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Hidden comments will still appear to the user and to the user's Facebook friends. If a new comment is published from a "banned" user or contains a blacklisted word, this comment will automatically have limited visibility the "banned" user's comments will only be visible to the user and the user's Facebook friends. The Wonder Years on Etnies Stage. Up until this point I had been not only a Groezrock novice, but also an Etnies-stage-at-Groezrock novice. The stage is widely known for its "back to basics" approach with little to no distance between band and audience allowing stage dives as I have never ever seen them before.
The Wonder Years surely made use of that this afternoon in Belgium with hands and feet going in all directions in the middle of 'em at almost all times. Their melancholic, yet very energetic songs like "Woke Up Older" and "Dismantling Summer" make the dance floor fire up during choruses. What parts of the gig don't sound all that well Etnies seem to be a bit challenged in this respect , the band surely makes up for it in attitude and energy.
The Wonder Years is a quick, but enjoyable party I wouldn't mind being invited to again. The Menzingers on Monster Stage. When prompted "what are the best albums you've heard in your life then? Predictably though, the band quickly finds a warm welcome in form of solid singalongs to "Nice Things", "Ava House", "Who's Your Partner" and "In Remission", and part-time frontman Tom May flies around his centre-stage position as wildly as ever.
The band's tight-lipped approach is an odd fit for this kind of setting though, and however well-endowed their catalogue is, it's hard to forgive this as a time-saving measure when highlights like "Gates", "Time Tables", "Sun Hotel" and "Mexican Guitars" are still all omitted.
Consequentially I wonder if it isn't perhaps a curious problem to have as a band that's written far too many good songs, namely that it becomes hard not to gratify fans in an over-the-top way when the time is as short as here.
The Lawrence Arms on Main Stage. Having seen Lawrence Arms earlier in a packed indoor venue at FEST 12 in Florida and not thinking they did all that great job after being away for so many years in a row, I wasn't terribly optimistic about how they'd fare on the massive main stage at Groezrock. Turns out, that's exactly what happened. The band stands still on stage showing little to no emotion, and the crowd is far more sparse than is expected for the Midwestern punk legends.
That's not the problem. The problem is that their static performance on stage feels uninspiring, which is such a stark contrast when you consider the influence their records have had on so many of us here today. It's not the first time I've seen lack of energy on stage turn an awesome band into a boring one live, and Lawrence Arms should take note of that for future performances.
Their excellent setlist means most of us are singing along and having a decent time nonetheless, but it's far from being the celebration of punk rock history many expected it to be. No, Captain Chunk! One of the last things I did before leaving my home to go to Belgium this year was to check out an album by Chunk! In hindsight that is not a decision I regret in the slightest.
Pulling a decently sized crowd from the beginning of their set, they start out in superior form. From brutal growling to nasally singing melodic refrains, the vocals sound surprisingly good, not least because of the fact that they all emanate from within the small figure that is vocalist Bertrand Poncet, who jumps around the stage as he seamlessly transitions from one to the other.
As they play their new cover of Smash Mouth's "All Star" from the recent "Punk Goes '90s 2" compilation, most of the crowd is jumping and singing along. Instead of silence between songs they often just use breakdowns as transitions, an effective move to keep people moving to the extremely danceable music. Coming across as very likeable people with their repeated expressions of gratitude, it's hard not to like them and have a good time at this show, although it's not a truly impressive experience.
Iron chic on Etnies Stage. Iron Chic played Groezrock last year as well; it was an excellent set from what I heard that I sadly missed. They're back this year, the crowd has grown larger, the sing alongs even more so , and the set predictably becomes a lengthy sing-along session on both material old and new.
Crowd surfers go amok, the pit intensifies at the front, but all I'm thinking is: this material is fucking solid.
It feels down-to-earth, intellectual, and carries a ton of depth to it. Halfway through the back half of the tent begins to empty because of this, but those of us in the know are partying. The setlist is full of modern punk rock gems that are sung and played with enormous passion that also reflects to the crowd: people are ripping their shirts apart and holding onto their chests with both hands as they are singing their hearts out.
This, my friends, is what a community both looks and feels like. La Dispute on Etnies Stage. A combination of an Irish coffee that could give a bull a seizure and a La Dispute appearance that - as the first since Restorations - feels like a band is making the Etnies stage their own, does the impossible and gets stokedness flowing through my veins again.
The front of the tent is a fray of movement of course, while Jordan Dreyer and friends confidently perform their narratives with the appropriate energy on stage, so while I still maintain that a song like "Said The King to the River" is endlessly more awesome - with its quirky latin percussion and wild guitar riffs - than anything La Dispute has put on track of late, this is an inconsequential concern when a band owns their space and time so wholly and strikingly as these breakers of the wave-scene do tonight.
Alkaline Trio on Monster Main Stage. Before seeing Alkaline Trio at Groezrock this year, I had been told many times that the one show I had seen them at previously was one of their rare good ones. As such, I didn't really know what to expect from them but initially things go well. As they play through their set on the main stage, there's nothing wrong with their performance strictly musically speaking Ed.
