| Projekt Revolution- Mansfield/Boston, MA- Friday, August 24, 2007 written By Heidi |
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| Photos by Lynn |
| x4 |
So as I stood in the unclouded sunlight in the middle of a concrete lot, waiting for the next band to start their set, Red texted me apologetically. “The thing about festivals,” said she, “was that you get the bad with the good.” Standing with my $4 cup of water, my skin soaking in levels of UV I've avoided for a good four years now unfiltered by such trivial technology like sunscreen, I found myself staring at my phone, kind of surprised. The thing about this festival, it seemed, was that there wasn't much bad at all. Granted, at any festival where the biggest crowd demographic is high school freshmen, any seasoned concertgoer is going to want to bash their head against the concrete to get the screaming out of their ears (or maybe go on a good healthy rampage with their car keys). But damnit, I enjoyed this one. The first part of the show, on the Revolution stage, was set up in said concrete lot, sans shade. I got a spot right next to the soundboard and chatted up the hired body, waiting for the first act to take the stage, so I'd have a nice barrier to lean against. I happened on a local, chatted more, and then Medina Lake took the stage. I hate to nitpick, but that's my job. I was disappointed at first in the incoherency of the lead singer's lyrics, but as the set progressed it became clear that his odd vocal style (a very purposeful, very exaggerated vibrato in copious doses) was in fact a good choice. It became far easier to understand his lyrics after I became accustomed to his style, and the sound of the band featured heavy bass riffs with cyclical guitar chords. They were as unafraid of the instrumental breaks as the lead singer was of jumping headlong into the crowd-- which he did, twice, besides starting a water fight in the crowd with their waterbottles. In fact, the band had a very good connection with the fans, and despite having a very 'emo' or 'scene' look, their sound was fairly straightforward rock, and they made it clear that they didn't consider themselves part of one scene or another. In the end, I found I applauded them most for their simplest message: music is yours. Saosin was up next, and I had been half-curious about this act since I'd seen them adverted in a mall somewhere in New Hampshire, and while I really, really wanted to like this act (the hired body I chatted with liked them a lot), I have to say in the end I am left wondering when they're going to tie everything together. Their guitar style was more of a punk approach, while their vocal was more ballad or general rock, and their drums were actually more rhythm and melody than I expected-- and I was amused at the way they handled the audience, with an almost smug affection. I would be interested in hearing their studio work, because I feel as though I missed something in the live performance, and it was not for lack of searching. In the end, I found myself more engaged by the play between the lead singer and the crowd than by their music. Which, when the set ended, was where everyone was moving. En masse, hundreds of people hitting the loo, the refreshment stand ($8 beers, let's go team!), the merch table, and taking their seats. I'm sure we looked like a bunch of eyeliner-heavy confused ants. The first act on the main stage was an act called Julien K. I liked the act, inasmuch as I wouldn't mind seeing them again, but the primary message that I carried away from the set was that black leather was back in style, which is good, I can break out the old motorcycle jacket again the next time these boys come around. Their act is sort of postindustrial rock sleaze chick, and that is way too many syllables, but think about it. The style overall was postindustrial rock, heavy on synth and drums, with a more washy guitar sound and a love of rock ballad-format songs. Presentation wise, they had that sleaze chick thing that made you feel dirty watching them, but in a good way, like you can go home, wash your drawers, and still think about the mess you made in them watching them writhe on stage in leather and tattoos. That, of course, would be HIM. I have to admit, I wasn't terribly hyped to see this band play-- mostly because I was coming down off of a Placebo high (mmm, irony)-- but they played quite well. I thought the mix was a bit weird at the beginning, but the problem seemed to fix itself, and eventually the lyrics and overall sound cleared up and their foreboding sound filled the venue to its full extent. They played a good set, and naturally all of their young fans had their dream come true, to see the legendary Ville Valo live onstage-- which was just fine. Taking Back Sunday was up next, and my complaint of the previous three was that I couldn't see the drummer for shit behind the stacks of amps and monitors: this act fixed that, elevated their drummer five feet off the stage so he was in full view. Not being terribly familiar with their music, I was entertained by their sort of charming awkwardness that was certainly purposeful: in addition, for all that the individuals onstage seemed to be in a sort of chaos, they act was well oiled, and the presentation was very good. I liked how insolent they could seem at time: it added to the over all image, and it was clearly expected by their fanbase in the crowd. Overall, they are an act I would be willing to see again-- more familiar with the music, though, so I could discern the lyrics easier. The final act, of course, was Linkin Park, the people who started the Projekt Revolution tour in the first place. Once again, they had a very good set of designers behind them: they started with a silhouette effect, with a very industrial set behind it, which made for a very effective and memorable visual effect. They kept to the true wall of sound style, blended with the mixed rock and hip-hop vocal styles that we know to be signature to LP, and though there seemed to be a bit of a lacking response from the audience, the boys of Linkin Park got them riled up again. Overall, the Projekt Revolution tour was a very successful show overall, a tightly run production with a truly star-studded bill that was able to entertain a huge crowd with music tastes all over the board. Who says Boston's a puritan town? We still put out, and several times over. Check Back Next month for more Pictures and another great review! |
I thought, hell, if the rest of the bands are this good, I'll have spend a
worthwhile eighty bucks on eight hours of music.
