Q&A: Evan Thomas Weiss of Into It. Over It.

Evan Thomas Weiss is the hardworking frontman of Chicago indie rock band, Into It. Over It. Growing up on the east coast, Weiss was exposed to Sunny Day Real Estate in the seventh grade and quickly scoured the record stores of New Jersey and Philadelphia collecting any vinyl he could released by Jade Tree and Polyvinyl record. Years later, the profound affect of emo and indie rock music inspired Weiss to create his own outlet, and has since toured with The Get Up Kids, Minus the Bear and Modern Baseball to name a few.

Weiss has many projects under his sleeve (or perhaps I should say flannel), performing solo for Chicago festival, The Fest, touring with his side project, Pet Symmetry, which he created with members of the band Dowsing, and recently record a new album with his brain child, Into It. Over It.

The band chose San Francisco’s Tiny Telephone Studio to work with local hero John Vanderslice for their third album, Standards. The record is warm and uplifting, much like the climate in the city, never getting too cold or too hot. Fresh off the heels of a week at SXSW, I caught up with Weiss to talk about the unique writing process for this album, spending time in the city and working with John Vanderslice.

Your new album, Standards, was recorded in San Francisco at Tiny Telephone Studios with John Vanderslice. What was the driving factor in choosing this studio?

The driving factor was choosing John. Based on conversations leading up to the session it was clear that he was the person for the job. He had the right outlook, ideals and skill set. Plus, he WANTED to make the record. His desire to be a part of it was really huge.

Did working with Vanderslice help shape the record?

Absolutely. It was in many ways very collaborative. It was the first time I had really put 100% trust into someone else when it came to some big sonic decisions.

Known for being an analogue studio, you recorded entirely on tape. What were some of the challenges?

I went into it thinking there would be a ton. Really, it was so much easier than we had anticipated. The main difficulty was mostly in just being able to get solid/single takes of all of the parts.. Being well rehearsed and playing with confidence. This proves a little more difficult when I write so much of what’s happening in the studio in real time. 

Recording demands a lot of time. Did you at least get out to see the city?

Josh (who made the record with me) and I got a couple days to really see some of the sights. Did some touristy stuff (Golden Gate, etc.) and some less touristy outside stuff (Muir Woods). It’s a beautiful part of the country. A really inspiring place to be.

You wrote these batch of songs in a secluded cabin in Vermont, totally detached from the outside world. Do you think it helped with the songwriting process eliminating such distractions?

100%. I think you can hear the focus in the material.

What sort of clarity did you achieve, personally, from this?

It was almost zen like. A full feeling of purpose. There was very much of the outside world I really found myself missing. Maybe chalk this up to Josh and I being introverted people, but it was a complete creatively fulfilling process. 

You’ve been one of the busier musicians in the indie rock scene, touring with Into It. Over It. alongside Modern Baseball and Minus the Bear, playing a solo set at Chicago’s Riot Fest, touring with your side project, Pet Symmetry, even making a special appearance on bass at a Get Up Kids show. What drives you to tackle so many projects?

Hunger. Staying hungry is the only way I can keep myself motivated and with clear conscience. I think it’s important for any artist to continue to challenge oneself at all times. It’s the only way in my mind to keep from imploding.

You just finished up a few dates at SXSW. How was it this year? Any standout memories or performances?  

I think IIOI did it right. We took it easy and played one show a day. We scheduled everything out just right so we were never overdoing it. Plenty of sleep is the key. The Middlewest Management showcase was our standout night. A great show surrounded by friends and family. It was really special.

After your current tour, do you have any other goals for 2016?

Gotta get overseas. Gotta bring the band to Australia and Japan. Gotta get a jumpstart on writing the next record. It never stops!


Seth Avett and Jessica Lea Mayfield Sing Elliott Smith, Among Others at Palace of Fine Arts

FullSizeRenderSeth Avett, guitarist/vocalist of the Avett Brothers, and Jessica Lea Mayfield, a whimsical singer/songwriter from Ohio, payed tribute to Elliott Smith with a live performance in San Francisco’s prestigious Palace of Fine Arts Sunday night.

