The Audition:

Marianas Trench:

No matter what the musical genre, venue size and type, or overall feel of a show is, there are a couple of things that I’ve come to scrutinize when considering the quality of a live music experience: Performance Quality and Sound Quality. Though, of course, factors like genre, venue, and feel will affect HOW I scrutinize these two factors, in the end, I feel like those are the things I really came to experience, the things that, if executed well, really make a live performance worth it. In these two factors, the Japan-based four piece L’Arc-en-Ciel definitely delivered at Madison Square Garden, and provided the audience with something else, too: a nice dose of sincerity.

L’Arc-en-Ciel made a point to display their style and personality from the very beginning of the performance; if one was not sure what kind of band this was, this was cleared up very early on. Coming in with a fully orchestrated introduction, complete with fancy name-and-photo displays for each member of the band, it was established very early on that this would be a very Pop performance and experience. What made this very acceptable, though, and not incredibly cheesy, is that the way the band presented itself physically and personality-wise matched their production and how they were presented on screen. Like their style or not, it was clear that it was pretty organic, that this is what the band really was. This set the stage (literally) for a full visual production value performance worthy of the somewhat extreme feel of Madison Square Garden. And because this style resonated so well with the band, it didn’t detract from, but enhanced, their performance quality.

As the show continued, the audience experienced more high-energy theatrics from the stage, and, thankfully, provided high-energy reaction. A good crowd is a key factor in life performances of this style, and this crowd delivered, contributing positively to the performance quality. Aside from all of the pyrotechnics and fun big-screen effects, the band itself provided enthusiasm from the stage as well. Though they weren’t high-energy per se—vocalist Hyde wasn’t jumping around stage all night, and there were no fantastical leaps or other similar acts from the other band members—they were right there with the crowd, showing enthusiasm throughout. They fed off of the energy of their fans, and reacted well to bursts of energy from the crowd. All of the members seemed very aware of the presence of the cameras, and used them well: emotion, enthusiasm, and even eye contact in just the right moments were communicated well via the large screens above the stage. The thing that I expected to miss the most in such a large venue, crowd interaction, was definitely present in this performance, and, amongst all of the showy lights and explosions, this is what shone through the most. When the singer of the band runs on to the speakers (or whatever they were) in front of the stage so he can get closer to a crowd that is still so far away, you can really see how much he cares. It was the combination of band enthusiasm and interaction and stage production value that lent to a very satisfying level of Performance Quality. But not all of the band’s energy was spent here: they made sure they sounded great, too.

Aside from showing who they were early on, L’Arc-en-Ciel seemed to make a point of showing what they could do early on. Of course, when you’re at The Garden, you kind of expect anything to sound good; high production value isn’t just about visuals, and I’m sure both the venue and the band put a lot of money into their audio equipment. L’Arc-en-Ciel, however, constantly reminded the audience that they were better than just high-quality audio production. Aided by the cameras (oh, how much we would have missed without those cameras…), they were able to constantly translate their level of skill to the crowd. Virtuosic riff, runs, and solos were preformed throughout the length of the performance, mostly presented on guitar but provided by every member of the band, including notable, lengthy bass and drum solos, and the vocalist showing off his guitar skills as well (he generally performed without an instrument). Backing tracks did play a significant part in the overall performance, even though they did not exist for every song. Stadium echo and effects contributed to vocals as well, but not correction. One could hear when a falsetto was being pushed or when a note fell flat, as rare as it was – the vocals were pretty consistently clean and energetic all night. Overall, the band overcame the overbearing nature of production and did not let it dominate their sound; the skill of the band was well displayed, and they provided a highly respectable level of Sound Quality.

Throughout the night, the band also gave a lot of themselves, and asked for input from the crowd as well, contributing to the feel of a very genuine and interactive performance. There were many comedic moments, including a couple of monologues with random hilarity mixed in, and the throwing of lollipops and bananas (don’t ask, because I don’t know). The crowd definitely enjoyed it, as did the band members, and it was very nice to see them having fun together. Before performing their last song of the night (pre-encore), READY STEADY GO, of anime Fullmetal Alchemist fame (http://www.cdjapan.co.jp/detailview.html?KEY=SVWC-7218), they gave warm thank-yous and goodbyes, and, after a pretty long wait, came back for an encore that definitely made up for that wait. A karaoke-like guided singing session brought the crowd in and encouraged enthusiastic participation during one of their slowest, but most passionately performed songs of the night. For me, the most significant part of the night was when Hyde began to make the (actual, post-encore) parting speech for the band. Among the gracious and extended words of thanks, he remarked on how it took the band twenty years to get where they are now, and asked the crowd if the band would be seeing them again soon. A humble nod towards the work and years they’ve put into the band, as well as letting everyone know that, with their help, the band would keep it up, it was one of the most genuine moments of the night, and the perfect note to end the show on. Amongst all of the energy, laughter, explosions, and lights, L’Arc-en-Ciel did in The Garden what so many bands fail to do in much smaller venues where they have much more agency to do so: they gave of themselves, really interacted with the audience, and got the fans to give back. They reminded the crowd that the band’s success was in the hands of the fans, and really thanked them for what the band has been given so far. It was this element existing through the entire performance that made it both a respectable and enjoyable exhibition, and a great way to spend the night.

