Mates of State / Death Cab for Cutie
Jack Rabbits
November 4, 2003


   I had intended to spend the first part of this review ranting about bands who play live exactly as they do on the album with no improv or cover songs to give you something special; but, as my girl was so kind to point out, there is more here than I noticed while wallowing in my own self-righteousness.* Mates of State played exactly as they do on their album: beautiful and sweetly. Kori Gardner and Jason Hammel are more than just band mates, they are life mates…that is, they are married. There is a certain sweetness to their live performance. Shared glances. Secret smiles. Inside jokes. Cuteness. It is a beautiful and rare thing. Had this not been pounded into my head through my stubborn, cynical b.s., I might have missed it. The love they share lends a particular romance to their performance and their music. It’s a beauty one would have to be a callous ass to miss. Hi, I’m a callous ass. These two connect on stage and, if the audience is paying attention, they feel it. It makes one fall in love…with the band, with someone else. I cannot believe I missed that.
But on to Death Cab…
   Death Cab generally do not improv live either, and there weren’t any cover songs; but they give something special to an audience. A certain, as the French say, "I don’t know what."** I saw the Postal Service earlier this year and Ben Gibbard (then as now) pours his heart into every damn song he sings. Each note is coated in his heart’s blood. Chris Walla, Nick Harmer, and Michael Schorr barreled along with him in a juggernaut of emotion. Every song, every line, every note was pure and heartfelt. The show was only slightly longer than an hour, but everyone walked out feeling as though it had been forever. It was one of those mystical experiences where time loses whatever meaning we have attached to it. If Death Cab had kept us there forever, we wouldn’t have cared. This was easily the best show I have seen in a long time, and it will be hard to beat (assuming anyone can). Somehow Death Cab are able to make the music emote, baptizing the audience in nameless feeling. It is a lovely sensation. It’s that same feeling that lovers get who only have one day to share their love before they must part for a long time. One day, in this case one hour, to love perfectly and completely. Death Cab loved that audience to its knees and let the audience go like Bogart in Casablanca. You wanna know how Ingrid Bergman felt at the end of that film? Go to a Death Cab show.

* Thanks to Miss Ally Byrd for opening my eyes.
** Thanks to Mr. Steve Martin for the joke.
 

Death Cab For Cutie w/ Mates of State
October 24, 2003
Cambridge, MA
The Middle East Downstairs

   Ben Gibbard, Death Cab For Cutie’s frontman, now stinks live.
   Now before you get angry and say "But Transatlanticism is quite possibly the greatest record made this year!" hear me out. Between songs, Gibbard has a tendency to pause and talk to the audience, much in the way you’d talk to a group of friends you felt exceptionally comfortable with. After saying he’d rather no one be at his show and the Red Sox be in the World Series (thunderous applause) and reminiscing about when Clinton was President ("He was as crooked as the next one, but when you saw him on TV everything just felt alright"), Gibbard started talking about Travis Morrison of the Dismemberment Plan. Apparently Gibbard is pulling a Travis and wearing the same outfit onstage every night. Like Travis, Ben absolutely reeks. Gibbard looked to his bandmates to back him up about Travis’ stench, with drummer Jason McGerr nodding vigorously in agreement.
   I bring this up, because seeing Death Cab live is the rarest of experiences where the band effortlessly switches gears from stage conversation that engages the audience to the blisteringly perfect arrangements of emotion and sound that are their songs. Audience members smiled, laughed, and responded to Gibbard when he stood onstage and nonchalantly chatted. But the minute the music started and his eyes closed, it all changed. Everyone—and I mean everyone, including one very into it security guard—was falling in love with Death Cab all over again.
   Songs from the new album carried over most excellently live. The combination of live drums and electronic pads (that Gibbard did beat systematically live and were strangely hypnotic) gave "Title and Registration" a jolt of energy that it doesn’t have on the record. The audience responded enthusiastically to "The New Year" and closed their eyes and bobbed their heads for "Lightness." But Death Cab moved beyond new songs and gave new life to old favorites (I will attribute this to the fresh drums of Jason McGerr, as well as the audience energy). "Champagne From a Paper Cup" sounded great, as did "Los Angeles." Far too often, a band doesn’t sound like a band, but rather four different instruments trying to do their own thing within the confines of a song. Death Cab just might be the greatest band in a long time, and a lot of that has to do with the fact that the individuals are working live, as well as on record, for a sound that’s more about the songs than anything else. And the songs are spectacular live.
   One highlight of the show was the band’s decision to play "Photobooth." Gibbard’s lyrics could be heard clearly, balanced atop a beautiful combination of different drums and guitar and bass. But upon closer inspection, it wasn’t just Gibbard’s voice, but that of most of the audience quietly singing along. Had one or two people been doing it, no one would have noticed, but not just one or two people feel compelled to sing softly along at a Death Cab show.
Openers Mates of State didn’t get as reverent a reception as Death Cab, but their set was full of energy and had the audience dancing and applauding. This is the original boy/girl two-piece, and their shiny, happy songs sounded good live. They also have a somewhat unconventional on-stage set-up that works for them, as they face each other and seem to sing the songs at each other. Mates of State: breathing new life into the tired cliché of a woman playing keys not strings.