It was the perfect setting for the two, who were joined by stand up bass player Paul Defiglia of the Avett Brothers. The theater was lined with a robust red interior while the stage was set to emulate a dollhouse like kitchen. The ornate backdrop had blue and white wallpaper with a door, and the kitchen was equipped with a refrigerator covered with magnets and juvinile sketches of faces, a working sink- which at one point Jessica Lea Mayfield proved, framed pictures on the walls, a desk for Seth to rest one his three guitars, cabinets holding empty glass bottles, a lamp and even a vacuum. For some of us, this probably resembled home, aside from the piano, the guitars, stand up bass and microphones; although for some that might not be too unrealistic either.

The stage set the tone for an extremely genuine performance. Seth and Jessica wasted no time, plunging into the first track from their tribute album, “Between the Bars.” Seth demonstrated his flawless guitar playing and impressive vocal range while Jessica was the perfect compliment to his voice. The chemistry was undeniable. These two could have played renditions of anything they wanted and it would have captivated people. It seemed evident that they also recognized they had something special, and whether or not their chemistry exists off stage, they interacted with a sincerity that only so few singers have with each other. What creates these special bonds, especially as a duet, is a great deal of respect and admiration, which they exposed by covering each other’s songs. What was also clear is that they were having a hell of a good time, not only playing Elliott Smith’s beautifully crafted songs, but playing as an item in such intimate settings. There was something greater that was occurring, something that Elliott Smith would be proud of.

While the show was mainly to support their album, Seth Avett and Jessica Lea Mayfield sing Elliott Smith, they also intertwined acoustic versions of their own songs and covers of artists who influenced Elliott Smith. It was an unexpected and pleasant surprise to hear them sing such influental artists as Neil Young, Hank Williams, The Beatles, and Bob Dylan paired with Smith’s tunes. It gave the audience a greater appreciation and understanding of where Smith’s inspiration and crafty songwriting developed. While these two were undoubtedly brilliant together, they never stole the spotlight of show, continuously thanking the audience for allowing them to play original tunes and sharing stories of the artists they were covering.

The future is extremely bright for this duet. While the project took almost three years, the hard work most certainly payed off as they played these songs with passion and perfection. Covering Elliott Smith songs are not easy to do, and perhaps that’s why we haven’t heard a tribute album thus far, or why more artists don’t attempt to cover his songs, but there really couldn’t have been a better duo to tackle it. While many people might not exactly be familiar with Jessica Lea Mayfield, or have listened to the Avett Brothers outside their commercial success, they are legitimately talented musicians and deserve applause for conquering something so fragile and making it their own.

The playful banter between the two made the performance more palpable. Smith’s songs can be intense, and when it came to playing them musically, there was no lack of respect. But at times Mayfield stood a little awkwardly while the more extroverted Avett chimed in. “We started playing this game,” he said during an awkward pause, “sometimes I won’t say anything into the microphone to see how long it takes for Jessica to speak.” They were as cute and charming as the model kitchen they stood in front of. Before a cover of a Darlings song, Mayfield spoke about seeing them on the Andy Griffith show and thinking they were “cute.” A few minutes later, Seth teased “I always thought they were cute, too.” Several times throughout the show Seth got a rise from the audience.

Hopefully this is the beginning of a lasting partnership that could rise to such heights as other powerful duos like Dolly Parton and Kenny Rogers, or Sonny and Cher, or Damien Rice and Lisa Hannigan. Maybe they’ll even create an album of original tunes? Either way, what they’ve conceived has done great justice to Elliott Smith.

Set List

Between the Bars

Baby Britain

Fond Farewell

Just Like A Woman (Bob Dylan)

There Is A Time (The Darlings)

Rain On My Tin Roof (Seth Avett- sung by Jessica Lea Mayfield)

Somebody That I Used To Know

Let’s Get Lost

Memory Lane

Out On The Weekend (Neil Young)

Settin’ The Woods on Fire (Hank Williams)

For Today (Jessica Lea Mayfield)

Ballad of Big Nothing

Angel in the Snow



The Beginning (Seth Avett)

Standing in the Sun (Jessica Lea Mayfield sung by Seth Avett)

I Will (The Beatles)

Our Hearts Are Wrong (Jessica Lea Mayfield)


I, Me, Mine (The Beatles)

Roman Candle


**Read my interview with Jessica Lea Mayfield

The New Pornographers Headline Noise Pop 2015 at the Fox Theater


On A Saturday night, Canadian “supergroup,” The New Pornographers, overtook the Fox Theater in Oakland as part of the annual Noise Pop Festival. Perhaps one of the most acclaimed bands of this year’s Noise Pop Lineup, fans of all ages came out the enjoy the show. Kids interweaved throughout the crowd as long time fans relished the nostalgia of the band that formed in 1999.

