbers around in monkey-steps and seems to have taken over his predecessor’s role as chief crowd instigator. Kirk Hammett, lead guitarist, keeps a generally low profile until he solos though he does his fair share of energizing the crowd. Much maligned drummer Lars Ulrich is his usual animalistic shirtless self, sneering and grimacing all night. The stage itself was set up as a rectangular platform with microphones at each corner as well as two extra mics along the length. Lars’ drum set was on a circular disc in the middle that rotated each time they took a break so that he faced each side of the audience during one portion of the show. It was a simple set up that left plenty of room for both standard over-the-top pyrotechnics and stage-meandering. Kirk, James, and Rob wandered all around the stage interacting with the audience and each other. All the enthusiasm they put into their performance they received back from the crowd in equal measure.

With the band as a whole feeling more unified, a spirit of gratitude and camaraderie emerged that was absent from previous concerts. Metallica also showed off their playful side for the encore: James requested that the house lights be turned on so they could see the audience, and when they began playing ‘Die Die My Darling’ large black beach balls emblazoned with the Metallica logo came raining down on the stage. They bounced out into the audience where they were punched into the air and eventually found their way back onto the platform. Whenever a ball lay in a band member’s path he would kick it out into the crowd again to much cheering. This kind of rapport is what continues to draw fans to Metallica concerts even 25 years after they first began.

Going to any concert of a legendary band with high expectations can be dangerous, but there is no need to worry with Metallica. Metallica delivers everytime, everywhere. And that is why I love them.

setlist:

That Was Just Your Life
The End Of The Line
Creeping Death
Harvester of Sorrow
One
Broken, Beat and Scarred
Cyanide
Sad But True
Sanitarium
All Nightmare Long
The Day That Never Comes
Master of Puppets
Blackened
Nothing Else Matters
Enter Sandman
encore:
Die Die My Darling
Breadfan
Seek and Destroy

words and photos by Terror

Annuals @ Bowery Ballroom, 1.28.09

w/ What Laura Says and Jessica Lea Mayfield

This was a show about drums.

Drummers usually get a bad rap. They're not musicians, any kid with half a brain can bang on things, all they are is noise, etc. This concert, however, was a showcase for the rhythm sections of each band, the different ways percussion affects music by its presence or absence, and the various sounds drums can produce.

What Laura Says started it off with cuts from their album Thinks and Feels. A lot of their chord progressions felt really bluesy but the guitar playing had more of a country twang, and the mixture provided the basis for a perfect rock'n'roll show. Watching the band interact on stage with each other, particularly the lead singer and drummer, reminded me very strongly of what Led Zeppelin must have looked like if they'd had Fleet Fox-y beards. What really stood out to me was the way that What Laura Says used the drums: the rhythmic pulse and then its sudden absence, the shift between beats, the hesitations and pauses, all of it seemed organic and natural, unexpected but cohesive. There was even this really strange table on stage left replete with various drinking vessels and what looked like an orange. As it turned out, it was a 'found' percussion table played rather deftly during one particular song in the set. Despite the potential gimmickiness of the vases and tin cans, the percussive sounds blended perfectly with the music. The band's energy was frenetic and contagious even when the extended jams were a bit too extended. For a band billed as a first opener, What Laura Says set the standard quite high for the rest of the acts to follow.





Jessica Lea Mayfield, the second opener, plays what would be broadly categorized as 'chick music': slightly sad acoustic songs about love, relationships, and broken hearts. Her extremely attractive drummer - perfectly flipped blonde hair and black bowler hat - commanded most of the attention. Her black drumsticks looked to be half her size, and she snapped them with such flair and precision that watching her was not a choice, it was an imperative. During the three songs Jessica played alone, I missed the drums. Whereas the absence of drums in What Laura Says's songs worked to their advantage, here I felt it was detrimental - it subtracted a reason for me to listen. She has a nice alto voice, but there was no special component to the songs that was particularly compelling. The bassist, Jessica's 'best friend and brother' David Mayfield, also had an incredible stage presence reinforced by his bearish size and the enormity of his preferred stand-up bass. The bow he used on the strings was fraying and a pack of loose hairs flew back and forth with his bowings. I personally found Jessica's songs unremarkable, but Amanda disagrees. Her set had a more muted energy than What Laura Says as most of her songs were at a slower tempo. After Jessica finished her set, it was time for Annuals.







