Recording: The White Wires

Artist: The White Wires

Song: Just Wanna Be With You

Recorded at Wrongbar (CMW 2011), March 12, 2011.

The White Wires - Just Wanna Be With You

My notes for this set can be found here.

Festival: CMW 2011 (Saturday)

CMW 2011^* (Saturday) (feat. Fred Penner / Mockingbird Wish Me Luck / The Pack a.d. / Heavy Cream / Ty Segall / Teenanger / White Wires)

Friday, March 11, 2011.

This is an expansion of my initial notes from the festival, which can be found here.

8:30 P.M.: Fred Penner @ The Drake Underground

Well, this was a bit of an outlier on the schedule, venue-wise but even moreso in terms of sentiment. When I first saw the name "Fred Penner" on the schedule I laughed, and then I double-checked that it wasn't an ironically-named pop-punk band, then I marked it in my maybe pile.

And then I showed up to see him. Fred Penner and I have a history, though perhaps not the one that you'd expect. I am, in fact, just a titch past the age to have been mesmerized by the original run of Fred Penner's Place on the CBC. I remember it being on, but with typical kid acumen I dismissed anything I was too grown up for. However, years later, on the day I matriculated from university, Penner was the recipient of an honourary degree — so I've always felt a special affinity for him as a fellow member of my graduating class.¹

And it looked like the bulk of the crowd at The Drake also had some long-standing ties to Penner. If you do the math, you'll note that a wide swath of today's hipsters, bloggers and music writers probably did grow up with Fred Penner, so when that familiar theme music chimed out of the speakers there were a lot of smiles about.

"Imagine a log that I just crawled through," said Fred Penner as he stepped on to the stage at the song's end. Wearing a wireless hands-free mic, he told the crowd to stand up straight, clear their throats and sing along. And as he launched into "What a Day", they did without reserve — some things can just cut right past the scaly growths of irony.

Penner was backed by guitarist Paul O'Neill and two backup singers, who would turn out to be his daughters Haley and Kendra. Penner had his acoustic guitar, but mostly relied on his guileless charm. "It's a little different atmosphere than the usual Fred Penner concert," he said, looking out into the crowd in the darkened basement bar. "But the energy is the same and the joy... is the same." There were some slight nods to the grown-up crowd: inspired by Del Barber, who had played before him, Penner declared he wanted to get back to his folkie roots and announced a Pete Seeger song, pausing to chastise the crowd when they didn't cheer in recognition at the name. The topical "Garbage" was followed by another period piece, as "Happy Feet" (presented complete with kazoos) is well-known as a Fred Penner song but in fact comes from the 1930 flick King of Jazz.

After that he paused for storytime, telling the tale of daughter Haley's first bike ride, pantomiming it while guitarist O'Neill added sound effects. The audience was duly prevailed upon to raise their hands and pledge they'd never ride their bikes with their eyes closed. And as that became the lead-in to "Proud", I looked around at the people clapping along, thinking to myself, "yeah, this is shtick-y as all git-out, but so what?" Even I felt some of the emotional resonance at this stuff.

Speaking of shtick, "Company Coming" paused for some shenanigans from O'Neill, trying to work in the intro to "Stairway to Heaven" to impress any industry types in the crowd before the big finale. For "Sandwiches" ("our all-time second most requested song"), Penner pulled up a couple young women from the audience to sing along and play tambourine — they looked somewhere beyond delighted. And then it was no surprise as the set closed with "The Cat Came Back" and an overpowering wave of unabashedly giddy joy in the room as Penner segued into a mini-medley of "Hit the Road Jack" and "Crabbuckit", complete with cat-appropriate lyrics. As I made my way out, there was already a queue forming at his merch table with people looking eager to take Penner up on his offer of saying hello or getting a picture. This is the stuff that memories are made of.

Listen to a track from this set here.

9:30 P.M.: Mockingbird Wish Me Luck @ Wrongbar

I have much less to say about Kitchener quartet Mockingbird Wish Me Luck. To be honest, I wasn't expecting to catch 'em at all, but Wrongbar was running its sets on the half hour, and as I strolled in they were taking the stage. My pre-festival homework had told me that this wasn't particularly my thing, too, but I knew I was going to be camping out for the night at Wrongbar, and I knew it was going to get busy, so I reckoned to beat the rush.

