A LocalBozo.com Concert Review
Webster Hall, New York, NY
April 27, 2016

Set to embark on a summertime run aboard the Carnival of Madness Tour alongside Shinedown and Black Stone Cherry, Pennsylvania rock quartet Halestorm made a trip into New York City on Wednesday night in support of 2015′s “Into the Wild Life,” the band’s third album. With opening sets from fellow female rockers Dorothy and the legendary Lita Ford, Halestorm unleashed a fine-tuned live show on a jam packed and sold out Manhattan crowd for ninety nonstop minutes. The setlist would lean heavily on the group’s latest but also tapped into some fun covers thrown in for good measure and the requisite number of hits to round out a mostly high energy performance as the band wraps up their remaining dates on this leg of their run. To their credit though, New York City proved to be a raucous and vocal crowd for the duration- something the band seemed to genuinely appreciate as the show progressed.

Amid an entirely blackened stage, frontwoman Lzzy Hale would first emerge without her bandmates. Standing at a keyboard, the audience warmly welcomed her to center stage, often drowning out the vocals to stoic opener “God Bless the Beast” with their heaping praise. The end of the harrowing track would signal the arrival of the rest of the band to join Hale on stage and rip through crowd favorites like “Mz. Hyde,” new track “Apocalyptic” and “Love Bites (And So Do I),” allowing fans to sing along with the band. Drummer Arejay Hale meanwhile, as the band’s relentlessly energetic catalyst, would continually play to the crowd, removing his shirt to the delight of the many female fans in the standing room only space. He would later be joined on stage by drummers Bobby Rock (Lita Ford) and Zac Morris (Dorothy) for a ten minute duel of drum solos that was a fast paced visual to give Hale’s voice a much needed respite from the high pitch of “Rock Show” preceding the solo.

Outfitted in black from head to toe- from leather jacket to tight pants- eyes never veered far from Lzzy Hale as she alternated between playing rhythm guitar and the keys when each song would call for them. Vocally, she seems to also be hitting her stride, touching all (or most) of the highest notes with ease on tracks like “I Get Off,” “Freak Like Me” and “I Am the Fire,” perhaps the new album’s best track. The band has been known to record cover songs from other groups ranging from classic rock to pop, and so watching Hale briefly croon on a verse of Nazareth’s “Love Hurts” at her keyboard was a particularly fun moment for the crowd. But the show’s most memorable moment would see Hale welcome Dorothy frontwoman Dorothy Martin out to the stage for an absolutely rousing cover of “I Just Want to Make Love to You,” made popular by Willie Dixon or Etta James or Foghat, depending upon where you’ve heard it before. Nonetheless, the pair went back and forth verse for verse while Hale and lead guitarist Joe Hottinger exchanged riffs throughout the blues-fueled rock number.

Although hit song “It’s Not You” was noticeably left out of the set, the band made sure to close out the show by eschewing the charade of an encore- something Hale noted to the live audience and was met with loud supportive cheers. Rocking renditions of new single “Mayhem,” the slower and uplifting “Here’s to Us” and set closer “I Miss the Misery” would follow thereafter allowing the sold out crowd to sing along in complete unison. At the end of ninety mostly heavy minutes, the band took some time to bask in the adoration of live applause and the crowd wouldn’t let them down, showing some New York City love toward one of rock music’s hardest working and complete acts.

- Dave Gendelson

A LocalBozo.com Concert Review
Webster Hall, New York, NY
November 25, 2013

Recently turned 30 year old singer/songwriter Lissie seems to get many favorable comparisons to music’s past and present. With a deep rock voice that resembles Stevie Nicks, the rasp of Janis Joplin and looks like Jewel, it’s a minor miracle that Lissie’s been able to step outside of labels and carve out a musicianship all her own. Monday night, the blonde frontwoman and her band led a packed Webster Hall through a 75 minute romp that showcased the singer’s skills on both the guitar and on the mic cheered on by an allegiance of rock faithful.

