The 9:30 club was packed Sunday night with odd characters. But for Coheed and Cambria fans, that wasn't surprising.
Unfortunately, before any concert there are the dreaded opening acts. The first band, Fall of Troy, was humorous in delivery with a slightly arrogant and energetic frontman. They sounded like a blend of new-age metal and fun guitar riffs. The second band, Clutch, however, was just painful. Their music sounded as though one might hear it at a dilapidated truck stop from the '90s. Frankly, if one is ever in the mood to listen to '90s music, stick to classics like Soundgarden or Pearl Jam, not Clutch.
Once Coheed and Cambria came onstage, all previous complaints disappeared. The best word to describe the band is epic. The stage was decorated with their signature insignia, a neon green dragonfly symbol and an urban city landscape. Granted, it looked a bit kitschy, but fun nonetheless.
They played about five new songs off their fourth and latest album, "Good Apollo I'm Burning Star IV, Vol. 2: No World for Tomorrow." Such songs included "The Running Free," "Mother Superior" and "Gravemakers & Gunslingers." The band played plenty of its classics as well, and songs like "Devil in Jersey City," "A Favor House Atlantic," "In Keeping Secrets of Silent Earth: 3" and "Everything Evil" graced the set list. As a whole, material from the fourth album wasn't played much throughout the concert, and it was a wise decision for the band to revert back to its popular classics.
Although the set wasn't exceptionally long, it packed a lot of energy and showcased true musical talent. At the beginning of the set, birthday boy and guitarist Travis Stever enjoyed a lively "Happy Birthday" sing-a-long from the audience. Coheed and Cambria frontman Claudio Sanchez truly delivered, and his unique voice faltered in neither pitch nor projection. The overall quality of the songs was exceptional and even a bit surprising, considering the recent lineup changes that could have led to a potential disaster. Former drummer Josh Eppard officially left the band in November 2006, followed by the brief exit and return of bassist Michael Todd. New drummer Chris Pennie replaced Eppard just after the fourth album was recorded.
The band didn't carry an arrogant air like many other popular alternative bands. At the end of the set, the band jammed for about 30 minutes. For anyone who has seen Coheed and Cambria live before, it was a bit unusual. At first it was enjoyable and fun to dance along with the cacophony of sound. But, 20 minutes later, it totally lost its luster.
There wasn't too much pushing or shoving among fans in the crowd, which was unexpected, yet appreciated. Instead, there was a kind of camaraderie present, making the show much more enjoyable. In fact, the crowd ran the gamut of geeky gamer, pubescent male fans with stringy long hair to burly men in their late 20s; it seemed the audience's initial bark was bigger than its bite. Inevitably, the most dedicated fans scrambled to the front to scream along with the intricately composed, vague lyrics that characterize Coheed and Cambria's music.
Overall, it was an incredible concert, despite the sub par opening acts and the anticipation of waiting for three hours for Coheed and Cambria to take the stage. The band knew how to perform its songs with gusto, clarity and a real passion for the music.
