A LocalBozo.com Concert Review
Gramercy Theatre, New York, NY
October 12th, 2016

The Australian rock band Airbourne infected New York City on Wednesday night with the dose of metal it so sorely needed.  Touring in support of their September release “Breakin’ Outta Hell,” the band dropped into 23rd Street’s Gramercy Theatre with help from The Wild! as their support act. The venue’s show room floor went from tight to tighter as showtime drew near, leaving barely enough space to navigate though the sea of leather jackets, long hair and the assortment of spiked accessories.

Old western music blared from the PA system, filling the room with some festive noise as the house lights drew dim before The Wild! made their predictable explosion in front of the live crowd.  Launching onto the stage as if they were shot out of a cannon, the group’s unique blend of rockabilly, metal and blues was imprinted on the audience mere seconds after their intro as opener “Roadhouse” ignited into its scorching main riff.  Singer and lead guitarist Dylan Villain (great name!) then took his position at center stage  while being flanked by rhythm guitarist The Kid, bass player Boozus and drummer Reese Lightning who dutifully kept each song’s tempo firmly in sync.  Momentum continued to mount with the slightly groovier and bluesier new single “Ready to Roll,” followed by some thunderous tracks like “GxDxWxB,” “Banger,” “Deuces” and crowd favorite “Slow Burn.” The feverish combination of hard hitting riffs and solos from each of the songs led up to a really well placed dynamic change with the slower and more personal blues cut “What About You.”

What better way to bring it back to an unadulterated rock show than with a beer funnel race? The short interlude saw a square-off between bass and rhythm guitar with the frontman Villain making it clear that Boozus was the defending champion- and in the blink of an eye, he retained his title as The Kid was left chugging in the dust. The Wild! closed out their 45 minute rocket fueled set with “Party Til You’re Dead,” an apt description of the band’s vibe. The Wild! aren’t just musicians, they are all encompassing performers.

After a very brief break, the room grew rife with excitement and anticipation knowing Airbourne was about to take the stage. The raising of horns and merciless screaming ensued as the Terminator theme song played overhead and frontman Joel O’Keeffe ran onto stage literally kicking and screaming his way into “Ready to Rock.”  Aibourne’s blend of classic rock and hair metal amplified an excitable Gramercy audience quickly and was welcomed by the roomful of adoring fans.  With their frenzied screaming and vigorous headbanging, the audience somehow managed to top the band’s own energy peak as tracks like ” Too Much, Too Young, Too Fast” allowed the fans’ voices to override the group’s instruments, especially on the song’s catchy chorus.  Rhythm guitarist David Roads and bass player Justin Street were a constant blur most of the night- not only were their hands lighting fast, but the perpetual movement of both musicians bouncing and frenetically racing across the stage ensured that they were having just as much fun as the crowd. “Chewin’ the Fat” from 2010′s “No Guts. No Glory.” followed and saw another massive bout of crowd participation on vocals.  The fourth song of the night marked the first appearance of a track from the new album and “Rivalry’s” heavy, churning, drudging drum intro kept feet stomping and heads banging collectively.

With a short reprieve from the microphone, O’ Keeffe was given a few moments to enjoy a cold one in true rock star fashion, by taking a few sips and then repeatedly smashing the can against his head which created a SeaWorld type splash zone for concertgoers in the first couple of rows. After the short hydration break, another taste of the new album was showcased with the title track “Breakin’ Outta Hell.” Comprised of a ripping solo, Judas Priest-like riffs, and those distinct vocals, the new material felt familiar and fresh at the same time. The night wound down with fan favorites “No Way But The Hard Way” and “Stand Up for Rock N’ Roll” but the bandmates and their fans weren’t ready to part ways just yet. A few minutes away from the stage seemed unbearable for everyone there and before long Airbourne returned to the stage for an eagerly anticipated encore. An impressive hour long set was capped off with two of the band’s biggest songs “Live It Up” and “Running Wild.”  Between the crowd knowing the show was coming to an end and the band gearing up for a proper send off, those last ten minutes were packed full of more energy than the entirety of the rest of the night combined.