Next on the roster was Styles of Beyond, someone I was very
curious to hear live, but tragically, they simply didn't play. I don't
know what happened, but I was disappointed they didn't come on.
And I was even more disappointed by the next act: The Bled. My
notes from this act are pretty much all I remember:
'mmm, screaming incoherently into the microphone.
'mmm, thrashing.
'at least their drummer is an animal. In his skivvies.
'what the hell are you doing with that mic stand? You're going to
hurt yourself.
'Ok, stopped listening.'
And that was all from the first song. I don't even remember what I
did while they played.
worthwhile eighty bucks on eight hours of music.
Next on the roster was Styles of Beyond, someone I was very
curious to hear live, but tragically, they simply didn't play. I don't
know what happened, but I was disappointed they didn't come on.
And I was even more disappointed by the next act: The Bled. My
notes from this act are pretty much all I remember:
'mmm, screaming incoherently into the microphone.
'mmm, thrashing.
'at least their drummer is an animal. In his skivvies.
'what the hell are you doing with that mic stand? You're going to
hurt yourself.
'Ok, stopped listening.'
And that was all from the first song. I don't even remember what I
did while they played.
The next and final Revolution-stage act, however, made the
sunburn completely worth it. My notes have a scrawled “Pomp &
Circumstance?!?!” in it-- because that's what came blasting over
the speakers at the start of Mindless Self Indulgence's set. I was
very confused for a few moments, and then I realized-- oh, it's
going to be that kind of set.
Oh, and it was that kind of set. MSI are serious musicians who
don't take themselves seriously-- a breath of fresh air in an industry
that is sometimes overrun by well-intentioned, good musicians who
simply don't know how to have a laugh. In stark contrast, I feel as
though I didn't stop laughing except to sing along or jump around
through the whole set. The band had an amazing communication
with the audience, and I left feeling as though I was sincerely
included in the experience, which I consider a huge feat. In the
end, I came to the conclusion that MSI are an amazing back, who
play brilliantly live, have a great act, and seriously should have had
a spot on the main stage.
sunburn completely worth it. My notes have a scrawled “Pomp &
Circumstance?!?!” in it-- because that's what came blasting over
the speakers at the start of Mindless Self Indulgence's set. I was
very confused for a few moments, and then I realized-- oh, it's
going to be that kind of set.
Oh, and it was that kind of set. MSI are serious musicians who
don't take themselves seriously-- a breath of fresh air in an industry
that is sometimes overrun by well-intentioned, good musicians who
simply don't know how to have a laugh. In stark contrast, I feel as
though I didn't stop laughing except to sing along or jump around
through the whole set. The band had an amazing communication
with the audience, and I left feeling as though I was sincerely
included in the experience, which I consider a huge feat. In the
end, I came to the conclusion that MSI are an amazing back, who
play brilliantly live, have a great act, and seriously should have had
a spot on the main stage.