   -Whitney Weiss

Interpol w/ Elefant
and The Occasion
October 17 @ Avalon
Boston, MA

   After their first night in Boston (and an after-party at Start! that involved Carlos playing DJ), Interpol took the stage for their second night at Avalon. I don’t know if it was the audience’s enthusiasm or the band’s awe-inspiring stage presence, but whatever the cause, it was powerful enough for Paul, the singer/guitarist, to stop and say that while he enjoyed the first night in Boston, "Tonight is so much better."

   The Occasion, a five-piece band that has everything from a singing drummer to a guitarist who looks like a cuter version of Pete Townshend, started the evening. The Occasion’s knack for pulling the audience along with their spacey and hypnotic sound is worth noting, as is the fact that their stage energy was substantial. Apparently the night before The Occasion had run over their allotted time, so they moved quickly except for thanking the audience for what was an extremely warm reception. Their sound can best be described as a skinny-tie band that is channeling Phish (think The Dandy Warhols). The Occasion is worth checking out.

   Next came Elefant, who played a ten-song set. Elefant’s lead singer sounded like he was doing an Ian Curtis impression, but the on-stage behavior was all Jim Morrison. He spent the duration of Elefant’s time onstage halfheartedly slapping the microphone cord on the stage, weaving around his bandmates, and bending over into the audience and asking yours truly (with hand motions) for a cigarette, some weed, or some coke.* Elefant’s shining moment was when they asked the members of The Occasion to join them onstage. Happiness radiated from The Occasion, who donned various percussion instruments, and their presence seemed to energize Elefant. This made for a most excellent last song.

   After what was a lengthy pause between bands, Interpol finally took the stage. The 2,000 person club was packed to capacity, and from the first note of the first song, the audience was hanging on Interpol’s every chord. Maybe it was the snazzy all-black ensembles. Perhaps it was the fitting lighting. Regardless, it reduced the scenest of the scene to dropped jaws and pumping indie fists. Every song was spot-on with the recorded version, but packed with the power that only a live performance by a talented band can give. Interpol’s energy was amazing, and possibly the most influential I’ve ever seen. Every time Carlos slung his bass downward while playing, fan's feet slapped the ground with passion. Interpol played most of Turn on the Bright Lights and threw in a new song that was well received. Highlights of the set included their encore, which built on the momentum of the set and raised, instead of crashing, the already established buzz, as well as a version of "Untitled" which was truly the song that launched a thousand dance moves.

   I cannot stress how great a performance Interpol puts on. This is a group that goes beyond sounding great on recordings, and they deserve every single bit of success they get. Do not miss their live show if you have a chance to experience them for yourself.