The group’s 17 song set truly lent itself to illuminate the singer’s unique talents beside a group of equally skilled performers. With a bass guitarist seated at his own makeshift drumkit, pounding on the kickdrum between laying down the backing basslines, there was plenty to distract the live crowd from the female focal point on stage. That is, until she began singing and fans were treated to the sort of unparalleled vocals that simply don’t come along all that often. And as she was belting out song after song, you couldn’t help but marveling at her incredible talents.

Fresh off the release of the group’s sophomore effort “Back to Forever” in early October, Lissie compiled a setlist comprised of a good chunk of the band’s two records- replete with a few covers thrown in for good measure. Definitively poppy, the band’s sound pulls in pieces of history for good measure- equal beats of bluesy soul and rock that replicates some familiarity for the listener but somehow brings forth a totally new experience. The frontwoman wasted little time getting going, opening with “Bully” and into a fiery rendition of “Record Collector” to start the show with particular vigor. Their latest single “Sleepwalking” would follow in short order, with much of the crowd being unable to contain their excitement as the blonde singer confidently stomped in place, with her rhythm guitar beside her.

Thanking fans for coming out on a Monday evening seemed of little relevance to the standing room floor, who hollered out their favorite songs for the songstress to perform- some even after she had played them. But the up tempo “Don’t Wanna Go To Work” was particularly inspired on this night, with the crowd chanting along in agreement at the prospects of the day that would follow. The previously unreleased “Shroud” proved to be among the show’s most notable moments as the singer teased at an eventual release of the slower, catchier number at some point in the undefined future- but it was “Further Away (Romance Police)” that was truly mesmerizing. Having performed the song on TBS’ “Conan” show just a week prior, the song encapsulates everything that is so breathtaking about Lissie and her mates- the jolting fast paced guitar breakdown that reveals more of a rock edge than had been uncovered to that point in the show- and the singer’s uncanny ability to reach high notes vocally, before digging down deep, and hitting them again- this time longer and higher than you’d ever expect. If you think we’re exaggerating, take a look at Conan O’Brien‘s incredulous reaction following the band’s performance on his show.

In a fun surprise, the band ripped through a cover of Drake’s “Hold On, We’re Going Home” slowed down momentarily so that the crowd could both recognize and sing along to the track before being ultimately sped up into a raucous rock performance that allowed Lissie to make it their own. The band wasn’t done there though as Kid Cudi’s “Pursuit of Happiness” would close the show out following a brief offstage respite as the show closing encore. While there is certainly no shortage of female voices in every genre today, rock music simply doesn’t have one that’s anything like Lissie. And as fantastic as she is vocally, she’s equally as humble on stage which makes heading out to a Lissie show all the more refreshing. There aren’t any laser light shows or pyrotechnics. It’s just the singer, her guitar, and her band on stage and the music that she creates with an amazing voice that is absolutely riveting.

A LocalBozo.com Concert Review
Bowery Ballroom, New York, NY
November 15, 2013

Friday night’s show at the Bowery Ballroom was headlined by eclectic rock act He’s My Brother, She’s My Sister. But those of us who made our way inside a little bit earlier were treated to a fun forty minute opening romp performed by eastern Los Angeles’ Caught A Ghost, a five piece band with a sound eerily reminiscent of the late 1970′s and early 1980′s with a modernized swagger. And in their very first show played live in New York City, the band’s short set provided a glimpse of an indie rock band surely on the rise.

Uniquely, the band doesn’t feature the guitar for periods during their set- instead inventively focusing on the likes of impassioned saxophone solos and keyboard playing. In fact what’s most interesting about the group’s dynamic live show is frontman Jesse Nolan‘s instrumentation which alternates between smashing a bass drum and the band’s only guitar. Taking the stage at 10pm sharp, Nolan’s shared vocals with Tessa Thompson though proved to be the most captivating portion of the show, positioned to his right and adding to the collection of sound with every shake of her tambourine. Opening tracks “Can’t Let Go” and “Sleeping At Night” were particularly rousing even if much of the crowd was unfamiliar with the band’s material. They made it work.