Featuring an amped-up version of a Heartland college-rock sound, the most distinctive thing here was the fact that the band had not one, but two hoarse-voiced singers. That's a "punk" signifier that doesn't do much for me — in fact, my notes describes their vocal stylings as "Hrarrarrar Huurgh!". That aside, the sort of songs the band were playing reminded more of, say, Buffalo Tom more than anything. Which is a good starting point. But I just couldn't get past the vocal style.

The band's efforts weren't helped when a kick drum pedal died on them and the set kinda skidded to a halt for a couple minutes. I'd been taking this in from up in front of the stage, but after that I went and found a place to sit down and kinda tuned the rest out.

10:30 P.M.: The Pack a.d. @ Wrongbar

The room was filling nicely as this Vancouver duo — Drummer Maya Miller and guitarist/vocalist Becky Black — took the stage. Launching what would be a recurring feature through the night, there were some feedback issues and monitor trouble as the set started. Despite having trouble hearing each other, the pair generated some convincing scuzz-blooze.

Black is a howler and Miller drums with hair-flinging intensity. She was also an engaging ham and a charming banterer between songs. In a between-album phase, the pair were no longer entirely focused on 2010's we kill computers, but were only mixing in a handful from what would become their highly-praised Unpersons, though a few like "Hear Me Out" got an airing. The music is mostly a straight-ahead garage-punk version of the blues, but they did take the foot off the gas pedal a bit after a few songs, for relatively more sedate stuff like "Oh Be Joyful".

Being associated with the blues idiom can be a bit of a stylistic trap, and being a guitar-drums duo can certainly make for certain easy comparisons, but it didn't feel like the band was unduly limiting themselves. The bluesy-ness was more pronounced on some of the older stuff like "Don't Have To Like You", with Black forcefully mumbling the lyrics, but for the newer stuff, it's too reductive to play the White Stripes card — at least live, the band's vibe is more garage-punk splatter, with definite pop potential on songs like "Deer" and especially "Crazy".

They certainly had an evil-invokin' rock'n'roll hoodoo thang going on — especially for one woman in the crowd, who danced in front of the stage for most of the set, then suddenly took to kicking one of the barstools a few times. And during the last song, she picked it up, hurling it across the dancefloor. Good fun 'til somebody loses an eye.

Listen to a track from this set here.

11:40 P.M.: Heavy Cream @ Wrongbar

The sound issues that had plagued the last band were multiplied for Heavy Cream. After a dragged-out turnover, the Nashville four-piece welcomed the crowd with a steady loud hum behind them and had to pause following their first song for a secondary line check. After that, the momentum was never quite there, and the sound was never quite right — for most of the set it was stuck as a dull loud roar punctuated by feedback yelps.

Despite that, the band plunged through and it did get a little better as the set went along. One gets the impression that they've probably played their fair share of basements and dive bars, given their inclination to just make do and plunge onward. It took a little effort to extrapolate, but what was going on underneath the sound problems was definitely good stuff. Catchy poppy punx with a dynamic frontwoman in Jessica McFarland, even with a truncated set stopping short of twenty minutes — three of them spent adjusting things — the band managed to tear off nine songs. No fault of their own that this didn't feel entirely satisfyin', and I marked the band down as one to revisit.²

Listen to a track from this set here.

12:20 A.M.: Ty Segall @ Wrongbar

The joint was now at maximum crammage, that state where it's almost impossible to move or breathe when you're anywhere close to the stage. I was here mostly out of curiousity, but there was obviously a rabid local fanbase for Ty Segall. The prolific Bay Area rocker took the stage, looking every inch like an All-American, a fair-haired cornfed surfer golden boy who could muster a plucky grin in the face of adversity. Which is to say, he didn't look entirely the part of an up-from-the-underground rocker.

His music, too, was apparently not what it seemed to be. Sounding, to my ears, like scrappy DIY rock jams, it was received by the crowd as pure, unadulterated punk. I never really understand how people collectively decide that some artists are meant to be moshed to, so even if Segall's music doesn't immediately register as, y'know, especially mosh-y, the crowd was quickly roiling along. I guess it's some combination of the fact that he plays rough'n'ready rock, delivered with punk-ish intensity and that a certain audience has adopted him. Whatever the recipe, the outcome was barely-controlled chaos, both on the stage and in the crowd.