   *For those of you wondering, he ended up with the cigarette, which was eagerly passed to him by another member of the audience.
 
   -Whitney Weiss
 

elephant

the occasion

The
String Cheese Incident
October 10, 2003
Orpheum Theatre
Boston, MA

   On their first of two nights playing Boston, the String Cheese Incident turned the jam band stereotype on its head with their amazingly eclectic (and lengthy) set of music from the corners of many different genres.
Yes, there was the obligatory crowd that mixed Caucasian dreadlocks with patchouli within a haze of marijuana smoke. But there was a reason that the audience was dancing, sometimes at a fever pitch. This isn’t just music to toke up to, though that may help one enjoy the experience. STI can impress the most sober of audience members with their superb musicianship and live presence.
   The String Cheese Incident began the night with an explosive cover of Johnny Cash’s "Ring of Fire" that had everyone in the theatre on their feet and dancing. Johnny Cash’s music has been bastardized many a time, but STI did it justice and brought their own fantastic energy to an already-wonderful song. From here, it was a long, strange trip of different genres and STI originals.
   One of the greatest things about this band live is the fact that their diversity is so much easier to notice in context of a set. The transition from shoegazing guitar solos and hypnotic keyboards to soul-inspired singing and blues-drenched basslines is flawless, as are the song’s changes, which creep up slowly on the audience, bowling them over at the peak of a song or jam. One minute the audience would be hanging on every note of a mandolin solo, dancing faster and faster as the speed of the picking increased; the next, everyone would be applauding for a more relaxed guitar part. Blusey mountaintop music following a stunning display of Latin-flavored music (with percussion that had everyone cheering and dancing) seems only natural with this band, while it would most likely fall flat in any other context.
   As someone who enjoys the groups known as "jam bands" but is not really of that crowd, I was most definitely pleased by the String Cheese Incident’s performance. The band’s musical connection is truly superb, and they pay such close attention to each other onstage that time changes and other spur-of-the-moment alterations to the song come off without damaging the flow established. Also, with so many bands that play short sets or rely on openers to energize the crowd, it was quite impressive that String Cheese Incident played as long as they did while maintaining a high amount of energy. This is a band that definitely deserves to be heard live, by dedicated fans as well as people who might not necessarily think they’d enjoy sitting through one of their shows.

   -Whitney Weiss

Cursive w/ The Blood Brothers and Eastern Youth
September 18, 2003
The Middle East Downstairs/Cambridge MA

   I'm telling you, this was THE show of the year to see (so far). Cursive drew a crowd of Saddle Creek kids of all sorts, The Blood Brothers' following included people who seemed to really like them as well as people who seemed to think they were supposed to like them (elitism is so damn cute), and the people there to see Eastern Youth were quite excited.  All of these people were packed into a club that had sold out this show long ago (though this did not stop the herds outside of optimistic kids hoping to get tickets). I can only imagine how many people would have showed up were it not 18+.

   I heard from someone who has lived in Boston far longer than I that this Blood Brothers performance was far better than their last in town (and that they set up their equipment much quicker). The Blood Brothers have an energy that is quite exciting onstage, but like with Melt Banana, you have to think of them in context of their genre. The most amusing part of the Blood Brothers' set was watching people who obviously weren't feeling it but had been told they SHOULD be. Absolutely hilarious.

   I was impressed by the Blood Brothers, but far more impressed by the band that came before them, Eastern Youth. Eastern Youth certainly won over the crowd and got a great response. Someone near me described them to a friend as "This fucking awesome Japanese Fugazi" and I figure, hell, that sounds good enough for this review. Check Eastern Youth out, as they are certainly worth a listen (or showing up early at a Cursive show near you so you can see them for yourself).

