Search Results for "DS Exclusive"

DS Exclusive: “Fat Wrecked for 25 Years Tour” Q+A with Swingin’ Utters, The Flatliners, toyGuitar and Bad Cop / Bad Cop

Whether you’re a loyal, regular Dying Scene follower or you just check in periodically, it stands to reason that think the upcoming “Fat Wrecked For 25 Years” tour is kind of a big deal. Responses to the tour’s lineup, which includes the likes of NOFX, Strung Out, Lagwagon, Swingin’ Utters, toyGuitar, The Flatliners, Bad Cop/Bad Cop, Masked Intruder and more depending on your location, have ranged from “damn, that’s pretty solid” on one end of the spectrum to “oh my god, this should replace the Warped Tour” at the other end.

The ragtag bunch of misfits that comprise your friendly, neighborhood Dying Scene editorial staff agree with the positive vibes about the “Fat Wrecked For 25 Years” tour, and will be out in full force at various different stops on the tour. To get you warmed up, we caught up with a handful of bands that’ll be playing the duration of the tour for a little Q&A session. Check it out below, and check out the full rundown of “Fat Wrecked For 25 Years” tour dates here!

Interview: Introducing melodic punk act City Limits, stream “Homebodies” EP

New Brunswick, New Jersey is not an unfamiliar town to anyone in the pop punk scene. It has seen the manifestation of The Bouncing Souls, Gaslight Anthem, and The Ergs!, and has been home to the legendary Court Tavern (RIP). The suburbs may appear to be quiet, but they won’t give up spewing melodic anthems just yet.

Meet City Limits, a melodic punk act in the same vain as Dear Landlord, Off With Their Heads, and The Lawrence Arms. The quartet released their sophomore EP “Homebodies” through Death To False Hope Records today, July 28th.

You can give it a listen here.

We also caught up with vocalist/bassist Allon Levin, and guitarist Dave Lopez to discuss the difficulties of analog recording, the songwriting process, and their upcoming tour. You can read the full interview and check out their tour dates below.

Matt Riggle, director of FILMAGE: The Story of Descendents/All – guest hosts this week’s episode of Dying Scene Radio

This week on Dying Scene RadioBob Noxious and Bobby Pickles are joined in-studio by documentary filmmaker, Matt Riggle, director of FILMAGE: The Story of Descendents/All. The film spotlights the overly-caffeinated godfathers of pop-punk through various lineup/name changes as their anti-frontman Milo Aukerman departs the band to pursue science and randomly rejoins to make classic records. Key interviews include, Fat MikeDave GrohlMark Hoppus, and past/present band members: Chad PriceDave SmalleyScott ReynoldsTony LombardoStephen EgertonBill StevensonKarl Alvarez, etc. Which incarnation do you prefer: Descendents or All? Episode 25’s recurring theme: The Quest for ALL!

Hear all the insightful awesomeness below.

10 Buried Gems from Bandcamp You Need to Check Out

Craig and Dave of Shadow League

Bandcamp is a virtual black hole of music, anything and everything gets sucked into it. While that variety isn’t really bad thing, it can make searching for new music a needle and haystack scenario. It’s easy to become overwhelmed when rifling through the thousands of pages of bountiful punk offerings. We here at Dying Scene feel your pain, so we mined the recesses of their site and have unearthed ten punk gems that are most likely not on your radar yet. To keep this simple, the only real criteria here is that the bands have to still be active and because things are tough all over, I’ve selected artists that offer most of their music for free or name-your-price. No need to put a hurtin’ on your wallet just to pleasure your ear holes! Check out the list, in no particular order below!

Mike Frazier (folky-punk-rock-americana) releases music video for “War On Love”

Virginia folk-punk-americana-etc artist Mike Frazier is premiering his new single and music video “War On Love” right here on Dying Scene today. The song is the most recent track, and first video released from Frazier’s debut EP “Virginia Son.” Feast your eyes and ears upon it while you check out Frazier’s upcoming tour dates below!

Of the track, Frazier says,

“I’ve found that in America, we really don’t care what happens to give us the illusion of safety. Politicians and newscasters create pandemonium and use terror as a way to stir news. Americans have this impression that their “freedom” is constantly under attack, so no amount of drone strikes or innocent people tortured or killed can really stir us. We just put blind faith in the people above us and let them run with whatever we think will keep us safe. And this isn’t just from an outside lens. On the home front, we are being fed the same fear propaganda. The things we learn in the classroom, the things we see on television, the things we see in stores and advertisements – they all lead us to believe that we’re in a war for our lives. And they’re right. We are facing a war – a war on compassion, a war on knowledge, and a war on love.