Playing in a quartet, Segall was backed by second guit, plus bass and drums. With a pretty hefty catalogue of songs to pick from, Segall careened through a dozen or so songs in his thirty-five minutes. Thank goodness that mid-set he had to cadge a spare guitar, allowing a moment's respite. I'm normally one to hold my position, and while I wasn't even in the thick of things, the crowd was so tightly packed, pulsating around me, that eventually I had to bail and find a bit of personal space. Even if it was a good-humoured and amiable crowd — I got a friendly "sorry" from a guy whose arm had bounced off me — it really was more than I liked. Working my way around, I eventually ended up facing perpendicular to the stage, where it was a little calmer.

On the whole, it was good stuff, albeit more of an experience than musically excellent. And like life, I suppose, you can celebrate that you endured it.

Listen to a track from this set here.

1:30 A.M.: Teenanger @ Wrongbar

With a lot of people heading out after Ty Segall, there was a much more manageable crowd left over, though there were some shove-y people pushing their way to the front as Teenanger started. By this point of the night, I was well content to stand behind them. Interestingly, in my mind, Teenager's sound — which can be summarized as "throbbing bad vibes" — was well-suited to the late hour and was exactly the sort of thing that should merit the sort of crowd action Ty Segall received. It's strange to me that people come out for the out-of-town hype and split before the local band that's working at just as high a level.

For their set, the band was focusing on their newer (and then-unreleased) material, some of which will just now be seeing the light of say on their Frights LP³. There's some fabulous songs there, like "S.L.W.". The set included an anti-shout-out to Rob Ford, and some songs (like "Tired of You") burst by in whitehot minute-long flashes while a couple further on in the set stretched things out — including the set-closing rendition of "Frights" that pulled back the velocity to good effect. Keep an eye on Teenanger in 2012, folks.

Listen to a track from this set here.

2:30 A.M.: The White Wires @ Wrongbar

As his bandmates set up around him, bassist Luke Martin was busy with a bit of DIY instrument upkeep, daubing whiteout dots on the frets of his instrument's neck. Such roughshod charm co-exists with precise rock'n'roll songcraft in the band's music. Launching with statement of purpose "Pogo 'Til I Puke Tonight", The White Wires are easy-to-grasp in the best way — when I first saw 'em, I noted they have "as much Eddie Cochrane as Young Canadians in their lineage" and that seems about right.

Playing with the wobbly certainty of the last band up (and therefore being the ones partying for the longest while waiting), singer/guitarist Ian Manhire uses breakneck speed to elevate his songs on the evergreen topics of rockin', partyin' and lookin' for a little love. Zipping by in something of a blur, there was a sort of soft ending to the set — after efficiently cranking out ten songs in twenty-five minutes, the band thought they were done. Told they had ten more minutes, they shrugged and went back at it for three more tunes. Things started pulling apart at the seams a bit toward the end, but it felt about right. White Wires are pretty great live band, and this was a good way to wrap up the festival.

Afterwards, the remnants of the crowd lurched out into the night. With the time change it was now four a.m., which made it feel even more like the end of a full day's night of rock'n'roll.

Listen to a track from this set here.

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^* A note on nomenclature: for years both the industry showcase and music festival components were known as Canadian Music Week. But as of 2009, this was deemed to be too simple and straightforward, and the music portion was "rebranded" as Canadian Music Fest, under the aegis of the larger Canadian Music Week. I see no reason to put up with this and will simply refer to everything as CMW — although there was a part of me that also considered using the slightly cumbersome "Canadian Music Fest presented by Canadian Music Week" throughout.

¹ This was, in fact, by far the most memorable part of my convocation, as after receiving his degree, Penner pulled out his guitar and did a couple songs reminding us all that we could be whatever we wanted to be.

Fred Penner should be on hand to greet undergrads on their first day of university telling them that.

² And in fact, I did so at the next available opportunity.

³ Coming out on January 24 on Telephone Explosion records, there are a lot of folks salivating for this record — some scene-watchers even venturing to predict that this might push the band up into the wider consciousness.

Sunday Playlist #16

Sunday Playlist #16

Medication - Fog

The Bitters - Can You Keep a Secret

White Wires - Ha Ha Holiday

Constantines - Dirty Business

Dexateens - Anna Lee

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You can always click the tags below to see what I originally wrote about the shows these songs came from.