   And then, of course, the main band, Cursive. Cursive is not my favorite Saddle Creek band, but I enjoy what they do and wanted to see how their energy would come off live.  I was impressed, but not converted to an uber-fan. However, the audience's reaction to Cursive made me feel kind of guilty for even being there, like I didn't want it bad enough to deserve a spot in the audience. It's a really strange feeling to have at a concert, because it means most of the fans aren't just appreciators of the music; instead they are nothing short of rabid dogs in heat. I know that the point of a concert review is to focus on the band onstage, but trust me, these kids deserve mention.

   The bottom line: Eastern Youth was a pleasant surprise, it was good to see the Blood Brothers live, and Cursive is a damn talented band...just not my favorite. I hope someday I get a chance to see them at a venue where I'm not packed like a sardine between scene kids, but  I have a feeling those days are gone for Cursive.

   -Whitney Weiss

The Dandy Warhols
September 10, 2003
The Paradise Rock Club - Boston, MA

   Ongoing debate and critic jabber aside, rock and roll is seriously in need of saving. I don't want to tell my favorite musician about how their breakup song reminds me of my breakup. I don't want a band whose members live in mansions talking about how to rage against the machine that they're happily a part of. I want sweat, I want style, I want talent, and I want everyone to get off.

   Or at least that's what I wanted when I emerged from the Paradise Rock Club after three hours straight of the greatest fucking rock and roll I've heard in ages.

   September 10th brought The Dandy Warhols--and only the Dandy Warhols--to Boston, where they played for 180 minutes in front of about 400 people. In case you haven't heard of The Dandy Warhols, they're the best rock band of the decade. If a band has The in front of their name and shops in a thrift store, they owe something to the Dandys, who have been kicking it old-school since the early 90s (when grunge reigned supreme and the only city anyone knew of on the northwest was Seattle). These Portland-based rockers have a certain something that isn't just seen by me: David Bowie and Trent Reznor can be counted as fans. And if you could see them onstage, you would understand exactly why The Thin White Duke chose them to open for him in Europe.

   The first thing The Dandy Warhols did right was abolish the opening band. This left three hours free for Courtney, Zia, Pete, and Brent (if we opt to know them on a first-name basis) to mesmerize an entire audience with little more than their multi-instrumental powers to rock and a couple of lighting effects. And mesmerized we were. It wasn't possible to take it all in at once without experiencing total synethasia, and this is coming from quite possibly the only sober member of the audience. Pete swaggered into his guitar solos, which melted into the television screen showing campy images and, during the song "Get Off," bubble bath porn. All the while you have the body language of Courtney, whose eyebrows alone could out-act half of Hollywood. Add to the mix Zia's absolutely bubbly stage presence and Brent's uncanny ability for keeping time (he held it all together during "Bohemian Like You"), and you have the best live show experienced in a long, long time.

   Of course, stage prowess along cannot impress a crowd of people expecting to hear their favorite songs. The Dandy Warhols managed to not disappoint, playing a plethora of material from all four of their studio albums, switching instruments, and occasionally straying from the set list. One of this band's major good qualities is its ability to transform songs live into entirely different versions of what sounds great on an album--with the result sounding even better. Courtney's solo version of "Everyday Should be a Holiday" was an excellent take on an already-great song, as were the live incarnations of most of the newest album, Welcome to the Monkeyhouse. Even those doing the standstill were moved to shake what their mommas gave them when the singles "Bohemian Like You" and "Not if you were the last junkie on earth" were performed. However, it was the album-only songs that struck the strongest chord with the audience. An excellent version of "Genius" was performed, as was one of "I Love You" and a "Good Morning" so intense that Zia had to take a moment to announce how that was her absolute favorite moment of the night.

   At the beginning of the night when Courtney took the stage, he managed to stand in front of a crowd and connect while intimidating the hell out of the people within 30 feet of the stage. As he continued to play throughout the night, he stayed talented enough and with the right amount of poise to carry the torch of rock band frontman, but he also could relax in ways many musicians can't. At the only break in the entire set, he grabbed a beer and sat down at the front of the stage to chat with a couple of audience members. Thirty seconds later, he'd strapped on his guitar and was inspiring the dropping of jaws again. His contact with the audience was totally sincere, and he manages a magnificent stage presence in ways many would never know how.