The band’s sound combines both catchy pop with indie rock, but truthfully evokes a deeper bluesy quality, similar to Frank Stallone in “Staying Alive”- a compliment despite any misconception. Standout tracks included “Relentless” and “Hold Out,” but Caught A Ghost forced the entire crowd to testify during “No Sugar In My Coffee,” whose chorus of ‘Hold your hands up high / My love I’ll see you by and by’ was repeated in unison like the congregation at a sermon. And by harnessing so many fun aspects of decades gone by with a distinctive sound and musical style, the Caught A Ghost has somehow carved out a niche and a stage presence that’s truly their own.

The Hellpop Tour
A LocalBozo.com Concert Review
Best Buy Theater New York, NY
November 11, 2013

Theatrics has been so ingrained in the fabric of live music over the past forty or so years that some acts often border on performance art. From the devilish Alice Cooper to the now laughable Broadway-esque qualities of a Dennis DeYoung-led Styx, some acts utilize subtle nuances while others shoot for that blockbuster show that’s often more style than substance. Albany New York’s In This Moment opened Hell’s Gate on Sunday night with a pulverizing metal show at the Best Buy Theater that coupled a flashy stage show with a rocking 75 minute set that through and through made sure that every eye in the audience was firmly planted on front woman Maria Brink.

Upon entering the venue, the stage setup revealed that this would not be just another rock show. With smoke filled cannons positioned on both sides of the marble statuette in front of the stage- one made up of skulls and reaching arms and hands in a final attempt to save their lives- near two open gates representing either heaven or hell- or perhaps some semblance of both, the small but vocal crowd appeared ready for anything to happen during the show. And anything did- with two masked female dancers gyrating on either side of Brink, smearing blood on their necks and their nurses outfits while dangling massive syringes that pointed out toward the crowd, while thick fog covered the entirety of the stage.

Her bandmates were out to the stage first- donning masks and layers of doom filled makeup in terrifying fashion- stepping up to their separate podiums awaiting the singer’s arrival. With long blonde curls extending out from under her hat, Brink arrived to the stage in full Nutcracker regalia, wearing her microphone as an earpiece. It would be the first of multiple costume changes throughout the show as she’d change seemingly after each and every song. The band’s set meanwhile seemed to effectively couple a metal show with a sultry burlesque as Brink sensually danced to each song while belting out her trademark screams to the awe of the males in the crowd and to the delight of the female metal heads front and center following suit.

The five piece tore through their 12 song set, heading to the stage during the haunting calls of “Rise With Me,” before opening with the obliterating “Adrenalize,” with absolutely head pounding drum smashes and the kind of heavy guitar rock riffs that would immediately convert any nonbeliever into immediate fandom. In This Moment focused primarily on material from 2012′s “Blood” but they also turned back the clock to 2007′s debut “Beautiful Tragedy” for a medley of sorts featuring “Prayers,” “Next Life,” and “Daddy’s Fallen Angel,” each of which was louder and faster than the previous track. Noticeably absent for these ears was the title track “Beautiful Tragedy” which was a bit disappointing, but the group’s cover of legendary Nine Inch Nails single “Closer,” was inspired and fun, if not all that dissimilar to the original.

It was hard to find too many flaws in the group’s live performance aside from the fact that we wished it had been a bit longer. Brink’s vocals were riveting as she managed to hit each note of her horrific shrieks all while constantly moving around on stage, banging her head in indescribably sultry fashion. Tom Hane’s drum solo proved to be an ideal respite from the showmanship momentarily before the band returned with blistering renditions of “Whore,” where Brink donned a long black dunce cap atop her blonde locks which revealed the song’s title, and the show closer “Blood,” which forced the remaining crowd to sing along with particular fire. Often, there’s a time and a place for music and a separate one for show, but In This Moment seems to have found a middle ground that works. Scoff as you might at the intricate backdrop and stage show that sits in front of you and the elaborate costume changes and all of the mask wearing, but take all that away and you’ve got a cohesive hard rock band that can entertain you any way they like- either musically, sexually, or with some flashy decor. But the way that In This Moment has chosen to do it, somehow feels just right.