“Virginia Son” is due out August 11th on Geneva Records. and was recorded at Valencia Studios with Will Beasley (Dry Jacket, Turnstile, Brigades). The video was directed and produced by Burke Cullinane.

10 Songs That Made Me Fall in Love With Punk (Sketchy)

We recently caught up with New York pop punk act Sketchy and talked to them about the songs that got them into punk rock. Check out their list below.

Sketchy will release their two-song single, Welcome to New York (Fuck You) on Friday, July 10, 2015, and their debut LP later this summer. You can catch them tomorrow night at their single release show at Union Hall in Brooklyn, NY. More details on the show can be found here

DS Interview: Versus The World on new album “Homesick/Roadsick” and the perils of maintaining ‘supergroup’ status

The internet, including Wikipedia (which we are STILL banned from), will tell you that supergroups never work out. However, that fact falters in the face of Versus The World. Featuring members of the Ataris and Lagwagon, the California act churns out melodic anthems and serves as a reminder that heavy songs can still sound fun. The band exemplifies this in their third studio effort Homesick/Roadsick, a sucker-punch of an album that gets catchier with every listen. We were able to catch up with frontman Donald Spence before he embarks on an extensive European tour with the rest of our crew.

You can read the full interview below.

DS Exclusive: Louise Distras on her first US tour, gender equality in punk music, and the release of “Dreams From The Factory Floor” (w/full album stream)

It’s just after 8 o’clock on a seasonably warm late-spring Boston evening. Due to some unexpected police activity clogging the local roads on the route to the Midway Cafe, the kinda-out-of-the-way Boston venue that was our arranged meeting place, Louise Distras is already seated at the bar by the time I make my way in. It’s the eve of the UK-based folk-punk singer-songwriter’s first-ever US show, and, having just flown in from her homeland the night before, she’s a bit…well…tired.

“I apologize in advance because my brain is still a bit spacey,” Distras leads with. In the interest of full disclosure, I find that there’s something intimidating about an artist about whom labels like ‘high-energy, face-ripping, ballsy feminist protest punk’ are bandied about. And yet, whether it’s the travel-induced spaciness, the pre-US tour jitters or, more probably, the genuine and thougtful nature she puts in to having a conversation, there’s also something immediately disarming about Distras, a good sign for a natural introvert such as myself.

Distras has teamed up with fellow folk punk Bryan McPherson for a three-plus-week US tour that will take them from the Bostonian-turned-Californian’s former home to his current one. It’s a flip-flop of sorts for the two, who recently wrapped a lengthy tour of the UK and mainland Europe. The two hadn’t met in person prior to the first UK gig, relying on the magic of social media to make the necessary connections for such a venture to work. Quite the leap of faith, at least on paper, and yet as Distras says, “I think we’re both pretty intuitive people that rely on our gut instincts a lot, and I think if either of us had a bad feeling in our guts about it, neither of us would have done it.” By all accounts, the UK/EU tour was a resounding success, paving the way nicely for a tour that’ll mark the release not only of McPherson’s latest solo album, Wedgewood, but the US/International release of Distras’ debut full-length, Dreams From The Factory Floor.

Though originally released through Distras’ own Street Revolution Records in 2013, Dreams From The Factory Floor found its recent, widespread release through California’s Pirates Press Records. “Ultimately, it’s all about getting the music and the message out to as many people as possible,” comments Distras. “Through Pirates Press and their amazing support, we’ve been able to take the record and put it out to people all over the world.” While the wider release will allow more people to hear the stellar album, it also affords Distras the opportunity to shine a brighter light on issues she cares about. Test pressings of Dreams… are being auctioned off at Distras’ website to help raise money for a human rights organization called Justice Now. Says Distras of the cause: “they are working with inmates in women’s prisons in California. Their key things are fighting for reproductive justice within women’s prisons in California, and they were fighting against the forced sterilization of female inmates in prisons. They work with communities that are effected by family members in prison, through music, art and things like that.”

Like most of us, Distras found the punk world at a fairly early age (twelve, to be exact), albeit via a bit more of an untraditional path for someone born in 1987, which marked the tail end of Thatcher’s ironclad grasp on the United Kingdom. “Wakefield, where I’m from, is a place that was completely destroyed in the ’80s by the right-wing government. It’s very, very apathetic,” says Distras, “there’s nothing to do for young people, there’s a lot of fighting and a lot of drinking.” As you’re probably imagining, life at home in such an environment left something to be desired. “I was surrounded by a lot of toxic energy. I was bullied at school for being different, bullied at home, and I just felt really alienated all my life.” Enter Kurt Cobain.

