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This is kind of a weird show, since Flattop Johnnie's is not normally a live music venue. (And 6 p.m. is not normally a live music time.) But they have set up a pretty elaborate sound system, complete with tons of monitors and a huge mixing board, in the courtyard outside the bar for a free show. The weather is cooperating in the most extreme fashion, and everyone seems relaxed and happy. I confess that we watch The Knee-Hi's set from inside the bar, which is not the best possible viewing location, because we're eating a plate of nachos. (Part of this nutritious breakfast!) But through the door, at least, they have an early-Blondie sweetly snarling girl-punk sort of energy. They also have catchy tunes and good harmonies, and a good lead guitar player. As they're getting ready to play their last song, the bartender moves out to the door with drumsticks in her hand, and we wonder what's up with that. It turns out she was the original drummer in this band, and she joins them for their last song before returning to the bar. She's really good, her fellow staff are really into her performance, and it's a fun, feel-good moment.
Badman are up next, and Farhad strides boldly out to colonize the vast empty space in front of the "stage." He is soon joined by a substantial crowd. When I try to come up with any sort of musical comparison for Badman, all I get is the Repo Man soundtrack. It's that kind of twangy, surrealistic cowpunk. Today, bizarrely enough, the drums are actually mixed too low; this is an extremely rare failure mode, and a real shame, because their drumming is fantastic, with interesting patterns and lots of subtleties. They also have a percussionist, who hits a wide variety of objects, mic'ed to varying degrees of effectiveness. Together they provide plenty of rhythm; I just want it all. The vocals are very strong, the guitar is warped and compelling, and since it's an outdoor show, we have the extra fun of watching people try to figure out what to make of this as they cross the courtyard behind the stage area.
Night Rally are up last. Their drums are more audible, but the vocals are almost completely lost. (Our applause also sounds tinny and anemic out in the open air, I notice.) This is not a huge problem on, for example, their triptych, because I know what they're supposed to sound like and can interpolate what I hear. Much of the melodic punch is in the bass lines, anyway. But it's a real shame when they play some really new stuff that's very unfamiliar to me. For the most part, all three of them sing on the new songs, and as I've said many times, I love their songs most when all three of them sing, because they have radically different vocals styles that complement each other beautifully. For an encore, they perform the beloved "Humor Is Non Sequitur," which is very vocally demanding for Devin, and Brian Church from Tristan Da Cunha steps up to help out on the choruses.
As this show is over by 9:00, we try to also take in The Rudds' CD release party at the Lizard, but when we show up there is only one ticket left for sale. As neither Tom nor I wishes to ditch the other, we head home instead.