The 20/20 Experience World Tour
A LocalBozo.com Concert Review
Barclays Center, Brooklyn, NY
November 6, 2013

 

(Photo Credit: Julia Xanthos, New York Daily News)

Avid fans of pop culture icon Justin Timberlake certainly got their money’s worth at the Barclays Center on Wednesday night. With support from The Weeknd, the former boy-bander played thirty songs during a nearly three hour performance that time traveled through the singer’s considerable four album catalog, with some fun covers pumped in for good measure. As suave as his stage presence was however, the long running show- a testament to Timberlake’s work ethic and incredible talents- would have perhaps been better suited at an abbreviated set time, eschewing many of the bells and whistles that dragged an often times fun show into the wee hours of the evening.

It’s difficult to find complaints with a Timberlake performance under normal circumstances, and on the first night of the ‘The 20/20 Experience World Tour,’ it quickly became clear that the showman was pulling out all the stops in Brooklyn. And that said, from our vantage point and judging by some of the restless crowd members around us, many of us could have done without much of the filler. Touring on the heels of the release of “The 20/20 Experience: Part II” which dropped in September, Timberlake made sure to perform a good deal of new material to the jam packed audience, which included late night host Jimmy Fallon, who was acknowledged later in the set. But with two albums released in 2013, and much of them actually quite good, he may have over leveraged his set some by leaning on so many new tracks.

 

To Timberlake’s credit though, there was no shortage of his hits during the performance as he played each and every song any casual listener would have wanted to hear- although some of them were abbreviated a bit. Backed by band The Tennessee Kids and a cavalry of choreographed dancers parading around the stage beside him for much of the show, Timberlake emerged from underneath the stage by his lonesome as a clock counted twenty seconds down to the show’s open. The slow and swanky “Pusher Love Girl” proved to be an ideal opening track, as the band joined him on stage in front of a truly sensational array of lights. From there, it was clear Timberlake was in charge leading his backing dancers around on stage as if he was the leader of a gang. Tracks old and new blended together with the likes of “Rock Your Body” and “Like I Love You” setting the stage for “TKO” and “Magna Carta…Holy Grail.” While a much anticipated Jay-Z appearance never wound up playing out, there was hardly reason to complain as Timberlake was hitting his stride. Surprisingly, “Cry Me a River” which featured a full on guitar breakdown, closed the first set on its highest note.

Following a head scratching ten minute intermission that went off without warning, Timberlake returned with highs (“Only When I Walk Away” featured the most uplifting and spectacular light show of the night) and lows (the cartoonish “True Blood” was more ‘N Sync than a polished 2013 Timberlake), culminating in a large illuminated stage riser lifting the frontman and his backing vocalists high overhead and placing them toward the back end of the floor space. Covers of “Heartbreak Hotel,” Michael Jackson’s “Human Nature” and an inspired collaboration of “What Goes Around… Comes Around” more than made up for a flat version of “Take Back the Night.” But the crowd seemed completely rejuvenated by the cover of Bel Biv Devoe’s “Poison,” bringing the entire arena back to their feet. And where “Suit and Tie” and “Sexy Back” were good but not great, perhaps worn down by end of show fatigue, the audience again exploded for the show’s closer “Mirrors,” a rousing capper to an evening that may have gone on a bit too long, but had some truly brilliant moments that showed off Timberlake’s unique talents as a singer, a dancer, a showman, and as a solo phenomenon in front of 18,000 screaming Brooklynites.