   After the last songs "White Gold" and "Green" were played, the band thanked Boston and dispersed. Courtney told fans to meet him at the bar so he could satisfy his Jack Daniel's craving, and Zia stayed onstage long enough to lead the audience in a singlong version of "Country Roads," which was blaring over the PA. She leaned down to the audience where I was standing, and told me I looked like a cuter version of the lead singer for the band Hazel. She told me I could have kept taking pictures throughout the set, and I replied that I'd run out of film.

   "Oh, that's cool," she said. "I was going to say something then, but you looked like you were really enjoying yourself."

   That would be the understatement of the year. This is absolutely the best concert experience I've ever had, and the other audience members' reaction leads me to believe that I'm not alone. If The Dandy Warhols are playing within 3 hours of wherever it is you live, it is your duty to trek to take part in what will be a truly stunning live show.

   -Whitney Weiss

Yo La Tengo
w/ Marshall Crenshaw & The Aislers Set

   The Florida Theater is not exactly a choice setting to see one of indie’s icons, but suprisingly, it came off alright. For one thing, the acoustics allowed for no earplugs, and no one’s ears were ringing after the show. The assigned seating arrangement was annoying, but workable.
   That aside, who the hell thought it was a good idea to include Marshall Crenshaw on this tour? Perhaps it was Yo La Tengo who are friends with the musician, who starred in their video for "Tom Courtenay". All in all, he delivered a mediocre performance. His guitar playing is superb, but his lyrics and voice leave much to be desired. There was an awkwardness about his performance resulting from the fact that he knew it wasn’t his crowd and the crowd knew they weren’t his crowd. Two things positive: 1) while tuning the guitar for different songs, he included "interlude" music,which was humourous (he played part of a Styx live album); and 2) he played his heart out regardless.
The Aislers Set came on pretty quietly. Nothing new here. Typical indie sound. It was delivered well, near to cd quality, which says a lot for their talent and the work they put into playing.
   Yo La Tengo. Ah, what can we say. They are gorgeous. This isn’t one of those, "Hi! I’m Jimmy and I sing! She’s Julie and she plays guitar!" bands. These guys are multitalented. Ira, Georgia, and James. Three beautiful people making incredibly beautiful music. "We heard none of you ever goes to sleep, so we’re just gonna play all night." Met with huge applause. They didn’t play all night, but they did play for nearly two hours. Everything from new songs "Nothing but You & Me" (an a capella song replete with doo-wop backing vocals and dance moves, making James and Georgia look like a high school chorus number), "Georgia vs. Yo La Tengo" (a song about their creative process), and "Season of the Shark to oldies like "Paul Is Dead". They didn’t play "Tom Courtenay", much to the chagrin of one fan who was screaming for it all night. The set ended (too early for anyone, as seen by Standing Ovation #1) and they soon reappeared to do an encore which consisted of three covers: "She Must Be Somebody’s Baby" by Jackson Browne, "Wanted Man" by Johnny Cash, and "Griselda" (Although I cannot remember the artist who did this one, if anyone does, feel free to inform me). Commence Stand-O #2. They key to the perfection that was this performance is that Yo La Tengo love what they do. They love the music, and it shows.

   -Neil Rhodes

Mae w/ Spacebar and Armor For Sleep
Jacksonville, FL - Jack Rabbit's
08/20/03

   Though it wasn’t Mae’s first time seeing Jack Rabbits on Wednesday, August 20th, it was my first time seeing Mae, and I had no idea what a treat I was in for.     

   The opening band immediately caught everyone’s attention.  The singer’s low, almost inaudible voice was complimented by a spastic, thrashing guitar player.  The crowd was on their toes until the finale at the end of the set, which consisted of the drummer taking a swan dive into his drum set, and the guitar player pounding his guitar on the bass drum, then throwing it to the ground.