Currente calamo: CMW 2011 (Saturday)

CMW 2011 (Saturday)^*

While these shows are fresh in my mind I want to get some quick notes down. I'm a nerd for not wanting to throw my full reviews out of sequence, so there'll be a fuller accounting of the night by and by.

4 p.m.: Zoobombs @ Bait Shop

This daytime show was at a skateboard shop, a very cool old warehouse-y space with the band set up on a platform above a half-pipe. The crowd was both below them in the flat bottom of the half-pipe and above in the overlooking loft. A good environment for the gonzo apeshit rock'n'roll that Japan's Zoobombs bring. Trapped half a world away at a time of grave crisis in their homeland, the band rocked to ease their broken hearts. It'd been a couple years since I'd seen 'em and I'd forgotten a little how much energy and craziness singer/guitarist Don Matsuo puts into it, spinning his guitar around, climbing the walls, mugging for the cameras, all while unleashing a nonstop heavy attack. Absolute fun.

5 p.m.: Dinosaur Bones @ Bait Shop

"Fuck you for making us play after the Zoobombs," joked Dino Bones vocalist Ben Fox, knowing there was no way they could duplicate the intensity that had come before them. Instead, the competed on their own terms with their more anthemic approach. It had been nearly a couple years since I'd seen these guys, too. They were touted as being on the cusp of bigger things even back then, and now, with a new album just out, it looks like their moment may be here. One can see why, with Fox's reach-the-rafters projection and a musical approach that might be summed up as "active brooding". Not entirely my thing, though they do have a couple winning songs. And bassist Branko Scekic is still no slouch in the climb-up-stuff department wither.

8:30 p.m.: Fred Penner @ Drake Underground

Taking the stage to his old show's theme music (of course), this one was — to put it mildly — a bit of a departure. And one for beloved children's entertainer Penner, too, playing to anything but his usual sort of audience. Accompanied by a guitarist and two of his daughters on backing vocals, Penner packed in a mini variety show in his half-hour, with the songs broken up with a storytime break and a couple skit-like interludes. It was shticky as hell, natch, but as adults we're conditioned to treat anything this completely direct as mere corn. So what? This was also kind of awesome, filled with audience singalongs and ending with his most requested song — I think you could guess what that is.

Listen to a track from this set here.

9:30 p.m.: Mockingbird Wish Me Luck @ Wrongbar

Thought that would occupy me long enough to get to Wrongbar, where I was planning to settle in for the night, before the crowds but after the night's first act. It turned out, however, that the sets were running on the bottom of the hour so I got there as this Kitchener quartet was starting instead of ending. I'm sure there's nothing at all wrong with this combo — musically, they brought to mind, say, a harder-edged Buffalo Tom — but they still rubbed me the wrong way. Chalk that up to a pair of gravel-voiced singers, who invested every syllable with a shouted/growled huurgh hurrgh hurgh. Just not my thing.

10:30 p.m.: The Pack a.d. @ Wrongbar

I've been passingly familiar with this Vancouver-based duo for awhile, but I'd never seen them live. That is, according to multiple sources, where Maya Miller (drums) and Becky Black (guit/vox) really shine. And, in short, that's correct. Bringing their own punk-infused approach to the blues, the best moments here were great fun. Miller is an action hero, with hair flying and sticks ablur, as well as a bit of a ham while posing and chatting between songs. There were a couple spots where if felt like they were restraining themselves a little, but it can't all be white-hot intensity. If it were, the one woman dancing like a maniac right up front might have inflicted more property damage than just drop-kicking and hurling a barstool around.

11:30 p.m.: Heavy Cream @ Wrongbar

I'd done no research on this band, figuring I was going to be here to see 'em regardless, so they turned out to be the pleasant surprise of the night. Even while fighting some massive sound issues, this Nashville crew sent out a salvo of fireball punk bursts. Poppy fun throughout their short set, I'd definitely like to see 'em again when the sound wasn't being sucked into a dull low roar.

12:20 a.m.: Ty Segall @ Wrongbar

I also didn't know a lot about San Francisco's Ty Segall, but the reports of his past visits to the city were pretty glowing. The recorded material that I've heard has more of a psychedelic-pop tinge to it, but live it was all filtered through a punkrock roar and came out all like one intense blast. At least I think it was like that — truth be told, my recall of the music is pretty spotty, as it was all subsumed to the intensity of the experience. By this point, the venue was rammed-beyond-rammed, and the crowd up front was moshing so intently that it would have been dangerous if people weren't packed in shoulder-to-shoulder, making it more like a sort of violent brownian motion. I lasted about two-thirds of the set at the edge of it before fleeing to a mildly less crammed spot. As Av. put it afterward, "a Ty Segall show is a good time you don't remember having."

