Hardcore isn’t dead, it’s aging – just as many prideful and rebellious flannel-clad teenagers have. This scene has definitely matured since the some of the featured acts began belting out passionately aggressive aural assaults in the late 1980’s. Youthful indiscretion has seemingly evolved into disgruntled blue collar sentiment, which is still delivered through haymakers and sucker punches – though now with knuckles bearing the workingman’s attrition.
Right off the blocks, the line-up had promise, which was observed in the customarily progressive quality increase between the first and fourth acts. From there, it was best described as a roller coaster ride that saw drastic highs and drastic lows – sometimes even within the same act.
And that’s not to say that those lows were for lack of talent or effort. Sound issues plagued the show from start to finish, frustrating fans and bands alike. Though the mic troubles were only verbally acknowledged to the fans by one band (appropriately named Objection), another venue hiccup was pondered on by nearly every act. Reverb has so successfully controlled the crowd at this venue that bands kept asking “where is everyone”?
Murphy’s Law found them – in the bar! Most of this set, in fact, saw Jimmy off of the stage and either mingling in the crowd or mixing it up in the bar area. While it’s understandable that there would be separation of common areas from those serving alcohol at an all ages event, the awkward layout at Reverb kept the majority of concert-goers parked behind a metal barricade a good 50 feet from the stage. Talk about a pit! Though, this large chasm might be better described as a pit of despair. I am concerned that the separation of a band from their fans, especially those with headlining status, might result in Reverb alienating bands from playing this venue. Think about it. If the band perceives that the turnout is low, or that they aren’t connecting with the crowd, what would be the incentive to return? Hopefully, Reverb rethinks its current traffic patterns before this becomes reality.
Each and every act had pride, passion and determination, which is what the ‘hardcore’ genre is rooted in. Though this was, personally, the first time I had seen several of these acts live, not all of the 19 acts that performed were those that could or should be touted as ‘hardcore’ bands. Perhaps the two most notable standouts were a Pennsylvania-based Pantera tribute band, aptly named Penntera and the self-named, sinister syndicate led by ex-Misfits guitarist, Doyle.
For those curious, Penntera will never be mistaken for the real deal. And, honestly, that doesn’t detract from what they deliver. This band was very focused on, and successful at, engaging the crowd. Though they were no exception to the phonic problems that plagued the event, their style and delivery were intrinsically appropriate and consistent – without feeling parrot-esque. Mouth for War was a sound for this reviewer’s sore ears!
Following Penntera, in order to lead fans back to the hardcore vibe, was none other than Indecision. It is nothing short of awe-inspiring to consider that Indecision has been around in excess of 20 years. Though not as prolific as they once were, their efforts and contributions have served to secure the reverence of many fans. Clearly, this is a reciprocal notion, since their set was a strong showing of old school respect. I have a friend who may have stated it best when he said, “[t]hat Indecision set really brought home the bananas.”
Next at bat were fellow NYHC act, Death Threat, who appeared to have the smoothest set of the day in terms of audio issues. This reprieve was short-lived, however, and resurfaced for the Crown of Thornz set which followed. Ezec chided the crowd with his knowledge of the shift and diversification of the ethnic base within the community surrounding the venue in an effort to elicit interaction while these issues were corrected. Despite all efforts, no other band was able to enrapture the crowd quite like Murphy’s Law.
With the crowd adequately primed and at the ready, Walls of Jericho was the force that finally got them up and moving collectively. In spite of the roller coaster talent range and display throughout the course of the day, the fans were in full agreement with this set. One could liken their appearance at this point in the show to a much-needed shot of espresso. Exceptionally versatile, but with a decidedly more metal core sound, Walls of Jericho was the fuel the crowd needed to ignite.
Perhaps the logic in ordering the lineup was just that – build on Walls of Jericho’s straddling of two genres in order to bridge the transition to the next act. I have no way to be sure but, if that is the case, the bridge fell short. The 17th act of the day was Doyle. This was my second time seeing Doyle live, though it was drastically different than the first. The most obvious of changes lies in the addition of two new members – both named Brandon (Drums: Brandon Pertzborn; Bass: Brandon Strate). In a less tangible sense, though, there was tension even before Doyle took the stage as the chronic phonic plague delayed their set. The band opened strong with what is both their first and title track, Abominator, and moved through the first part of their set into several Misfits songs. While this served to draw a few fans over from the fenced off bar area, many still lingered with their drinks in the aftermath of Walls of Jericho and in anticipation of Madball. Front man Alex Story employed satirical song intros in an attempt to lure the crowd closer but, ultimately, another double-shot of Misfits tunes did the trick. The double Brandon lineup for Doyle has a nice, tight sound with plenty of aggression and on-point timing. Unfortunately, the combination of audio issues, a poorly thought out floor plan, and a confusing order to the schedule for the day resulted in a lackluster performance on the part of the crowd.
Reverting back to the beaten path of the day (which is hardcore), Madball succeeded in pulling all stragglers front and center. Total chaos ensued as hardcore “kids” – young and old – began scrambling for things to jump off of and onto. Concepts of old school respect and unity rang clear and true. And that sound! That NYHC sound that launched with Agnostic Front (if you aren’t familiar with the association by now, why not?) had each and every red-blooded person up and moving in unison. I know that I am not alone when I say that I was pleasantly surprised with the the length of their set, considering the festival context!
The culmination of the day’s festivities was finally upon us. My inner 14 year old was a fan girling mess. Life of Agony was my first foray into hardcore as a kid, and it was through them that I found a scene – a scene that accepted and supported unconditionally. I finally had an outlet for all of my teenage aggression and frustration. I had found common ground. And, so it was that all in attendance at Reverb found common ground when Life of Agony took the stage. There was such electricity and emotion in the air. Most, if not all, of the members from the preceding bands of the day could be seen rimming the stage and looking on from every available location. Fans piled atop speaker stacks. And the tension was so palpable that one could cut it with a knife. Floodgates opened and seemingly from the first note, bodies were flying through the air – diving from the stage, colliding with one another. At one point, a scrum erupted and security was quick to intervene. A plea for mutual respect and an evening of enjoyment was made and that was all diffusion required. Each and every powerful word was delivered with the same raw emotion and fervor as ever. The message in the words so potent and resounding that fans could be heard to sing along in unison over the amps and clamor. To my delight, they played the vast majority of River Runs Red. I still listen to River Runs Red – it’s on my iPod and has been since there were such things as iPods. I listen to it for the sound and for the message, and not for any other reason. Especially not hate.