- Jon Asher

A LocalBozo.com Concert Review
Gramercy Theatre, New York, NY
February 7, 2015

Touring in support of their upcoming EP “Post Society” – slated for release on February 26th- rock outfit Voivod pumped a pure dose of metal into Manhattan on Sunday night. On a night where countless people gathered around to watch a relatively ho hum Super Bowl 50, hundreds of fans inside of the Gramercy Theatre received a very healthy serving of heavy from the Canadian metal band. There was no Beyonce, Bruno Mars or Coldplay to be heard on this night (That’s kind of a lie; the game was being shown in the lounge area but no one was around to catch that half time show)- but after a set spanning three decades of metal, there were virtually no complaints from the head banging, horns-raising fans filing out of the venue at show’s end.

The crowd on Sunday evening was predictably diverse with fans ranging from teens to baby boomers. Though they varied in age, the standing room only floor was unified by a sea of long hair, leather jackets, torn jeans and a collective love for heavy metal. With a room rife with anticipation, the arrival of Voivod singer Denis Belanger to the stage utterly electrified the crowd. Donning a Motorhead t-shirt, an obvious homage to the recently fallen legend Lemmy Kilmister, the band tore through opening track “Ripping Headaches” from 1986’s “Rrroooaaarr.” The already frenzied crowd somehow continued to amplify as the show progressed, needing only the first half of “Tribal Convictions” for fans to begin whipping around in the evening’s first mosh pit

It was difficult for Belanger to get a word in as the crowd would instantaneously start a Voivod chant between each subsequent song. The band to their credit seemed to eat up the adulation, allowing for a transfer of energy between Voivod and their fans to be constant and unfiltered throughout the entire set. While much of the night’s thirteen song set was derived from their 80’s era material, three tracks from the new EP were included for good measure. But it was set closer and Pink Floyd cover “Astronomy Domine” from 1989’s “Nothingface” that stood as the show’s lasting highlight. The track was a dedicated nod to the band’s vast range of influences in a career that spans some 34 years, and despite a multitude of line-up and style changes over the years, Voivod continues to prove that they are still here and heavier than ever.

- Jon Asher

A LocalBozo.com Concert Review
Gramercy Theatre, New York, NY
December 29, 2014

It’s never not a party when the west coast glam rockers of Steel Panther come to town. Fresh off of the release of their brand new holiday single “The Stocking Song,” the raunch-filled rock stars brought a familiar taste of their brand of misogyny and deviance to a completely sold out Gramercy Theatre on Monday night. Though the leftover holiday lull may have depleted the jam packed crowd’s energy some, the foursome’s perpetually entertaining hijinks and penchant for fully rocking out in authentically glitz-filled fashion made sure that the entire room remained charmed for each of the set’s 100 minutes.

Though the banter during Monday evening’s performance was certainly familiar, Steel Panther’s refreshing ability to be so uniquely 1980′s and so unflinchingly ball-busting toward each other culminates in an unparalleled live show- one that’s part performance piece but also one that’s quite fantastic musically. Their lyrics are absolutely over-the-top, certain to be offensive to some- but part of the band’s charm is their ability to deliver the lines so matter-of-factly and with such sincerity that you can’t help but to belly laugh at their antics. With tracks like “Gang Bang at the Old Folks Home,” “Just Like Tiger Woods” and show opener “Pussy Whipped,” one can only shudder to think what the band’s relatives had originally thought as the four musicians initially embarked on this journey.

As usual, the group’s showmanship was on full display the minute the band emerged from backstage. Led by ageless frontman Michael Starr and lead guitarist Satchel doing the brunt of the mic work, the pair joked relentlessly about sexual proclivities far too crass for print.  Their banter though is often the highlight of a Steel Panther concert- whether aimed at each other or specific faces in the onlooking crowd. With three full length album releases now under their belt, the band has eschewed playing cover songs while out on tour (their weekly residence at Hollywood’s House of Blues is a must-see attraction) but judging by the sheer number of guys dressed in wigs and tights in the audience, nobody seemed to mind all that much.

But to dismiss Steel Panther solely because of their humor would be doing their skilled musicianship a disservice. Crowd pleasing anthems like “Tomorrow Night” and “Party Like it’s the End of the World” are roaring, raucous rock songs while catchier yet still gratuitously lewd ballads like “Girl From Oklahoma” and “Community Property” harken back to some of the best glam rock tracks released in the early 1990′s. Extreme only wishes that they could sell out a room this size in New York City in 2014 with every member of the crowd proclaiming their private parts to be available for everybody. (ed. note: former Extreme drummer Paul Geary is the band’s manager) And there was of course the requisite performance of the catchy, tongue-in-cheek rock track “Asian Hooker,” where security ushered a busty Asian fan from the front of the audience up on stage for an all out dance party to the crowd’s delight.