   Spacebar and Armor For Sleep both gathered good crowds, with the lead singer of AFS jokingly telling the people who were standing toward the back of the room to come forward so that they could point at him.  But as good as the performances were by the first three bands, everyone seemed to be anxiously awaiting Mae.

   When they finally began to play, the audience packed in as close as they could, singing every lyric right back at them. Mae had recently undergone a small sequence of bad luck (their small and youth-sized merch. t-shirts had been stolen in Atlanta, and their keyboard player had injured his knee, and could not set up on the stage or sing back-up). But they performed song after song, rarely stopping in between, with seemingly endless energy and beautiful accuracy.    

   Mae stepped back onstage for a haunting encore when the audience refused to let them leave, and spoke with excited fans once the show was over.  Hopefully Mae will be returning soon, because their show was indeed most certainly a Multi-sensory Aesthetic Experience. 


   - Katie Helow

   - Photos By Audrey Helow

Matt Brink/Statistics/M.Ward/Rilo Kiley
Common Grounds - Gainesville, FL

   Matt Brink is a friend of mine from the old school. That school has since been torn down and, while a few alumni still gather to pretend the old times haven’t passed…they have. Matt, however, has gone through some obvious changes. I am better able to see these changes, since I only see him every few years. They become marked. He went from an angry, lonely man to a lonely man with a funny outlook on everything. Go Matt! His songs were a little disjointed (no doubt due to the fact that he had, only a few hours prior, stepped on a rusty nail.); but he kept a good sense of humour about it. He knew it wasn’t his best performance, but he played like the crowd were just some friends hanging out in his house. They loved him for it. Matt is a rocker. He rocked out.

   The Statistics is Denver Dalley of Saddle Creek’s Desaparecidos. He took the stage with members of Rilo Kiley serving as the rest of the band. Denver said not a word as he took the stage and lurched into the first song. They played everyone from the current E.P. (the only item currently available). Denver worked very, very hard, sometimes playing keyboard and guitar at the same time. While he had trouble keeping out the feedback on when he sang through a megaphone, all of the songs sounded perfect.

   The Statistics soon bowed out to give over to M. Ward. Once again, Rilo Kiley served as back-up for the first five or six songs. M. Ward came out, head down, hat pulled low, and buried his face in his mic. He glided through most of the songs from his current LP, The Transfiguration of Vincent. The voice belies his actual age. The voice singing those songs and the mind which wrote them is much, much older than Ward actually is. At the risk of repeating every other reviewer in the world, had one closed one’s eyes, it could have been Tom Waits up there. Songs like "Vincent O’Brien" and "Sad, Sad Song" sounded even more beautiful with Rilo Kiley’s Jenny Lewis backing his vocals. Even the somnambulistic cover of Bowie’s "Let’s Dance" was perfect. That performance was release, both for Ward and the audience. The weather matched Ward’s music perfectly – rainy and dreary, but in that relaxing way, like sitting on a porch while it rains and reading a good book. It was a disappointment to see him leave the stage, but all good things….

   As M. Ward left the stage, he was greeted by quite a few people wanting to meet him and tell him what a wonderful performance he had just given. He accepted all of it graciously and with more than a modicum of humility. While this was going on, Rilo Kiley took the stage. Having played with almost every other act that night, it took no time. No energy was lost from having played the whole night. If anything, the previous performances with the opening acts were like foreplay. Rilo Kiley were on, on I say! Even though paying attention to anything other than the lovely Jenny Lewis is a chore (and any of you who have seen them can attest to this, male or female), the band as a whole moved as one and played with precision.