Listen to a couple tracks from this set here.

1:30 a.m.: Teenanger @ Wrongbar

The crowd thinned out after that, but those who remained just had more room to knock into each other for locals Teenanger. Projecting their throbbing bad vibes out to the crowd with maximum intensity, this again falls somewhat into the realm of "you'll remember the experience more than the songs", but it's a pretty fun ride.

2:30 a.m.: White Wires @ Wrongbar

Wrapping things up to a thinner crowd was Ottawa's White Wires, who play good old-fashioned rock'n'roll with pogo-til-you-puke velocity. Vocalist/guitarist Ian Manhire does a good line in catchy choruses, and this was a satisfyingly bouncy way to end the night, giving me a burst of energy to mask my last-night exhaustion.

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^* A note on nomenclature: for years both the industry showcase and music festival components were known as Canadian Music Week. But as of a couple years ago, this was deemed to be too simple and straightforward, and the music portion was "rebranded" as Canadian Music Fest, under the aegis of the larger Canadian Music Week. I see no reason to put up with this and will simply refer to everything as CMW — although there was a part of me that also considered using the slightly cumbersome "Canadian Music Festival presented by Canadian Music Week" throughout.

Recording: White Wires

Artist: White Wires

Song: Ha Ha Holiday

Recorded at The Shop @ Parts and Labour, June 5, 2010.

White Wires - Ha Ha Holiday

My notes for this set can be found here.

Gig: Golden Triangle

Golden Triangle (White Wires / Useless Eaters / Zebrassieres)

The Shop @ Parts and Labour. Saturday, June 5, 2010.

This was the second night of the opening weekend for this brand new Parkdale venue. Just a couple doors down from Mitzi's Sister, Parts and Labour is a swish-looking new restaurant — the sort of chi-chi place that sophisticates would call a "boffo new resto".¹ Downstairs in The Shop was another story.² Looking equal parts bomb shelter and rec centre basement, the room is a low-ceilinged rectangle, the entrance at one end and the stage area at the other. And "stage area" is the operative term here, as the bands perform on the floor, house-party style.³ The long walls feature some gymnasium-styled benches on one side, and the long bar, running almost the length of the room, on the other. Pretty spartan, although there's a dome-hockey table nestled in one corner and a few detourned workplace-styled signs on the walls.

There was the sense on this opening weekend of a mostly-completed project, still the faint scent of freshly-painted walls in the air, and a work-in-progress feel to the sound system. The tiny soundboard was sitting on a crate beside the stage area, the monitors demarking a rough boundary between musicians and crowd.

But still, the very existence of the place is something of a testament to local DIY/punk promoter Mark Pesci, now using this as a home base for his shows. Reflecting that, and the Parkdale ambiance as a whole, there was a mixed crowd on hand with hardcore kids, crusty old punks, indie types and Vice magazine trendsters all rubbing shoulders. Occasionally, a well-dressed couple, apparently slumming it after having dinner upstairs, would pass through.

And meanwhile, there was a show going on. Opening the night was Zebrassieres, "half from Ottawa, half from Calgary", playing some rambunctiously rangy punk. Quick songs, several in the minute-and-a-half range, Ramones-on-the-beach style. The slightly new-wave edge of Sarah's keybs⁴ elevated them above a generic guit-bass-drums sound, adding just the right extra flavour to songs like "Beach Fight". Playing songs with titles like "Man Pageant" and "Party Ghost" from a just-released album, it's clear they're not taking themselves too seriously. A new one called "Magazine Seducer" blasted past The Ramones into even more of a new wave-y direction, so that may be where they're headed. All told, this was good fun, and is totally the sort of thing I dig. A rockin' twenty-minute burst to start the night.

Listen to a track from this set here.

Useless Eaters offered less fun and more intensity. The trio is fronted by Tennessee singer/guitarist Seth Sutton, the lone full-time member and perhaps something of a peripatetic sort. Like Jay Reatard (with whom he had played) his music is adaptable to different supporting players, recruited on a temporary basis. The basic template here is white-hot punk music with an underlying melodic core. Some songs featured later in the set, notably "Telepath", gave the impression that Sutton is pushing his musical boundaries a bit beyond a sort of angry shoutyness that comes with an appropriated British accent. He was also a no-nonsense type while playing, not interacting with the crowd much as the group tore through nine songs in nineteen minutes.

