Dear Third Eye Blind,
I feel ya. I really do. Here you are, playing a sold-out show, nearly 20 years after you peaked in that brief, glorious summer of 1997. Clearly have some sort of draw. But you also want to show that you’ve been really productive since then. Putting out albums and EPs, touring the world, firing band members, etc. Prove that you have staying power, that you’re not just on some money-grubbing nostalgia tour.
But, but: do you think anyone cares? How many people showed up because OMG IT’S THIRD EYE BLIND THEY ARE MY FAVORITE OF ALL TIME AND I CAN’T BELIEVE I GET TO SEE THEM LIVE!? And how many just wanted to sing along to their high school soundtrack? Would it have mattered if a cover band was up there instead?
I know you know this. I’m sure you’ve struggled with this problem since the radio stopped playing your songs ad infinitum. But if you were trying to win new converts or show off your skills, then I gotta be honest: that was weak. I mean, every song you played that I didn’t know kind of sounded the same. The band members were totally anonymous. You had energy (at least you did, Stephen), but it wasn’t being transmitted: I got busted by my girlfriend because rather than watching the show, I was sneaking a peak at the football game playing on some guy’s phone. Even the hits were lagging: “Never Let You Go” barely registered, “Graduate” got a muted reception. I really only felt the crowd losing their shit once you did a frickin’ Beyoncé cover halfway through.
That being said, Stephen, you seem like you really enjoy performing. It must be an amazing feeling to have people sing your songs back to you. That’s something you can count on for the rest of your life. As for the rest of you guys, well, you at least sound like the original band.
Whatever, just play “3 AM” again. Or wait, it was “Sex and Candy.” No, “Kryptonite” right? Um, well, the 90’s rule!
- Rites of Passage
- Never Let You Go
- Company of Strangers
- Queen of Daydreams
- Don’t Give In
- Everything Is Easy
- Mine (Beyoncé cover)
- Losing a Whole Year
- Crystal Baller
- Semi-Charmed Life
- Blood Bank (Bon Iver cover)
- How’s It Going to Be
Sometimes you just have to take matters into your own hands. Looking out at the capacity crowd at the Fillmore Silver Spring, Fucked Up frontman Damian Abraham must have been appalled at the passive, genteel vibe that was suffocating the entire venue. So, mic in hand, he hauled his 250 pound-plus body down off the stage, across the safety pit, and over the guard rail to start his own mosh pit. By the time he had made his way all the way back to the bar, leaving a trail of moshers in his wake, a sedate gathering had transformed into a true punk show.
Given that boost, Descendents came out firing. Surely the band would have been able to get the crowd going on their own. But Abraham’s actions ensured the massive explosion of energy that was released as the first notes of “Everything Sux” were played was as powerful as humanely possible. For the next hour, Descendents didn’t stop. No banter, no instrument checks. Just one pop-punk nugget after another, spanning the group’s entire 35 year catalog. The “classic” songs from Milo Goes to College got the loudest responses, demonstrating that the band’s legacy would have been secured with that one record alone. But the momentum kept building, even through the new songs. Watching from the rafters, it was hard not to be jealous of the fans on the floor, slamming each other in the rapidly expanding mosh pit.
Towards the end of the main set, a woman surfed her way to the front of the crowd at the end of a song and was escorted to the side of the stage. As the band returned for an encore, she raced back to the pit and somehow convinced Milo to give her the mic, whereupon she proceeded to tear into the band for supposedly promoting a rape culture at the show by playing a song called “Testosterone.” While her outburst was misdirected, the response from the band was disappointing: Milo and Stephen merely mumbled a couple of weak denials before resuming the show. Maybe I expected them to channel their punk roots and say “Fuck off!” Maybe I expected their intellectual side to show through by accepting her right to protest but challenging her to come up with a more worthy response (Kathleen Hanna certainly wouldn’t just whine into a microphone). Or maybe it’s a bridge too far to expect a guy wearing boat shoes and wrap-around glasses to bother with protests when he is basking in the adoration of a room full of fans. To each his own, I guess.