I must here confess that my panties took a beating the first two
sets of the main stage, because after that writhing leather-clad
act, Placebo took the stage, and if anyone knows anything about
this webzine, it's that we here at Noizefront like Placebo quite a
lot. So yes, I'm biased when I say that they played an amazing
set: then again, the band takes way too much pride in their work
to not play a good set. It started, to my surprise, with “Pure
Morning,” which they do not often play live. I'd never heard it
live before, and it was fun to hear. Following, they played
“Because I Want You,” and then a sort of polarized version of
“Meds” where the slow parts were very languid and the higher-
energy parts were through the roof. “Every Me And Every
You” followed, and then “Nancy Boy,” a sort of washy and
more improvised version than I have heard before; and then, in a
shoutout to the previous act, they dedicated “Special K” to Julien
K, Brian got distracted by one of the many bees plaguing the
venue, “Taste In Men” came with Stefan's patent pending gay
dance, and they ended with “Bitter End,” though this ending
didn't seem altogether bitter to me at all-- oh yes, I had to
stretch after that set. Even standing, at this venue I sort of had
to squirm in place watching-- so I stretched my legs a bit, and
settled for the beginning of the next act.
sets of the main stage, because after that writhing leather-clad
act, Placebo took the stage, and if anyone knows anything about
this webzine, it's that we here at Noizefront like Placebo quite a
lot. So yes, I'm biased when I say that they played an amazing
set: then again, the band takes way too much pride in their work
to not play a good set. It started, to my surprise, with “Pure
Morning,” which they do not often play live. I'd never heard it
live before, and it was fun to hear. Following, they played
“Because I Want You,” and then a sort of polarized version of
“Meds” where the slow parts were very languid and the higher-
energy parts were through the roof. “Every Me And Every
You” followed, and then “Nancy Boy,” a sort of washy and
more improvised version than I have heard before; and then, in a
shoutout to the previous act, they dedicated “Special K” to Julien
K, Brian got distracted by one of the many bees plaguing the
venue, “Taste In Men” came with Stefan's patent pending gay
dance, and they ended with “Bitter End,” though this ending
didn't seem altogether bitter to me at all-- oh yes, I had to
stretch after that set. Even standing, at this venue I sort of had
to squirm in place watching-- so I stretched my legs a bit, and
settled for the beginning of the next act.
My notes for My Chemical Romance's set starts with “Seriously
how the fuck did they get the license for pyros?!” A disclaimer: in
Boston city limits, it is very illegal to have fire onstage. You can't
even operate smoke machines in a club or music venue. Special
permits must be obtained to use them theatrically. It has to do
with the terrible fires that we've had in the past: there was the
Coconut Grove fire that killed 492 people in 1942, and the Great
White show in Rhode Island that resulted in the deaths of
approximately 100 people in 2003. So when the pyros went off
for My Chemical Romance, I was looking for the exit-- I don't
much like firetrucks-- but I suppose Mansfield isn't worried about
the “Sherrif of Emo Town” burning a couple thousand fans, and
in the end it simply didn't happen. They even had little fireworks,
and a rain of sparks, and no one even got singed. So this is what
it's like when pyros go right!
In any case, My Chemical Romance puts on a very good show.
They had a very brilliant team of designers behind the whole
thing, sure, but they also perform with a clear consistency, there
is no difficulty understanding lyrics, the songs are immediately
recognizable and the band keeps a very good communication open
with their fans. Boston's also known for being a wild crowd in
the right hands, and the teenieboppers certainly lived up to it this
time-- them, and their mothers! I enjoyed the set quite a lot.
how the fuck did they get the license for pyros?!” A disclaimer: in
Boston city limits, it is very illegal to have fire onstage. You can't
even operate smoke machines in a club or music venue. Special
permits must be obtained to use them theatrically. It has to do
with the terrible fires that we've had in the past: there was the
Coconut Grove fire that killed 492 people in 1942, and the Great
White show in Rhode Island that resulted in the deaths of
approximately 100 people in 2003. So when the pyros went off
for My Chemical Romance, I was looking for the exit-- I don't
much like firetrucks-- but I suppose Mansfield isn't worried about
the “Sherrif of Emo Town” burning a couple thousand fans, and
in the end it simply didn't happen. They even had little fireworks,
and a rain of sparks, and no one even got singed. So this is what
it's like when pyros go right!
In any case, My Chemical Romance puts on a very good show.
They had a very brilliant team of designers behind the whole
thing, sure, but they also perform with a clear consistency, there
is no difficulty understanding lyrics, the songs are immediately
recognizable and the band keeps a very good communication open
with their fans. Boston's also known for being a wild crowd in
the right hands, and the teenieboppers certainly lived up to it this
time-- them, and their mothers! I enjoyed the set quite a lot.