Monday night’s show at the diminutively sized Gramercy Theatre was a bit of a departure for the band- who, aside from their last local appearance opening for Judas Priest at the Barclays Center in October, have become accustomed to taking the far larger Irving Plaza stage. Nevertheless, the band pulled out all the stops as fast paced tracks like “17 Girls in a Row” and “Death to All But Metal” reinvigorated a surprisingly subdued audience. To no surprise, the room exploded for the evening’s show closer, the incredibly unheralded “Party All Day,” a deliciously defiant rock anthem from 2009′s “Feel the Steel” that encompasses everything that Steel Panther is all about in just over three electric minutes. Outrageous, hilarious, and rocking- just like the band itself.

- Dave Gendelson

A LocalBozo.com Concert Review
Gramercy Theatre, New York, NY
December 10, 2014

In direct defiance of the repeated and premature pronouncement that rock music is in fact dead, a five band bill took center stage at the Gramercy Theatre on Wednesday night in front of a sizable crowd of rock fiends. Headlined by Grand Rapids, Michigan’s Pop Evil, the reasonably priced bill delivered considerable value and the band themselves delivered in performance alone during a 15 song, 75 minute set that ranged from acoustic to arena style rock inside of the diminutive sized theater. Though the band’s late start time (10:40pm) may have relegated some to head toward the stadium style seating in the back of the venue, those who remained on the standing room only general admission floor were able to fully experience the full on musicianship and the range of the five piece band.

Traditionally, Pop Evil had been straitly a support act, with opening slots on tours for the likes of Papa Roach, Five Finger Death Punch, and Judas Priest. But the success of their recent album releases has catapulted them into headliners and the years spent toiling on the road have allowed the band to truly hone both their set and stage show, which is short on theatrics but refreshingly old-school for the genre. Taking the stage in front of a large black curtain donning the group’s moniker, frontman Leigh Kakaty led his his band out casually with each skilled musician taking their allotted position. A small riser placed on stage was put to good use throughout the band’s performance where time after time as many as four members would play toward the live crowd at once- usually egging them on with their energetic and eccentric playing. Drummer Josh Marunde meanwhile, wildly moved behind his drum kit- standing and sitting at will- but pounding his sticks frenetically all evening long.

Touring in support of their 2013 release “Onyx,” Pop Evil made sure to touch upon enough of the new material as well as some old tunes to satiate long time followers. Draped in a scarf, Kakaty’s long hair bounced in the spotlight with every vocal extension. The band wasted few moments in getting started as they tore through their opening tracks “Flawed” and “Behind Closed Doors,” among their most raucous rock-fueled songs. Though we’d love to see a return of the slow pop ballad “Stepping Stone” into the group’s setlist, the similar in nature “100 in a 55” was equally as welcomed in the middle of the set which took the rock down a notch, followed by “Monster You Made” and a stirring acoustic rendition of “Beautiful” performed solo by Kakaty.

Just because Pop Evil isn’t afraid to flash their softer side doesn’t mean that they don’t rock the house- evidenced by the band’s first hit single- the perpetually awesome “Hero” and more recently “Last Man Standing,” which effectively blew the roof off of the Gramercy Theatre. Several times throughout the show, Kakaty would stand in the glare of the house lights gazing out toward the crowd almost in disbelief that so many in attendance would recognize the many songs he’s penned. And though the clock approached midnight, closing the show with “Deal with the Devil” and the electric “Trenches” was a stroke of brilliance. The fast paced tracks erased any lethargy inside of the room as a sea of devil horns were raised over head in a show of support for the hard working rock outfit, who probably doesn’t get enough recognition as a five piece back of road dogs who’s favorite thing on earth is giving everything within their ability to their fans from the stage.

- Dave Gendelson

A LocalBozo.com Concert Review
Gramercy Theatre, New York, NY
August 5, 2014

There was hardly much of a pause- forget about a slow ballad- on Tuesday night at the Gramercy Theatre as Los Angeles’ Youngblood Hawke ran through an energetic fourteen song set at a frenetic pace. The band made up of six musicians, wasted little time with fan interaction and instead opted to pound through much of their 75 minutes at a feverish pace, somehow staving off any signs of lethargy without any sign of downtime. The small albeit vocal New York City crowd meanwhile spent much of the show jumping in place and waiving their hands overhead for the relative newcomers, a band that formed in late 2011 and are currently riding the success of their 2013 debut “Wake Up” with a jaunt aboard The Gospel Tour, led by Panic! at the Disco.