Ink:

Kill The Complex:

Bayside:

Yellowcard:

New Found Glory:

Tuesday the 14th, Rusko rocked the Town Ballroom in downtown buffalo. Coming to arguably one of Buffalo’s most storied and prestigious venues, it was no surprise this Englishman was not there to play any games. From the moment he took the stage, he wasted no time by dropping the bass off one of his brand new id tracks within 30 seconds.

Although he did not have his usual signature lightboard and show that he rolls with, his performance was no less bright. Dancing and freaking about to each filthy rhythm and melody, it was definitely evident that Rusko was having just as much fun as his audience.

The buffalo crowd was ready to rock well before the show started. Lining up from all the down the long Tupper street, you almost couldn’t walk two steps without an anxious Rusko fan desperately begging you for an extra ticket. Extra tickets would not have helped though, the ballroom was packed to the brim, just the way it should be for a womp legend like the one at hand.

His setlist was great to say the least. You never know what to expect when this man takes to the decks (neither do the decks, he broke three CDJs!) He surprised the crowd by throwing on brand new, never heard tracks that were BANGERS and will be greatly anticipated by his fanbase. Ultimately, he had to stay true to his roots and definitely evoked the giant gasps and screams whenever he dropped one of his classic tunes like the Pro Nails remix, Hammertime or Woo Boost. He ended the show with an encore performance Cockney Thug and respectfully mixed in his good friend Caspa’s remix in as well.

Rusko could have been anywhere in the world that holiday, but the love of his Buffalo fans pulled him to the 716 for a crazy night.

We Are The Ocean:

Twin Atlantic:

The Swellers::

You Me At Six:

Evan Weiss (Into It. Over It.)

Ace Enders (The Early November)

Chris Conley (Saves The Day)

Matt Pryor (The Get Up Kids)

Anthony Raneri (Bayside)

One could tell the everyone at Webster Hall was ready to rage out once Midnight Conspiracy hit the stage, the duo from Chicago primarily focuses on electro house and dubstep, and sure enough they showed New York some Chicago hospitality. While playing some of their older songs like their remixes of Lucky Date’s Ho’s and Disco’s and Crystal Castles Crime wave kept the true fans happy, Midnight Conspiracy definitely showcased their new banger and EP Discord. The dirty bass lines and hard-hitting synth leads really built the energy of the crowd that halfway through the set everyone in the room was raging out.

Midnight Conspiracy & CENOB1TE – The Eye (Original) by Midnight Conspiracy

Savoy continued to bring the heat after Midnight Conspiracy stepped down from the stage, this trio from Boulder, CO have reigned supreme on the dubstep beat port charts continuously through the year of 2011. Savoy played everything that would be included in a perfect set; there was a great mixture of house, electro and dubstep that kept everyone on the dance floor from the hardcore dub heads to the traditional house fans. Savoy threw out amazing tracks like, “I’m in Need” , their “Dirty Dancer” remix and one of my favorites of the night was their remix of Dev.’s “Dancing in the Dark.” Overall Savoy put on an amazing show that paved the way for the entrance of the king, Feed Me.

Feed Me has to be the best show I have seen at Webster Hall during my time at ReWriteTheScene.com by far. Every aspect of this show, from Feed Me on stage, to the crowd, to the energy of the room all lead to an amazing experience that left me breathless once the show was over. Feed Me, originally from London, really knew how to connect to this New York crowd and was able to get everyone involved with his show. Playing such classics like, “Pink Lady”, “Cloudburn”, and “Muscle Rollers” Feed Me made sure that every element was addressed in his show demonstrating an amazing mix of his own works with the top charts today. I have been a huge Feed Me fan for several years now, and finally being able to see him live was an experience like none other. For those who don’t know who this amazing producer is, I suggest you check him out now.

Overall, this night was definitely one of the best nights I have experienced at Webster Hall and was the perfect way to say goodbye to 2011.

Midnight Conspiracy – Discord (Original Mix) by Midnight Conspiracy