Any review I write about Annuals will be slanted because they are one of my favorite bands in the world. My personal opinion, however, does not diminish the absolute fact that they are an amazing live band. This is only Annuals' first headlining tour supporting their October 2008 release Such Fun but their third overall, a still remarkable feat for a relatively young band. Annuals began their set with a bang - literally. In addition to their two standard drum kits for Zack and Nick, Adam and Kenny each had a tom. The drum intro involved the four of them alternately banging out a beat, and each drum had a corresponding colored light that flashed when the tom was hit. From the frantic drum buildup Anna segued into the equally unstable 'Hot Night Hounds,' and the show took off from there. This is the sixth time I have seen Annuals live, and they just keep getting better as a unit. Obviously their musicianship increases as well; Anna and Kenny in particular seem to play more complicated and demanding parts on their instruments (see 'Springtime' and 'Hot Night Hounds' respectively). It seems like every time they come around there is a new aspect to their live show. Over time they have incorporated a lap steel guitar, extra drums, more singing harmonies, and they have graduated from using an iPod to a Macbook. Tonight their performance had more polish but still retained the almost childish enthusiasm and exuberance that made me love them in the first place.

The setlist was a great mixture between old and new material that gave equal weight to both. They started off with a handful of songs from Such Fun that represented the range of styles present on the album: their special brand of chaotic mishmash ('Hot Night Hounds'), straightforward pop rock ('Confessor'), slow graceful ballad ('Always Do'), and mountaintop hoedown ('Down the Mountain'). The next part juxtaposed old and new songs heavily laden with three- and four-part harmonies and - everyone's favorite - handclaps. New song 'Hardwood Floor' was the highlight here, dedicated by Baker to 'everyone who smoked pot today.' One of the components necessary to the song's success is the precise snare tapping executed by Nick, who played rather brilliantly all night. I was a little apprehensive about how they could pull off the intricate layers of harmony in this song live, but between the four singers they nailed it. That song led into 'Fair' and 'Complete, or Completing,' two songs heavy on percussion and handclaps. Although these tunes are mid-tempo at their fastest, the band managed to sustain the energy to make them work with a bit of audience participation.

For me, the best parts of Annuals live shows are the little nuances and quirks that probably go unnoticed by others. The endearingly self-effacing between-song banter; the way that Adam plays Nick's cymbals at the beginning of 'Hot Night Hounds' and then seems to forget he has to sing and scrambles up to the mic at the last second; how there is always some object in imminent danger of falling over; their mini drum circles; their inability to stand still (particularly Mike); the pitch-perfect harmonies; and of course, the build-ups, breakdowns, and sing/shoutalong choruses. As headliners, they were able to play an extended set and a huge variety of songs that represent their total output. They rounded out their proper set with their three Severely Epic Songs, one from each of their major releases. 'Sore' was up first followed by 'Brother,' each with a slow burning build and bombastic string accompaniment. The set closer was 'Wake,' the closing track on their newest album. Every detail was perfect - the muted beginning, the keyboard doubling the melody, the 'na-na's and 'oh's, the whistling, and the blistering, sweeping ending. It could have been a satisfying ending, but Annuals still had one more thing to do.

The set was brought full circle as Annuals concluded their two-song encore with a drum outro for 'Hair Don't Grow' featuring alternating pounding on the light-up toms. The repetitive blinking effect of the lights was almost seizure-inducing, but it would have been completely worth it. It was the best performance I have seen from Annuals, and I can't wait to see what they're going to bring with them next time.

Review by Terror, photos by Amanda (more from this show available here).