More and more often we’re seeing the emergence- or dare I say the resurgence- of bands which feature male and female leads harmonizing collaboratively, a dynamic even shared by show openers Caught A Ghost.  Fortunately this is just one of Youngblood Hawke’s many competencies- their versatility in playing multiple instruments while at the same time blending vocals effectively over the pounding drum beats of their talented stick man Nik Hughes- a drummer who proved to be an equal focal point as the show progressed with every trouncing of his wooden sticks.

Kicking off at 9:30pm, the show was a nonstop romp from beginning to end as the members each pummeled drums of their own.  The amplifying precursor led into opening track “Rootless,” a feel-good anthem that would set the stage for much of the sounds performed as the show progressed. The very poppy, very 80′s inspired set would be punctuated by frontman Sam Martin, festively donning a green Hawaiian shirt and long brown hair which resembles Workaholics star Blake Anderson, sans-mustache of course. Fortunately for Martin, he can sing. And his on stage collaborations with bandmate Alice Katz are a big part of what makes the band so much fun to watch- the pair is having as much fun on stage as their audience is down below, alternating between playing the keys, the drums and singing at every turn.

Tracks like “Dreams” and “Live and Die” were particularly catchy, giving Katz ample opportunity to shine vocally. But it was Martin’s parading around the stage that proved to be the catalyst for the rest of the band, elevating their every movement as his vocals reached their high pitched zenith. The indie-pop outfit paced through songs like “Stars,” familiar to most of the audience and perhaps the lesser known but equally as fun “Survival,” though it was the more infectious and catchy “Dannyboy” that revved up the crowd most in the band’s return from a brief encore.

Saving their catchiest and most popular tune for last, the band managed an outstanding version of “We Come Running” despite the absence of the West Los Angeles Children’s Choir as featured on the studio version. Regardless, the audience filled in admirably as Martin and company fueled the chorus’ rallying cry in stirring fashion. Closing the show just as ferociously as it began, a furious drum medley once again broke out- this time with all six members pounding drums and cymbals in unison. The crowd meanwhile had no choice but to stomp their collective feet and watch in awe, a show of appreciation for the performance they’d just witnessed, where Youngblood Hawke had undoubtedly left a trail of sweat on stage while playing their hearts out.

Record Release of “Isolate and Medicate”
A LocalBozo.com Concert Review
Gramercy Theatre, New York, NY
July 1, 2014

To say that Seether’s Shaun Morgan is a frontman of few words is a bit of an understatement. And while the band’s singer and lead guitarist isn’t much of an orator, he and his mates continue to raise and carry the flag of a genre prematurely pronounced dead years ago, allowing their musical virtues to speak louder than their voices ever could. Tuesday marked the release day of the band’s sixth studio album “Isolate and Medicate” and Seether celebrated by hosting a sold out show at Manhattan’s Gramercy Theatre amid a room jam packed with die hard fans.

Not much has changed since we last saw Seether, performing in the same New York City venue as they did back in 2011. The South African grunge trio has recently added new guitarist Bryan Wickmann to the touring mix, allowing them to relieve much of the burden that rested so heavily on Morgan’s shoulders and also to layer out the guitar sound quite a bit. Shortly after 9pm, the band emerged, lining up at their respective spots- Morgan per usual perched himself at stage right giving the rest of his mates ample space to move around.

Despite the release of their new record, the band’s set wasn’t all that drastically different from their last show in New York all things considered as they performed 14 songs in a very workmanlike 75 minutes. Though certainly a bit abbreviated for a headliner with their history, Seether’s fine tuned show was effective nonetheless. Churning out rock singles for more than a decade, the set felt like a greatest hits showcase with a sprinkling of five new songs to mix it up some. “See You at the Bottom” proved to be a particularly effective opener for the set, a slow building rock track in traditional Seether style that culminates in Morgan’s raw reflective chorus of gritty screams.

