The opening band sounds like Dick Dale on downers. Dual vocalists split the front of the stage. The hipster, stage-left, plays rhythm, mic on distortion.
It’s all looking good for post-Labor Day.
Be sure to note the subterranean “Walnut Room” for a refuge during live shows, as well as a space for themed events (in the works: video game nights).
There are times when the sun shines brightly over chosen locales, and the laws of the land are forced to overturn, altering themselves for the greater good of beer.
Lush harmonies, a propulsive rhythm section, and a slight Roger McGuinn fixation remain as key ingredients, as was the presence of several 12 string guitars on stage throughout the night.
Before Less Than Jake blasted into “Doug Hastings” from 1996’s Losing Streak, bass/singer/Pez enthusiast Roger Lima proudly proclaimed, “Your parents may have enjoyed this song when you were conceived.”
Blonde Redhead have never concerned themselves with musical politics. The alt-rock trio have been just as disconnected from trends as they are culturally aware of them, and as far as two-decade-old bands go, that’s becoming increasingly uncommon. Since their formation in 1993, the three have roamed from genre to genre, producing content that pleases their current […]
The Glitch Mob show opened with the defining roar of thundering bass raising from the floor and cheers erupting from the crowd as the cloak covering the extensive keyboard and drum set was pulled off.
Waiting in the will-call line for my ticket to the Weezer I overheard a fellow fan’s conundrum: “Mike from the fourth floor offered me $500.” Her friend replied, ” I was offered box seats to the Sox versus Yankees next season.” When Weezer stops through Boston, it’s typically a hot ticket.
“It’s good to be back at The Sinclair Rock and Roll club.”