Note: left after 3rd song because they played a classic song in half tempo and with different chorus melody. Their somewhat grand but eerie punk rock rings clear through the tent and they even manage a couple of their old songs with a certain elegance before reaching an early highpoint in their newest single "I Wanna Be a Warhol".
After that however, it quickly begins to feel like there's no energy in them at all as there's not much engagement to be heard in the vocals.
Even though there are lots of chances for singalongs and jumping, this lack of involvement in their own songs is strongly demotivating, and makes the remainder of their set a mostly boring experience. Ignite is not a band I'm overtly enthusiastic about when we arrive at the festival, but one glance at the Impericon tent, which looks stocked to bursting with audience, is enough to convince me to force my way in, around the sound desk, and to the front to find out why so many people seem to be so eager to watch this melodic hardcore act.
The rest of the band, completed by bassist Brett Rasmussen and drummer Craig Anderson, though by no means verging on the furious, look electrified as well, striking their instruments with the sort of force you'd expect from a hardcore band, but which nonetheless has you standing back, awestruck at the sheer amount of power radiating from the stage.
We are treated to a varied selection of material from the band's two decade discography, including the likes of "Bleeding", "Poverty for All", "Call on My Brothers" and "A Place Called Home" - and there's even time for a brand new track dubbed "Nothing Can Stop Me Now" , which goes down as a massive success, if the raucous crowd is to be taken as verification.
Paint It Black on Etnies Stage. You can usually judge a band's notoriety at Groezrock by the amount of other bands watching on the stage. One of the biggest crowds on stage this year at the Etnies is owned by Paint It Black, whose violently aggressive and innovative hardcore punk has made its mark in the scene over the last decade or so.
Much like Verse a few years ago, pretty much every line, every chorus sees Yemin reach into the front lines with his mic to allow anyone who wants to join him in his fierce vocal delivery. It's an intense set with a ton of crowd energy that's also mirrored on stage by the band, however, the last bit of connection is missing for it to be truly awesome. I blame this on the constant stage divers, once again. Descendents on Impericon Stage. It feels like yesterday that I watched these legends at this very festival, on this very stage, giving the youth of the genre a lesson in punk rock heritage.
Though drummer Bill Stevenson and vocalist Milo Aukerman remain the sole founding members, all of the current line-up were already playing music when I was born, and seeing them here, in their 50's, still playing their age-old repertoire like it's nobody's business, and rocking out like men half their age, one cannot but stand in admiration of one of the most longevious bands in the genre.
Without needing to expend an excessive amount of energy, the Descendents have this air of authority over them, and combined with Aukerman's infinite charisma, watching a Descendents show is the punk rock equivalent of watching Iron Maiden or Metallica: a cosy, guaranteed good time full of classics like the aptly titled "When I Get Old" and "I Don't Want to Grow Up", as well as the fantastic duo "I'm Not a Loser" and "Descendents" which conclude the song setlist.
Like Bad Religion, another dinosaur band like this, the Descendents, completed by bassist Kari Alvarez and Stephen Egerton both of whom have been with the band since in its various active periods , cruise through their set without ever truly impressing, yet with the sort of professionalism and ease one would expect from a band with 35 years in the bag. Taking Back Sunday on Impericon Stage.
As anyone that's followed Taking Back Sunday since the return to the band's original line-up can probably relate to, I've been watching more than one dodgy youtube performance online since then while rueing what state my once heroes would appear in should I ever get to see them again. Yet except for being late, Taking Back Sunday gives positively no cause for concern as soon as the hits do start to fly off the setlist.
New cuts like "Stood A Chance" and "Beat Up Car" ring out alongside older ones like "Make Damn Sure" and "Error Operator", as frontman Adam Lazzara slides across the stage swinging his microphone with an ease and a timing that makes other practitioners of this art form look like clumsy children, and finally it seems, the band has found a way to reconcile their past with the ten years they've ripped out of the calendar since their breakthrough. Lazzara and guitarist John Nolan's vocal exchanges sound sharp enough to draw blood, and with the band thus sounding and seeming like they're hitting a new prime, there are probably no more than a handful of bands in the world that could possibly convince HES and I to leave the set before its time.
I damn it all the way to hell then, when we make off after a mere six or seven songs because one such band is in fact waiting for us over on the main stage. Despite knowing and appreciating Brand New as a band that does exactly as they please, I have my concerns approaching their Groezrock set as well, because if there's any place in the world where a set front loaded with the pop-punk and emo material from their first two albums would shake up a nostalgic sing along fest for the ages, Groezrock is that place.
Of course, Brand New either haven't thought of this or just don't give two fucks, opting instead to pummel us with the more angry onslaught of their two - equally but differently amazing - later albums. As with The Menzingers earlier however, a compressed, communication-free set at merely an hour leaves no breathing room to transition between the band's different aspects, and while the singalongs are indeed gratified during the three-song stretch of "Glory Fades", "Tommy Gun" and "Seventy Times Seven", the whole thing feels a bit detached to me.
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