  

To some, 1999 might feel like just yesterday. But in reality, nearly a decade and a half has passed since a band known as Payable On Death released “The Fundamental Elements of Southtown,” an album that both epitomized both the good and the bad depending upon where you stood on the nu-metal movement and brought the much catchier name of P.O.D. to the very forefront of modern rock music. If life existed in a vacuum, it would be the turn of the century, I would be wearing gigantic JNCO jeans, and we would be talking about how Limp Bizkit was set to take over the world. But as time passes, occasionally we are reminded of our younger days, reminiscing fondly through those nostalgic strolls down memory lane. As such, those who believe that the Christian rock giants faded away after 2002 would have been sadly mistaken on Wednesday night as P.O.D. joined forces with Flyleaf on a co-headlining tour at the Highline Ballroom, to a room jam-packed with rabid rock fans.

The modernized music hall was likely a bit of a different setting than the veteran bands were used to playing. Gone was the full-on standing room only floor, save for the space in front of the comfortable tables and couches surrounding the exterior of the space. Also gone were the lengthy signature dreadlocks, flopping from the head of frontman Sonny Sandoval- in their sted, a short haircut covered by a black baseball cap. Fortunately for us however, the band has maintained every bit of the intensity that has perpetually exuded from their highly underrated stage show- one that for years has brought them to festivals and tours around the entire globe, but one on this night that could barely be harnessed by the confines of Manhattan’s most diverse rock club.

 

Opening the show at a pulverizing pace, the band ripped into “Boom” from 2001′s “Satellite,” perhaps the band’s best known and highest charting studio record. The track, which for years has played in the background of sports highlights, encompassed P.O.D.’s finest qualities as performers- raw, unadulterated emotion coupled with an uncanny ability to connect with their fans from center stage. “Murdered Love” would follow and Sandoval, unable to contain himself began snapping the lengthy microphone cord into the ground repeatedly in a fit of musical passion, as his bandmates surrounded him with playing the song’s blended rhythmic catchiness.

To their credit, P.O.D.’s setlist admirably meshed both the band’s old and new with tracks like “Set It Off” and the reggae-laden “Roots in Stereo,” performed alongside a spirited version of “Youth of the Nation,” during which Sandoval’s microphone was floated out to some lucky fans in the crowd to take turns posing as lead vocalist. For the band’s anthem though, the crowd didn’t need a mic to be heard during it’s unmistakable ‘We are, we are…’ chorus. While Sandoval bounced around the stage in a frenzy, it was Wuv Bernardo’s elevated drumkit in front of an illuminated video board that was perhaps most eye catching as the show progressed. Said Sandoval, “I’m impressed New York City. It’s been a long long time. Thanks for coming out” before the five piece band would briefly break down into a slowed version of “Beautiful.” The rock ballad as the band recovered to amplify a now moshing crowd with hit single “Southtown.”

As P.O.D.’s hour long set ran down, we found ourselves ensconced in a three song chorus comprising some of the band’s most notable hits as “Alive,” “Strength of My Life,” and “Satellite” brought the show to a close. Although the band began their show well after 10:30pm, nobody in the remaining crowd looked exhausted- the least of which was the band on stage, who left everything they had in New York City. And gave everyone in the house a mix of music that makes them jump around and reminisce at once, all during an act that refreshingly still plays to this day.

- Jane Van Arsdale

   

   

 

Fresh off the heels of release of their fourth full length album “Forever Halloween” (June 2013), Tempe Arizona rock band The Maine made their way to Manhattan’s Irving Plaza on Tuesday night with support from new labelmates Brighten and A Rocket To The Moon. The band’s ninety minute set was an upbeat, positive romp through a catalogue that dates back just five years since the band’s major label debut. But The Maine’s brief history did little to diminish a crafted stage show and musical performance rife with catchy choruses amid the screaming applause from their adoring young fans.