- Everything Sux
- Rotting Out
- Victim of Me
- Silly Girl
- I Wanna Be a Bear
- Nothing With You
- My Dad Sucks
- Clean Sheets
- On Paper
- Suburban Home
- Without Love
- Coffee Mug
- Shameless Halo
- No! All!
- Get the Time
- I Don’t Want to Grow Up
- I Like Food
- I’m the One
- When I Get Old
- Thank You
- Feel This
- Sour Grapes
- Spineless and Scarlet Red
No one comes to a Paul McCartney show expecting surprises. The point is to revel in five decades of nostalgia, not get blown out of your seat. Even still, I was put off by the sameness of Paul’s show at the Verizon Center on August 10. If you’d seen it once (as I had in 2014, or some guy in the crowd had apparently done 108 times previously), you’d seen it all: the heartfelt yet perfunctory tributes to John Lennon (“Here Today”) and George Harrison (“Something,” featuring Paul on ukulele); the cute stories reminiscing about things that happened during his time with The Beatles, or when song X was recorded; the pyrotechnics accompanying “Live and Let Die;” the crowd sing-along to “Hey Jude.”
None of this is to take anything away from Paul himself. At age 73, he is simply amazing. While never possessing the boundless energy of Mick Jagger or guitar-god histrionics of Pete Townshend, Paul’s dynamic musicality and buoyant enthusiasm are capable of carrying a show all by themselves. His guitar playing remains stellar. His voice, though weakened slightly, was flawless, especially on the quieter numbers like “Blackbird” (though the Verizon Center’s lousy acoustics did their best to drown him out on the louder songs). He did even manage to change things up a bit by throwing in a couple of songs from his 2013 album New, along with the incongruous “FourFiveSeconds.” So I would be a fool to complain about getting nearly 3 hours of timeless music. But still.
When Paul performed in Washington D.C. for the first time all the way back in 1964, the Beatles played for barely 30 minutes, and were nearly inaudible due to the screams of the fanatic teenagers in attendance. Now that those rambunctious teenagers have aged into sedate grandparents, Paul’s performance has likewise settled into that of an age-appropriate cover band. You’ll smile and sing along, but you won’t twist and shout. Me, I’d take the frenetic energy of that first Beatles show. But we’ll see how I feel when I’m 64.
- A Hard Day’s Night (The Beatles song)
- Save Us
- Can’t Buy Me Love (The Beatles song)
- Jet (Wings song)
- Temporary Secretary
- Let Me Roll It (Wings song) (Foxy Lady outro)
- I’ve Got a Feeling (The Beatles song)
- My Valentine
- Nineteen Hundred and Eighty-Five (Wings song)
- Here, There and Everywhere (The Beatles song)
- Maybe I’m Amazed
- We Can Work It Out (The Beatles song)
- In Spite of All the Danger (The Quarrymen song)
- You Won’t See Me (The Beatles song)
- Love Me Do (The Beatles song)
- And I Love Her (The Beatles song)
- Blackbird (The Beatles song)
- Here Today
- Queenie Eye
- The Fool on the Hill (The Beatles song)
- Lady Madonna (The Beatles song)
- FourFiveSeconds (Rihanna and Kanye West and Paul McCartney cover)
- Eleanor Rigby (The Beatles song)
- Being for the Benefit of Mr. Kite! (The Beatles song)
- Something (The Beatles song)
- Ob-La-Di, Ob-La-Da (The Beatles song)
- Band on the Run (Wings song)
- Back in the U.S.S.R. (The Beatles song)
- Let It Be (The Beatles song)
- Live and Let Die (Wings song)
- Hey Jude (The Beatles song)
- Yesterday (The Beatles song)
- I Saw Her Standing There (The Beatles song)
- Birthday (The Beatles song)
- Golden Slumbers (The Beatles song)
- Carry That Weight (The Beatles song)
- The End (The Beatles song)