Band staples like “Gasoline” and “Fine Again” followed soon their after, to strong ovations from the standing room audience and while the performance of “Broken” wasn’t necessarily as stirring as it had been in the band’s last go round which featured an acoustic guitar, it’s perpetually among the group’s finest moments at each show. Interestingly Morgan and company didn’t banter much with the audience in between songs and instead fans were treated to metal riffs on loop during several of the interludes which saw the musicians changing guitars. All of this mattered very little though as electrifying cuts like “Rise Above This” and newly released single “Words as Weapons” continually ignited the excitable crowd.

The band saved many of their biggest hits to close the show with catchy singles like “Tonight” and “Country Song” effectively setting the stage for the likes of “Fake It” and the defiance-fueled “Remedy” to close out the encoreless set. In retrospect, Seether’s no-nonsense performance should probably be lauded for the time that they avoid wasting on stage with unnecessary theatrics, forced dialogue and even their lack of an encore which let’s be honest, has become a bit passe over time. Seether is an unapologetic rock band that continues to release meaningful music that galvanizes their fans with well written, invigorating songs that translate to their live show, which has been kicking ass for the better part of twelve years.

- Dave Gendelson

A LocalBozo.com Concert Review
Gramercy Theatre, New York, NY
May 13, 2014

A late change in venue hardly affected the sizable crowd gathered at the Gramercy Theatre on Tuesday night for a show featuring two bands on a bill that are likely more similar than they are different. Continuing to tour in support of the release of 2013′s “Confessions,” Los Angeles’ Buckcherry brought the members of Fozzy along for the rock music showcase.  But regardless of which band was on stage, it was nearly impossible to take your eyes off of either frontman.

It’s always funny watching fans in attendance at a Fozzy concert when they realize that the band’s lead singer looks familiar. And again, once they recognize him as WWE superstar turned television personality turned serious rock star frontman Chris Jericho. Donning his now trademark colorfully illuminated jacket, the jacked singer and his four bandmates hit the New York City stage for nearly an hour, touring in support of their band new single “Lights Go Out” from their forthcoming record “Do You Wanna Start a War?”, which remarkably will be the group’s fourth of entirely original material. Though they’ve been making music together since the turn of the century, Jericho’s sole devotion to his music makes the band feel like fresh up and comers amid an increasingly tired rock music scene.

You’d be hard pressed to find a more energetic or charismatic live performer than Chris Jericho- a testament to the skills that he honed in the ring. The band’s eleven song set balanced the group’s previous efforts, which truly shined on tracks like “She’s My Addiction” and “Spider in My Mouth” from 2012′s “Sin and Bones.” Perpetually between songs, the vocal audience would chant ‘Fozzy, Fozzy’ toward the stage to the utter delight of the impassioned vocalist- though the dueling guitars of supremely underrated Rich Ward and Billy Grey were equally to blame for garnering the audience’s fervor. Fan favorites “Enemy” and “Sandpaper,” which may have actually featured the M. Shadows vocal track being played during the performance were undoubted highlights for a band that while still fine tuning their live act, has certainly come a long way. And we’re just as excited as anyone to see where Fozzy heads next.

Alternatively, the five members of Buckcherry (despite a recent switch at bass) are as polished and fine tuned a live act as there is in the genre, evidenced by an eighty minute set that may have leaned a bit heavy on their latest album, but was rife with hit songs from the past two decades. Without warning, the band opened with a fiery version of “Lit Up” which is typically reserved to close the night out. But nothing on this night was typical- (the strange but fitting covers of AC/DC’s “Big Balls” and Icona Pop’s “I Don’t Care” were pleasant surprises)- except for the band’s penchant for putting on a great live show regardless of circumstance.

The sixteen song set represented pieces of each of the group’s six albums, from the familiar and fantastic (“Everything,” “Ridin”) to the lesser known (“Recovery,” “Water”) and the only miss of the bunch was the acoustic “Dreamin’ of You” which fell a bit flat in this setting. But that aside, Buckcherry’s energy level was remarkable throughout their performance with “Frontside” and “All Night Long” coupled with the fast-paced and gritty “Dirty Mind” as standouts early in the show. The band’s first single from “Confessions”- “Gluttony”- was also relentlessly unforgiving and generated a warm ovation from the excited crowd.