Actually, the word applause is an understatement and doesn’t aptly describe the sheer volume of sound emanating from a jam packed standing room floor at Irving Plaza on this night. The dimming of house lights did nothing but amplify the intense excitement for fans of The Maine as the band casually strode out to center stage unannounced. With the band’s signature “M” in the backdrop behind them, one that would seemingly illuminate with each punctuated drum beat, the band opened with a flurry of up-beat pop rock tracks to the utter delight of their now screaming faithful. “Love and Drugs” proved to be a perfectly cheery opener leading to the escalating and infectious “Misery,” allowing the band to pause briefly mid-song to collectively rock out to Patrick Kirch’s pounding drum beats.

Frontman John O’Callaghan’s every movement meanwhile, seemed to make the crowd swoon. Outfitted in a white “I Met God, She’s Black” tanktop, O’Callaghan looked out at his swarm of fans, exclaiming “Looks like we’re cooking with some gasoline here in fucking New York City,” before the opening chords of “Inside of You.” Other tracks like “We All Roll Along” and “Some Days” proved especially fun live, and eerily reminiscent to bands of the same ilk like a young Goo Goo Dolls before they got all ‘movie soundtrackish’ on us. For much of the show, the crowd did the singing on their own with their hands raised high overhead, clapping and dancing in place to their favorite songs. “Into Your Arms” especially made the young crowd explode, performing the vocals simultaneously with O’Callaghan.

The band managed to slow things down during “These Four Words,” performed solely by O’Callaghan and his keyboard and on “Whoever She Is.” But the crowd to their credit stayed with The Maine despite the brief lull and seemed re-energized during the fast paced “Identify” and a cover of Cyndi Lauper’s “Girls Just Want to Have Fun,” on which the band put their own signature spin. To their credit, the band welcomed back their opening acts on stage to join forces for set closer “We’ll All Be…” but the evening was perhaps best summed up by their singer himself as he declared- his tongue firmly in cheek, “We’re going to have fun whether you fucking like it or not tonight. It’s not a question. I’m not asking you.” He didn’t need to ask us. We had a blast anyway.

- Jane Van Arsdale

         

A sold out night at the Bowery Ballroom Thursday night was packed with a room filled with mellowed out rock fans, set to welcome Hawaii’s surfer-turned musican Donavon Frankenreiter on a rainy New York City evening. Despite a moniker that fails to roll off the tongue, the mustached frontman led his bandmates on stage and a sea of his loyal and local fans through a ninety minute set comprising elements of rock, folk, and an influx of blues during the enigmatic singer’s captivating performance.

Any research on Frankenreiter will tell you that the artist is a long time friend of melodic crooner Jack Johnson. But the sentiment does a bit of a disservice to Frankenreiter himself, who deserves his own share of the spotlight. Pleasantly, his live show rocks much harder than the more relaxed guitar and banjo strums on his studio albums would indicate, evidenced by the constantly moving and passionate crowd as the Sanuk Summer Tour kicked off on this night. And perhaps best of all, he’s all about affording other artists an opportunity by giving bands the chance to win an opening slot at each stop on the tour, alongside support from two-piece throwback outfit Mia Dyson. Long before he would take centerstage, Frankenreiter could be found outside the venues doors, posing for pictures and chatting up some of his amped up fans.

The show’s late 10:45pm start was fitting in that the audience had plenty of time to do some pre-show drinking at each of the Ballroom’s three separate bars in the multi-level space. Donning a black fedora and skinny red pants, Frankenreiter casually strutted on stage just after the lights went down opening with an outstanding trio of “Same Lullaby,” “What’cha Know About,” and the folksy “Heading Home.” Leading his four piece band, the group alternated between acoustic and electric numbers, throwing in a saxophone, banjo, and harmonica solo along the way for good measure. Musically, Frankenreiter’s brand of feel good songs bring a smile to your face almost immediately with an easygoing simplicity that makes so much of his music easy to resonate with. Despite a majority of his catalog revolving around a laid back and tranquil feel, several times throughout the show Frankenreiter’s skills as a guitar player were utterly eye opening, resulting from solos that would make even the most ardent rock fan proud.