“The catalyst for me was hearing Bleach by Nirvana for the first time,” Distras says. “It was the first time that I ever heard, as I describe it, that sounded the way that I felt…my mum was working any and every job she could find to put food on the table and put clothes on our backs and everything.” Bleach might not sound like an obvious entry to the world of punk rock for female in the UK in 1999, but the punk world can be nothing if not unpredictable. “Hearing that record for the first time, and hearing for the first time that somebody else was feeling the same way as me. That’s the only way I can describe it.”

While many a pre-teenage boy was inspired to pick up a guitar based on the music that originate from Seattle garages (or Queens garages…or London garages…), the same cannot be said for females of the same age. In many ways, Distras has been pioneering the carrying of the independent punk flag amongst women of this generation, but she’s drawn inspiration from a couple of sources, one likely, one a bit more unexpected. “Joan Jett’s attitude and approach, her strong, independent, DIY mentality was definitely inspiring when it came to setting up Street Revolution Records and selling my album,” says Distras, adding that she “actually found out recently that Dolly Parton took the same approach as well in the early stages of her career. She said something like even if she hadn’t received all of these amazing responses to her music, she would still be selling records out of her car because it’s just what she does. It’s just like breathing air to her.”

Distras displays a sense of responsibility for carrying not just the socially conscious punk flag, but of leveling the playing field for women in the scene. The lack of gender equality on the main stages of the UK and European festival circuit, not to mention the Warped Tour here in the States, draws particular ire. “What kind of message is this sending out…about what it means to be a young man and what it means to be a young woman, and how men and women see their roles?,” asks Distras rather concisely. “The stage is for the guys, and the girls are groupies.” Distras’ own shows showed a similar trend at first, but the tide seems to be turning. “When I first started playing solo shows three years ago, there wouldn’t be many young women,” says Distras. “As time went on, young women started coming to the shows, but they’d stand at the back because that’s the safe place. Now, the women stand at the front of the shows and jump around.”

Distras has come an awful long way, literally and figuratively, in a fairly short amount of time. There’s a sense of honesty, urgency, and integrity in her lyrics that force the listener and the audience to pay attention and to join the cause. “People have said that music can’t change the world, but I really do believe that it has already and will continue to do so,” says Distras. “It certainly changed our worlds and led us down this journey that we’re on now. Even something as simple as having a bad day and hearing a song on the radio that makes you feel better is an amazing force.”

For Distras, there’s a lot in the works for not only the remainder of this year, but for next year as well. You’ll have to check out our full interview below for more specifics. While you’re at it, you can stream Dreams From The Factory Floor in its entirety! And if you live in the Western half of the US, you can check out the McPherson/Distras tour rundown here.



DS Photo Gallery: Bryan McPherson and Louise Distras, The Midway Cafe, Boston (6/12/15)

Something special happened at the Midway Cafe last Friday.

The gritty, sorta-out-of-the-way bar in the Jamaica Plain section of Boston played home to both a triumphant welcoming party for an out-of-towner, and a tour de force welcome home for a native son.

UK folk-punk songwriter Louise Distras, of course, is the former. Playing just her second-ever show in the United States (following only the previous night’s tour kickoff in Portland, Maine), Distras is serving as direct support on Bostonian-turned-Californian Bryan McPherson‘s tour in support of his stellar new album, Wedgewood. The two are essentially flip-flopping roles from last month’s UK/European tour that saw Distras headlining, at times with a three-piece band. The direct support role can be an especially tricky thing, particularly in a headliners hometown, but Distras was quick to lay waste to whatever jitters may have been present, commanding the stage from note one. Boston has a thing for music that features honest, raw, working-class struggles, all of which is right in Distras’ wheelhouse, as evidenced by her own stellar new album, Dreams From The Factory Floor (Pirates Press Records). Though plagued through the first few songs by persistent technical difficulties, the dynamic Distras powered through, playing a few truly unplugged tracks and winning over fans in the process.