Though the band’s biggest commercially charting success to date is technically a ballad, “Sorry” is always an excellent addition to the set- and always manages to have a room full of guys singing the lyrics aloud. Fittingly, the band teased The Rolling Stones’ “Miss You,” before closing the main set with the defiant “Crazy Bitch” and concluding with an unabashed ode to their former party lifestyles with an inspired version of “Too Drunk…” With a typically relentless touring schedule, Buckcherry is a band that always seems to deliver with their live shows and then some. Based on their tremendous catalog of hits alone, it’s fairly absurd that the band doesn’t draw far larger audiences in New York City, where fair-weathered music fans tend to flock to the next new thing at every turn. But for longtime fans that appreciate the band considering the many obstacles they’ve overcome to this point in their careers, we’re just happy to have them continually pumping out new music and dropping by our Metropolis to wow us again every so often.

- Jane Van Arsdale

Go ahead. You’re better off going to YouTube before we begin and listening to “I’m Ready,“ the debut single from New York City’s own AJR before we begin. We’ll wait.

Formed by three brothers- Adam (23), Ryan (19) and Jack (16) Met- AJR began harmonizing together in local parks, namely Central and Washington Square, performing cover tunes and eventually some of their own material. Fast forward some eight years later and the band, without a record label or so much as even some guidance from those in the ‘biz,’ have dropped their debut EP entitled “6foot1.” The group’s aforementioned single is gaining some serious traction at Satellite Radio and is creeping toward terrestrial airwaves on pop stations. Considering that much of the band’s inspiration comes from Manhattan and that Wednesday February 19th’s sold out opening slot for The Vamps at Gramercy Theatre is the band’s most important show to date,  they are without question an ideal fit for the confines of our website. And they’ve got a unique path to stardom that reads like a storybook fantasy.

Whatever earnings the brothers were able to take from street performing were parlayed into musical instruments and subsequently, recording equipment. Their parents’ living room was then turned into a makeshift recording studio and editing room where the full recording of the EP would take place. With their lead single cut and ready to be unleashed, Ryan began tweeting an early version out to a bevy of celebrities- one of whom, songstress Sia, was so impressed that she went out of her way to meet the brothers in person and was instantly impressed. From there, the band churned out a heavily New York centric lyric video for the track along with a fine-tuned music video that’s helped the band become a Myspace ‘One to Watch’ in February and iHeartRadio’s ‘Artist of the Month’ for Top 40 music. AJR’s success certainly seems to be spit-balling from there with a full length album in the works as well as a headlining tour- including a stop right here in New York City, back at Gramercy Theatre on March 15th.

LocalBozo.com grabbed a few choice minutes with AJR’s elder statesman Adam Met, the group’s 23 year old bassist who also blends vocals with his brethren. Listen in as we discuss AJR’s DIY approach to creating music and growing their brand, his excitement for their upcoming shows in New York, other familial bands being used as a template for pop music success and some of his favorite haunts in New York City. The Columbia grad also talks some interesting facts that the band’s fans might not know along with what’s coming up from AJR later this year. For more information on AJR and the band’s inspiring backstory, check out ajrbrothers.com.

- Jane Van Arsdale

In 2008, Boulder Colorado duo 3OH3! warned us to ‘never trust a ho’ with the release of their smash single “Don’t Trust Me.” It’s that kind of sophomoric, never take yourselves too seriously brand of songwriting that lends itself to the group’s frenzy of a stage show. On behalf of the Z100 sponsored ‘Journeys Noise Tour, ‘ 3OH3! headlined a bill at the The Gramercy Theatre on Monday night with support from New Beat Fund, Wallpaper, and The Summer Set.

The band would jolt onto the stage promptly at 9:50pm to an uproar from the small but vocal crowd on hand, the first ten rows of which, it should be noted, were going absolutely bonkers throughout the entirety of 3OH3!’s 70 minute set. The lights remained dim until Nathaniel Motte and Sean Foreman trotted out to centerstage, kicking off with the high octane beats of “PunkBitch.” The band’s sound is eclectic to say the least, meshing pounding drums and electric guitars with blended electro pop beats and rhythmic rap rock that moves at such a fast pace, you’d be hard pressed to grab a photo of the band mid-song. Outfitted in a green ‘Death’ sweatshirt, Foreman handled much of the melody while bouncing around on stage suggestively. Behind him, alternating at a keyboard that he would later slam to the floor and pummel into submission, the taller, leaner Motte worked on backing vocals, alternating at times with taking over leading duties.