With much of the crowd sporting fake mustaches in support of the singer’s facial hair, Donavon Frankenreiter took them on a musical journey, with sounds reminiscent of sitting comfortably on a sunny beach, drinking a daiquiri, and listening to some soothing guitar strums- much like we’d envision the artist’s life to be when off the road. While tracks like “West Coast Fool” and “Lovely Day” paced the 17 song set, the familiar “Free” was a particularly rousing tune with his loyal fans singing along in unison. But the evening’s most inspired moment brought three lucky fans on stage with the frontman for “It Don’t Matter,” leading a hushed crowd through the song’s catchy as all get out chorus, a cappella style. Watching Frankenreiter, he seemed to be having as much fun watching his fans sing his signature tune as they were to be up there singing them. In actuality though, it was those of us that had the opportunity to watch him perform on this night that truly had the best time of all.

- Jane Van Arsdale

New York City. You motherfuckers ready for a rock and roll show?” said Fall Out Boy bassist, the boyish Pete Wentz, who coupled with frontman Patrick Stump, led both his band and as wild a New York City audience as you’ll find anywhere in Manhattan proper, on a vigorous ninety minute set encompassing the band’s entire catalog. On New York City’s hottest night of the year thus far, a steamy room full of Fall Out Boy faithful packed in a sold out Terminal 5, a warm up of sorts in advance of the band’s return to our area in September at the Barclays Center.

Despite the relatively diminutive venue (at least for a band of their status), the feeling inside was that of an arena rock show- from the white silhouetted curtain being pulled to the floor only to reveal the band on stage, to the large video boards lighting up the standing room only space reading ‘Save Rock N Roll,’ to the earth shattering thunder of applause by the mostly young female audience on hand, cooing at each band member’s every move. Seeing Fall Out Boy, especially in this setting, just felt like a big deal. The band themselves are potentially as polarizing as any- from the band’s blend of pop-laden, but outright catchy rock music, to Wentz’ A-List flirtation in marriage to former wife Ashlee Simpson. But don’t tell that to some 3,000 or so fans that slurped up any available tickets just about as quickly as the show’s onsale date was announced.

The performance itself was exactly as you’d expect, despite a relatively short set time for a headlining set. But perhaps the band is just working out the kinks in their return to the mainstream following a brief hiatus and the recording of their latest album, April’s “Save Rock and Roll.” As an onlooker though, you’d never realize that they’d taken a break from the limelight at all based on Wednesday night’s show. The now svelte Stump led much of the way with his trademark high-pitched, ‘you-only-wish-you-could-copy-me’ vocal styles, while manning a rhythm guitar, while Wentz and lead guitarist Joe Trohmann held opposite sides of the stage down with a frenetic energy probably reserved for their younger years. Like a punch in the face, the band launched into “Thriller,” an outstanding frenzied opener from 2007’s “Infinity on High,” that saw a sea of hands and faces singing along to every word, a precursor for much of the remainder of the evening.

In all the band belted out seven tracks from the new album, including singles “The Phoenix” and “My Songs Know What You Did in the Dark (Light Em Up),” but arranged a setlist that would keep both casual and diehard listeners involved in the entire show. Familiar tracks like “This Ain’t a Scene, It’s an Arms Race,” “Sugar, We’re Goin’ Down,” and “Dance Dance,” were particularly rousing for this writer- but truth be told every song received an equally raucous ovation from the crowd once the first few chords were played. You can label them with emo, or pop, or punk, or rock, or whatever flavor of the month seems to suit you. But we defy you to sit still during tracks like “I Don’t Care” or pretend not to know the words to “Thnks fr th Mmrs” with a full room around you jumping and singing like they were trying to be noticed by the members of Fall Out Boy. And as each track concluded and the young audience could take a momentary breather, put their little arms down, and stop crowd surfing, it was unclear whether or not the heat in the room was from the recent change in weather or from the band on stage, bringing out absolutely everything their fans had to give.

- Jane Van Arsdale