But the night, obviously, belonged to McPherson. Hometown crowds are generally known for their overly supportive nature, but Boston crowds can also be a notoriously fickle, vocal lot. By the time McPherson took the stage at around 11:30pm, (Hippie Hour, which preceded this show at the Midway, ran long…who’d imagine hippies would have issues with time management), the sold-out crowd was more than join the ride. McPherson cut his teeth busking in and around the Boston area, and spent some time on the road with other acoustic troubadours like Tim Barry and Cory Branan over the years. While McPherson may not be quite the name that Barry or Branan are at this point, he’s sure to meet or surpass those two (editors note: if you’re familiar with my musical tastes through reading this site, you understand that any comparisons to Tim Barry or Cory Branan are high praise and not just bandied about) in short order, based both on the strength of Wedgewood and on McPherson’s command of a crowd.

This particular crowd featured McPherson’s parents, a slew of other scene regulars, and friends McPherson has made along the way. The set was a virtual marathon, a two-hour epic slugfest that spanned McPherson’s career, focusing heavily on both Wedgewood (released on his own OFD Records) and his last album, American Boy, American Girl (2023, State Line Records). While there was plenty of banter to go around — McPherson is a Dorchester Irishman, of course — the socially conscious, politically firebrand music and the camaraderie were the focal point, particularly as McPherson made repeat visits to the venue floor to join the troops, rather than merely to rally them on. The crowd returned the favor, joining McPherson on stage for a raucous, set-closing cover of the Rancid classic, “Olympia, WA.”

Local support on this night came from local acts CE Skidmore and Time And Place. Skidmore is one-third of awesomely-named acoustic punk act Live Nude Girls, though she was essentially flying solo on this night, joined for only one song by fellow Nude Girl Aria Rad. Time And Place are a four- (and sometimes five-)piece sort of highly-enjoyable folk/punk/shanty/pub rock band along the lines of a less-drunken, Bostonian Skinny Lister. Both performed well-received sets that kicked off the show in fine fashion, getting the room fired up (figuratively of course, but almost literally based on the venue’s internal temperature) in advance of the tour mates.

Check out our photo gallery from the evening below.

DS Exclusive: Sal Medrano of Rebuilder on “Rock And Roll In America,” and building a band in the current punk scene

There comes a time in the life of many a local band when the inevitable “shit-or-get-off-the-pot” decision presents itself. There are seemingly limitless potential catalysts for such a decision: excessive drinking and drugs, fights over who wasn’t pulling their weight at load in/load out, band members getting married, band members having kids, people bring unable to tour due to day jobs or unwilling to tour due to lack of motivation, and on and on and on. For now-defunct Boston punk band Dead Ellington, that moment came by way of a principle member moving across country. Says former frontman Sal “Ellington” Medrano: “In a nutshell, my best friend at the time and band member Jason (Caira) wanted to move to California… We we made the band right after high school together. He gave me a date that he was leaving and said I could not book anymore shows past that. I was thinking that, well, if we can’t be a band past then, then I guess I don’t really have much of a choice.”

In fact, Medrano did have a choice, albeit a bit of an imperfect one. “I could try to start another band, or I could just not be in a band at all,” says Medrano. The latter seems a tad unrealistic for someone who has been in and around the Boston scene for as long as Medrano. But the fracturing of a band, of any relationship really, can force one to contemplate some rather existential issues.  ”Not being in a band anymore was, at the time, a very strong option,” Medrano comments rather directly. “I could just not throw my money into this anymore and not stress myself out with everything that comes along with it. But I kind of enjoyed it too much to just not do that.”

Medrano had already had a batch of songs written that were a little different than his previous Dead Ellington efforts. Committed to seeing his ideas through, Medrano contacted some of the various one-time members of Dead Ellington for his new project. But while many of the names and faces would be the same, their roles, and ultimately the vibe, would be very different. In addition to tackling vocal duties as he had in Ellington, Medrano, a drummer by trade, decided to pick up a guitar. “I said I’d suck it up and play guitar in this band,” Medrano says, only half-jokingly. “There’s plenty of people who are awful at guitar who are in bigger bands, so I can be awful at guitar and be in a band as well!” He enlisted the help of one-time Dead Ellington drummer Craig Stanton, though Stanton had no real desire to man the drumkit in the new project. Instead, Stanton, who’d been writing ideas of his own on guitar for a while, joined as essentially a co-guitarist and dual vocalist. Bass playing duties would be handled by Dan Carswell, who’d learned bass specifically to join Dead Ellington on their last tour dates. Still in need of a drummer, for their first batch of songs, Medrano and company turned to Rick Smith who, while a drum instructor, was perhaps best known in Dead Ellington circles for his keyboarding duties. However, Smith had no lingering desire to join as a full-time drummer. Who was left to turn to? Former Dead Ellington bass player and admittedly, says Medrano, “the best guitar player any of us know,” Brandon Phillips.