   Interesting sidebar: I have confirmed child actor status on two of the members of Rilo Kiley. Jenny Lewis has (as most of you know) starred in television shows (Growing Pains, Roseanne), in series such as Foxfire (along with a young Angelina Jolie), and movies such as "Troop Beverly Hills" and "The Wizard. What some of you may not know, is that guitarist Blake Sennet was on Nickelodeon’s series "Salute Your Shorts". Just some fun trivia, enjoy.
Freaking perfect delivery on songs such as "With Arms Outstretched", "The Execution of All Things", "Pictures of Success", and "Bulletproof" flowed from them easily. Jenny’s voice is perfect. Her chemistry with guitarist Sennet was palpable. As I said before, they were on. Thank you Rilo Kiley for making us believe in magic, like Disney used to make before Michael Eisner made them evil. Thank you.

   This show rocked. I think I experienced stigmata. That, or I had an aneurysm. Either way, it resulted from the rock which issued forth from these bands. Not only did these bands rock, but I think there is a certain understanding that the fans make the band. I spoke to every member of every band and they are the nicest people ever. I even got a little sympathy from Jenny after I stepped in a puddle (more like a lake) outside Common Ground. If you ever get the chance to see Rilo Kiley or M. Ward (or hell, any indie bands) DO SO! You won’t be disappointed. In fact, go to every indie show you can. Support bands who are out there working for it. I fell in love with many a band at a live show that I didn’t care for previously. And Jenny, if you’re reading this. I can be reached here in Jacksonville. I am in the phone book. I will be in my house…pining.

   -Neil Rhodes

Delerium, Conjure One
Atlanta, GA
Sept 26th, 2003

   Two words: 'fucking fabulous!' Conjure One and headlining band, Delerium set themselves apart as one of the overall best live shows of at least the past year, maybe even two or three. Delerium’s set contained an abstract compellation of works since their landmark debut album on the Nettwerk label: Karma. Despite the botched time schedule, by the second song, the crowd became so enthralled by the music that they failed to notice they were near drowning in the sea of people, all thriving on the rich bass lines and thick drum beats. There was a live drummer, bass and guitar players, three female vocalists, and of course, Bill and Rhys formulating the foundation for an intense musical experience. The venue was Atlanta’s new Cotton Club located in the basement of the Tabernacle, which had great sound acoustics and a dark cozy feel. There was a DVD playing behind the band that synchronized with the music and contained a variety of visual indulgencies. It was so good to see that Bill and Rice could put their disagreements of the past aside and join together on stage once again for an enchanting evening of beats and rhythms. Also to note that Bill was in agreement to bring on Rhys’s brainchild, Conjure One as an opening treat. Despite the crowds’ uncertainty to whether or not the live vocals could possibly live up to the magnitude of the recorded versions of the songs, the three divas voices lifted the crowd up into their magnificent web of weaving harmonies and impressive range. – And finally, Bill and Rhys were able to put to rest the question of whether Delerium could be performed in a live setting, and the answer to the question is: HELL YES!

   -by Chris & Rachel Burney
 

Bile, Nocturne, and Cyantic
@ Jack Rabbits
Wed. July 23, 2003

   Cynantic was the first band to perform on the tour. They had no stage presence at all. There music was also far from anything that someone would have to hear. Their where two guys just sitting on stage with computers putting the most awful sounds into what they wanted to call songs. During their set everyone just sat around and tried to find something else to do but watch Cyantic.

   The next band was Nocturne. Their set was long, way to long. Nocturne's singer Lacey must have been a stripper or something of that nature with her off dances to what they call industrial which is more metal with a few electronic beats added. They played songs like 'My Bitch' and 'Happy'. Their stage show just consisted of Lacey doing her stripper dance and the rest of the band members banging their heads like they where on Ozzfest.

   The last band to play was New York's industrial metal band, Bile. I did enjoy their show even though I have seen them three times in the past year. It was heavy like you would expect. They had all of Jack Rabbits standing up for their set, which included songs like "In League" and "Sex Reflex". They also had a good stage presence mainly because of Krztoffs interaction with the audience. They had TVs on stage playing images of violence with Bile's logo spinning around. They also added a good touch to the TVs by putting camo netting over them. Bile was the only band I enjoyed that night.

   -Kent Donohoe