The Big Show

Huge Music, Huge Concerts

originally published March 17, 2004

MXPX, SUGARCULT, FROM AUTUMN TO ASHES
February 14, 2004
The Tabernacle, Atlanta

Well, all the facts are in and I'm here to confirm that the rumors are true. What's sold as "punk," circa 2004, is the equivalent of metal, circa 1988. It's so watered down and harmless that it's the natural choice for kids who want to appear to have a mind of their own instead of worshipping the bubble gum gods.

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Where Poison was the "heavy" option to New Kids On The Block, nowadays, bands like MxPx and Sugarcult are the cool option to Justina. I've got to say that I'd probably be in this crowd if I were in my mid-teens today. Still, I felt curmudgeonly here.
From Autumn To Ashes was the closest to the real thing, but they were more metal than anything else. They carried the attitude, confronted security guards and thrashed around with enough angst to satisfy any Ozzfest crowd. The group had tons of energy, but I couldn't remember a single song 15 minutes later.
Sugarcult, on the other hand, was pure Hollywood. They dressed the part and cultivated their image well, but the music was hollow - at best. Judging from their oh-so-punk lyrics, the guys have trouble with the girls. To cheer them up, in the timeless teen manner, the girls in the audience shrieked back as if they could change these bad boys' opinions if given the chance. It seemed almost quaint. It was also clear that Sugarcult missed the memo with the warning on how cliché, trite and out-of-date it is to (gently I might add) smash your instruments at the end of the show. It was no more believable than the choreography from an old Whitesnake video.
It was obvious (quickly) why MxPx was the headliner tonight.

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They deserved to be. While their sound didn't seem to go back any further than Green Day's heyday, that was okay. At this show, that's as classic as it comes. They rocked without seeming fake, leaped convincingly on cue, seemed for real and played strong power pop that might even last longer than six months. That's a major accomplishment. I appreciated it.

COLIN HAY, PAT DiNIZIO
February 12, 2004
Performing Arts Center, Duluth, GA

This was the opening night of what is appropriately called "The Intimate Evening Concert Series" at Gwinnett County's Performing Arts Center. After a couple of local openers, Smithereens frontman Pat DiNizio casually sauntered out alone, accompanied only by his Strat. DiNizio gave an engaging hour-long performance, not only dipping into his band's catalog for "Behind The Wall Of Sleep," "Blood And Roses" and "Blues Before And After," but also regaling the enraptured audience with personal anecdotes. He even made a valiant effort to demystify and deconstruct the songwriting process altogether with a demonstration on how to use one chord properly ("A Horse With No Name"),

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then up the chord chain with more and more hilarious covers. Perhaps the highlight of his set came when demonstrating the inherent sadness of the E minor key. DiNizio re-imagined Black Sabbath's "Paranoid" as a folk song and made an effective argument that a good song's just a good song.
Men At Work main mouth Colin Hay was a completely different beast. Early in the show he offered, "If you've got any requests... please feel free to keep them to yourself." He then laughed, acting as if it were a joke. It was clear, however, that he was serious about establishing himself outside of the Men At Work lexicon. It's really too bad that the fickle pop market's not willing to listen in. Songs like "Beautiful World" and "Waiting For My Real Life To Begin" are prime examples of how the songwriter's work has steadily improved, even if public recognition is nearly non-existent. Before "It's A Mistake," one of a few Men songs performed, he tried to describe what it's like dragging his past around, saying to the crowd, "Look, I loved the '80s, too, but they've got to end sometime." It was poignant and nearly heartbreaking. And yes, he did wind up giving "Who Can It Be Now," "Overkill" and (of course) the show ending "Down Under" to the appreciative crowd. After Hay finished, he came out into the audience and just spent time with his fans.

ROD STEWART
February 11, 2004
Bi-Lo Center, Greenville, SC

"It's always good to be Rod," boasted the 59-year-old Scot after opening his show with a tepid version of "Forever Young" followed by a surprisingly potent "Young Turks." Looking at the man, it was hard to doubt his statement. He was in great voice, shape and spirit. Stewart bounded around the stage with a boyish energy, laughing and kicking customized soccer balls to his absolutely adoring fans. Unfortunately, the singer never did quite live up to his legacy. For the first half of the show, Stewart relied on the light rock side. "Downtown Train,"

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"The First Cut Is The Deepest," "You're In My Heart" and "Some Guys Have All The Luck" were among the tracks chosen. Only later did he dig deeper for stellar versions of "Ooh La La" and "You Wear It Well." Rod did manage to rock a little here and there. "Hot Legs," while significantly rearranged, still had a little fire. It didn't really start cooking, however, until "Stay With Me." That was shot at the end of The Faces number when Stewart blurted out "Gotta have a beer. Be back in 20 minutes." The show, just picking up steam, never regained its momentum after the intermission.
When the curtain re-lifted, the stage had been changed to resemble a '30s nightclub complete with an orchestra. Stewart now donned black tie and tails and quietly crooned "As Time Goes By" while footage from Casablanca flickered behind him. And that's what we got for the next hour or so. The singer did respectful - but not particularly special - interpretations of standards such as "The Way You Look Tonight," "Someone To Watch Over Me" and "I'm In The Mood For Love." During this set, the approval seemed to be split. Women swooned and threw bouquets of roses while men seemed somewhat horrified at the display. Thank God he ditched the orchestra for the finale. Even if he did mangle the lyrics to "Maggie May" (you'd think after 33 years and with the help of a TelePrompTer he could remember them), it felt as rocking as Metallica after the wedding band/ Vegas act. For his encores, he chose the disparate pairing of "Twistin' The Night Away" and "I'll Be Seeing You" which was the perfect symbol of the unevenness of this show and for that matter, his entire career.

Chris McKay