And so it was that Rebuilder was born.

Many of the parts may be pre-existing, and they may have taken a bit of a circuitous route in coming together, but the reception Rebuilder (with Smith providing keyboard duties whenever possible) has already been different than the reception to Dead Ellington’s seven-ish year run ever was. How different? “It’s night and day,” says Medrano (pictured above in the American flag shirt alongside his Rebuilder bandmates at the Rock And Roll In America release show). So different, in fact, that “it’s really one of those things where I wish that I stopped doing Dead Ellington a long time ago. I think I was not able to look at the band and see that it wasn’t working.” Now in their third year as a band, Rebuilder have already put out an EP (plus a bonus Christmas EP), opened for the likes of Dropkick Murphys, Mighty Mighty Bosstones and Frank Turner, booked a few of their own tours, made appearances at the Pouzza and Skate & Surf Fests, and booked shows at this year’s Fest in Gainesville. Their debut full length, Rock and Roll In America, was just released via New Jersey’s Panic State Records, and strong enough that it can only serve to propel the band forward.

It takes less than one full listen to realize that RNRIA was written and recorded as an album, rather than as merely a collection of a dozen-or-so songs that sound okay together. One of the bigger differences between Dead Ellington and Rebuilder are the the lyrics themselves. Frequently one for being nothing if not honest, Medrano admits that in Dead Ellington, the goal was to write more for what it was assumed people wanted to hear. In Rebuilder, that level of pretense has disappeared, finding Medrano and Stanton writing their lyrics more for themselves, as a way to process their own issues. Though the two wrote their respective lyrics separately, you’d never really know it by listening to the album, as the words and their voices blend seamlessly.

If you’re of a certain age and thus grew up in the modern Golden Age of American punk music, you’ll no doubt recognize some familiar themes. Depression. Anxiety. Alienation. Being an outcast. The same energy that launched legions of Lookout Records and Fat Wreck Chords bands a generation ago. “I wasn’t really a popular kid growing up, I kinda just stayed home and played drums all day,” says Medrano in a sentiment that’s been echoed by millions. “You find music that speaks to you, really,” he continues. “I remember when I first listened to NOFX, they were the first punk band I ever heard. And for as goofy as it is, there are themes in there that are just about growing up and being alienated. I think that’s why I gravitated towards punk rock. And I think that’s always been why I wanted to play music.”

And yet, somewhere along the line, the themes that essentially fed the punk movement for so long seem to have gotten lost in the crowd somewhere. “I don’t see a bunch of teenage kids starting bands anymore,” says Medrano. “When I walk in to a Guitar Center, they’re selling either more towards EDM or just not selling really cool shit at all. A lot of teenagers that aren’t starting a lot of bands and that aren’t putting their heart and effort into it because there isn’t any real role model.” Rebuilder in general, and Rock And Roll In America specifically, are a big step in the direction of taking some of that back. While there’s an earnest, at times startling, amount of sincerity in the vocals both on record and particularly in live performances, Medrano and company are careful to not take themselves too seriously, as evidenced by even the quickest of looks at their Bill Murray (formerly Bill Cosby) -adorned merch, or Medrano’s Instagram page. “I do think we’re really lucky to do what we’re doing, even though we’re definitely not making a living doing it,” says Medrano.” “Just the fact that this record is out and that people like it is a big deal to us. It’s a big deal to me because I’m always, like, ‘if I die tomorrow, will I leave anything behind that’s having any lasting effect?’ The fact that this is out and will always be out makes me very happy.”

Head below to check out our discussion in full. We cover a lot of ground, from the Dead Ellington years to the state of the Warped Tour, to singing a song with a chorus that includes “anything’s better than New Jersey” to a bunch of kids in Asbury Park, to a virtual how-to on getting involved in bands and making connections in your scene, even if your own scene doesn’t have its own Dropkick Murphys or Mighty Mighty Bosstones to guide the way.

Rock And Roll In America was released June 2nd on Panic State Records. Get it here.