Listen to a track from this set here.

There had been a good crowd on hand up to this point, but as White Wires set up, there was more of a tight cluster building up near the band, and a bit of a headliner vibe in the air. Clearly this Ottawa trio had a lot of fans and friends on hand. Although they were just as fired-up as the previous bands, they came at their punk-rock energy from another vector. Despite lyrical sentiments like "Pogo 'Til I Puke Tonight", the band's changes hearkened back to the purest of rock'n'roll greaser spirit, hinting that there's as much Eddie Cochrane as Young Canadians in their lineage.

In that vein, songs like "Just Wanna Be With You" brushed up against the great spirit of rock'n'roll radio. Their cover of the 1971 Motown beat obscurity "That's the Way a Woman Is" by The Messengers hinted at their historical awareness, but there was still plenty of sweat as the the band pumped out song after song. With lotsa catchy/uncomplicated stuff like "Girly Girly Girly", by the end of the set the crowd was pretty fired up. With things getting loose, there were bodies dancing right into the band and the mics got disconnected a couple times. Meanwhile there were impromptu lyrics about the other bands as the musicians struggled to keep everything plugged in. Pretty good sweaty fun!

Listen to a track from this set here.

I'd first checked out Golden Triangle at 2009's NXNE without really knowing much about them, and had left impressed. Under the reductive description of "imagine if The Vivian Girls had convened as a surf band", they nailed a sweet spot that hit me just right. So they were on my radar to check them out again. I'd missed them on a return trip to the city last fall, but was glad to take this chance to see 'em. A different kind of musical attack than the night's previous acts — except for in a DIY sort of sense, one wouldn't call 'em particularly punk, and with six members up of stage, there's no tightly-wound minimalism here, either. But in terms of producing a clamourous bit of fun, they fit in just fine.

The larger crew did need some extra time to get set up, and it seemed as if they were taxing the limits of the venue's sound system ("It sounds like a refrigerator up here," was one comment from the band while they were soundchecking.) The early-days, slapped-together nature of the sound system was a bit of a problem here, with the vox a bit buried and smushed together during the set. But, once things were more-or-less tied down, the band led off with the first couple songs from their Double Jointer album, "Cinco de Mayo" sounding pretty muffled at the start. Things did improve from there, though, such as on "Blood and Arrow", with the band at their most psychedelic, the snaky, woozy guitar line breaking through to hover over the song in an echo-y haze. So it certainly wasn't hi-fi in the room, but it was good enough, especially with the band playing some catchy stuff like "Neon Noose".

Reaching beyond their album, the band threw in "Jungle Jim" from their split 7" with The Fresh & Onlys. Except maybe for a guitar solo sounding like it was related by a drunk friend trying to describe "Over Under Sideways Down", that one was cut from similar cloth to the rest of their material. Just like on their album, the songs came in short burts. And also like the album, the set ended with "Arson Wells", their one lengthier excursion, giving the opportunity for an extended freak-out groove to end the night. Arguably not as good as the band could sound, given the technical limitations they were playing with, but one is less focused on technical imperfections when you're pressed in with a heaving, sweaty crowd. An auspicious start for The Shop — it's not somewhere I'll go all the time, but hopefully it will have a good run filling its particular niche.

Listen to a track from this set here.

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¹ N.B.: Take note that I actually have no idea what sort of patter sophisticates actually use — they may not, in fact, talk like nightclub patrons in 30's films any more.

² Also note here the distinction in the naming — that, technically speaking "Parts & Labour" is the restaurant upstairs and "The Shop" is the venue downstairs. In practice, though, this is less iron-clad, and people (not to mention promoters, tickets and show posters) will often just refer to the whole place as "Parts & Labour".

³ This has all those theoretical virtues of not placing the band above the crowd, etc., etc., and allows people to get right up close — or for the band to range out into the crowd — which well-suits the DIY anti-rock-star ethos of the venue, but it also means that if you aren't right up close you won't have much of a view. Woe to those who aren't so tall, or who don't want to get too much into the sort of bump-around-jostling that bands playing here tend to bring out in people.

⁴ There are no last names supplied in any of the band's info I could find.