At times, the show felt a bit clumsy with the two talking over each other’s words when addressing the crowd, but somehow the casual, laid back vibe led to a nonstop party atmosphere at the show. Almost unrehearsed to a charming extent, the pair toyed with the audience in between songs like “Starstrukk” (no Katy Perry) and “Do or Die,” pausing to hold up a fan’s sign that read ‘We came here to rage our fucking faces off,’ which Foreman licked in the absence of having a marker to autograph it. The defiant singer’s “Army of Darkness” tanktop was a metaphor for 3OH3! in general- a playful take on a more traditional pop outfit. And while their intentions when songwriting have more than a modicum of fun to them, nobody is mistaking the band for The Beatles. In all likelihood, it’s the band’s purpose to create an energetic atmosphere, one that they enjoy right alongside the fans that come out to see them play.

The pounding electro beats echoed further during the oops-I-got-caught-cheating song “Two Girlfriends,” “Streets of Gold” and the catchy “Love 2012,” before the band headed backstage for their encore. The duo then returned, welcoming each of the opening acts back out to collaborate on “Turn the Night On,” which the bands managed to write together before the tour would commence. Meanwhile, the stage turned into a sea of bodies with about a dozen performers bouncing around singing to the crowd whether they had a microphone in hand or not. And the crowd to their credit, seemed to really get a kick out of it all. In fitting fashion, the band’s biggest hit to date “Don’t Trust Me” closed the show in signature fashion- the permanent destruction of Motte’s keyboard (which he actually gave to a front row fan), the remaining audience jumping around in unison, and the band on stage playfully reaching every high pitched note during the chorus. No, this may not be your momma’s kind of rock concert, but that seems to be just fine by 3OH3!.

SiriusXM channel ‘Octane’ has become the nation’s number one source for hard rock music amid the decline of terrestrial radio and as such, the station has been among the biggest proponents of Nashville rock band Red. It was only fitting perhaps that out to introduce the band to the New York City audience for the first time since the fall of 2011 was Octane disc jockey Kayla Riley, whose energetic interlude only invigorated an already excitable crowd as they awaited the band to take center stage. Touring on the heels of their latest release- February’s “Release the Panic”- Red pulled the finest tracks from each of their four studio albums, coupling their extraordinary light show with a vigorous live performance that spanned the entirety of their 75 minute set.

Fans began chanting the name “Red” in unison leading toward the band’s eventual arrival. The stage was set up as an arena rock show, albeit on a smaller scale- risers for each of the band members to perch atop were placed in front of an elaborately decorated, graffiti inspired set and the aforementioned colorfully ornate light show. Like a whirlwind, the band jolted on stage to the roar of the assembled audience, opening with the unrelenting new tracks “If We Only” and “Faceless.” While much of the band’s set would encompass their latest release, choice favorites like “Mystery of You,” the wild-as-all-get-out “Let Go,” and the melodic “Already Over” proved to be essential crowd favorites for a riled up audience looking for their own type of release.

From the back of the standing room only floor, the band’s live performance is one that captures some of its intense imagery as the fluttering of colored lights illuminate the wildly moving arms of drummer Joe Rickard with every cymbal crash and frontman Michael Barnes’ agility in pounding his skull feverishly or passionately leaping on and off each riser with unmistakable fervor. Following a short but fun drum solo that sampled DJ Khaled’s “All I Do Is Win,” the band ran us on a roller coaster ride from the fast and catchy (“Death of Me”) to the acoustically stripped and slowed down (“Not Alone”), but the main set closer “Feed the Machine” was a guitar fueled rock filled romp that didn’t slow down until the band was literally offstage awaiting their encore.

The foursome returned to the stage with a fury for “Release the Panic” and show closer “Breathe Into Me,” the head pounding single that initially put the band on the musical map. The crowd grabbed every opportunity to sing along with Barnes as he stuck his mic toward their watching eyes, with most in attendance having a difficult time corralling their enthusiasm while bouncing around in place. While Red is labeled a Christian rock act, you’d never realize it solely by listening to their heavy brand of music. But on this night, Barnes held nothing back mentioning their belief in a “higher power,” specifically mentioning “Jesus Christ” by name. Perhaps they were inspired by the New York City turnout or perhaps it’s become a staple at their live shows, but either way, no one in the house seemed to mind the religious overtones- they had too much energy left for the music and opted not to waste it on being judgmental of the band’s beliefs. And to their credit, by the end of the performance, Red had managed to extract every last bit of it from each of them.

- Jane Van Arsdale