BIGWIG frontman Tom Petta guest hosts Dying Scene Radio from the 119th floor of Johnny X’s swanky East Village hotel room

This week on Dying Scene Radio, Bob Noxious and Bobby Pickles welcome BIGWIG guitarist/frontman, Tom Petta, in-studio high atop the world on the 119th floor of Dying Scene Head Honcho Johnny X’s swanky East Village, NYC hotel room. Everyone has been invited to the party, except for Bob, who is lounging at home in his flippy-floppies with the Tampa Bay Lightning game thundering in the background. Like the great Wizard of Oz, Mr. “X” is finally unmasked for that of the illustrious Dave Buck. He and the Bobs speak with Tom about BIGWIG’s upcoming US/Canada tour and the imminent recording of their new album, the reasons for BIGWIG’s long hiatus (Tom’s severed finger) and having some of their original lineup back together. Episode 19’s recurring theme: Bobby’s insecure cheapshots at Bob.

Listen to all the pretentious pandering below.

The Dying Scene Sessions: The Briggs

We’re stoked to bring you the latest installment of the recently reincarnated Dying Scene Sessions! Today’s Session features Joey and Jason of The Briggs performing the songs “Gridlocked” and “Broken Bones” off their latest self-titled release. Check out the videos below!

The Briggs are set to embark on a 2-week tour of the West Coast with 7Seconds and Success.

The Briggs released a self-titled EP this May 5, 2015.  It was the band’s first release since their 2008 record Come All You Madmen through SideOneDummy Records.

Punk Rock Bowling: Backyard show with PEARS, Vampirates, Jason Guy Smiley

Every year, Punk Rock Bowling is full of kick-ass shows, from the festival, to the club shows, to pool parties, and previously-unannounced shows, some official PRB events, some not. But for me, one of the best parts of the weekend is a meetup with friends from across the country at the Fat Wreck Wiki BBQ. This is one of the non-official PRB events, but it was also one of the best shows of the weekend, featuring PEARS, Vampirates, and Jason Guy Smiley.

Special thanks to the gracious host, Mikee, who made the whole thing possible, the fine folks at Clearview Records, Fat Wreck Chords, and of course, the bands who took the time to play for a bunch of punks and record nerds. Check out the full gallery below.

DS Photo Gallery: The Used @ Upstate Concert Hall, Clifton Park, NY

The Used recently wrapped up another month-long US tour (alongside Every Time I Die) in support of their latest album, April 2014′s Imaginary Enemy. Dying Scene had photographer Catharina Christiana (C3 Photography) on hand to shoot the headliners at the tour’s stop at the Upstate Concert Hall in Clifton Park, NY. Check out her photo gallery below!

The Used’s Imaginary Enemy was released in April 2014 by Hopeless Records.

Punk Rock Bowling: Night One – Manic Hispanic, Me First And The Gimme Gimmes (Bunkhouse Saloon)

Friday night was the first night of official Punk Rock Bowling club shows, so after already being in Vegas for three days, I was itching to get this thing started! It all started with a night of cover songs, featuring Manic Hispanic & Me First and the Gimme Gimmes at Bunkhouse Saloon.

Before the show, we had a Dying Scene game-planning meetup at the Nugget, and you know how punks do with meetings. So, needless to say, I was a bit late to the show, and missed the first-ever show by The All Brights (Sean Sellers of Good Riddance, Dave Hause). Some of my friends who made it said it was a great set though, so I’ll take their word for it.

We got there shortly after Manic Hispanic started their set. I had never seen these guys live, and it was quite the… experience? They busted through some punk rock classics, of course, with the words changed. I’ll admit, I don’t listen to Manic Hispanic much, but it was comical to hear them changing the words to songs like Rancid‘s “Ruby Soho” (“Rudy Cholo”) and The Vandals‘ “Urban Struggle” (“I want to be a cholo”). Kind of like a punk rock/Chicano Weird Al vibe. Fun stuff.

The main attraction, though was Me First and the Gimme Gimmes. Everyone’s favorite punk rock cover band switched up the lineup for this performance. Instead of Fat Mike (who was chasing waterfalls with his daughter) on bass, it was Jay Bentley from Bad Religion. Brian Baker (also from BR) filled in on guitar for Chris Shiflett. Baker was pretty quiet most of the set, but Jay Bentley seemed to relish the chance to break free from his more “serious” role in Bad Religion. He was cracking jokes seemingly non-stop, and even did some background dancing when Spike Slawson gave the band a break to do some Uke-Hunt songs solo on the ukulele. It was quite entertaining. Spike was in his normal frontman form, flying through “the hits”. For me though, I think he did a few too many cover songs…

Check out my photos from Manic Hispanic and Me First and the Gimme Gimmes below.