The seven members took the stage for a cheery and evocative set without one of their key players, Neko Case. They didn’t miss a beat without Case, who has enjoyed success as a solo performer, and have embraced her occasional absences since 2005, bringing in Kathryn Calder to fill the void during live shows. There’s still no denying the star power of Case, who performed with the band at last year’s Treasure Island Music Festival, flashing new tattoos that read “Scorned as Timber” and “Beloved of the Sky” in bold script on each forearm. But with most supergroups, there’s a challenge of keeping the lineup in tact. Most of these types of groups really only collaborate for an album (Them Crooked Vultures), or have players leave permanently for solo engagements (Broken Social Scene).

The core of the New Pornographers, led by main songwriter Carl Newman, was solid and tight. Their sound is unique, mixing elements of 80’s synth pop and nineties indie pop rock. It’s almost like if Robin Scherbatsky from the sitcom How I Met Your Mother became a legitimate pop sensation mentored by Blondie, backed by fellow Canadians Arcade Fire, and occasionally joined by a Bob Dylan doppelganger. Their songs are cheery and jubilant, and Newman and Calder sang beautifully succinct harmonies, at times even pulling off four part harmonies with other members in the band.

The pairing of Calder on keys with multi instrumentalist Blaine Thurier on synthesizers creates dense layers to their music. Thurier also controlled samples that created subtle abstract sounds throughout their songs, played the harmonica and even broke out the volatile Melodica, a small handheld keyboard powered by breathing through a connected tube. Dan Bejar, who’s mainly recognized as the frontman for Destroyer, came out for a handful of songs throughout the set.

Newman was fairly chatty with the nearly sold out crowd, at one point mocking Bejar’s slight resemblance to Bob Dylan, “this next song’s called ‘Blowin in the Wind’ he joked before breaking into “War on the East Coast.” Newman also acknowledged his history with the city, saying “I first came to Oakland in the 90’s, it was a lot different then. I remember thinking ‘this is the day I’m going to die.’ And then I rose like the Phoenix and started this band.” And like a testament to his survival, they played a jam-packed set with fan favorites like “Myriad Harbor” and “All the Old Showstoppers” from 2007’s Challangers, “Bill Bruisers” and “Champions of Red Wine” from their latest album, Bill Bruisers, “Use It” and the “Bleeding Heart Show” from 2005’s Twin Cinema, and even reached all the way back to 2000’s Mass Romantic to play a couple tunes.

Set List

Brill Bruisers

Myriad Harbor

The Slow Descent into Alcoholism


War on the East Coast

My Shepard

Use It

Broken Breads

The Laws Have Changed

You Tell Me Where

Testament to Youth in Verse

All the Old Showstoppers

Adventures in Solitude

Sweet Talk, Sweet Talk

Stacked Crooked


Champions of Red Wine

Born With A Sound

Mass Romantic


Ballad of a Comeback Kid

Breakin’ the Law

The Bleeding Heart Show

Dr. Dog Makes Their Mark at the Fox Theater


Dr. Dog just released a live record, Live at the Flamingo Hotel, full of their greatest hits, so why didn’t they just release a greatest hits record? Probably because once you see Dr. Dog live, you understand the value and importance of live performance. Most indie music fans have probably heard their name floating around- more than a couple times I’ve heard the response- “Oh yeah, I’ve heard of HIM but haven’t actually heard HIS music.” Firstly, there’s no him, it’s a collective ensemble of six awesome musicians who all just fucking own their craft, Toby Leaman (bass), Scott McMicken (lead guitar), Frank McElroy (rhythm guitar) Zach Miller (Keys), Eric Slick (Drums), and Dimitri Manos (everything). Not since the Beatles has their been a band of this magnitude that has multiple talented songwriters who write brilliant lyrics and unpredictable song structures. The one glaring difference might be that this band hasn’t let their egos get in the way of their relationship.

The first time I saw them was at the Independent like six years ago. They barely fit on the stage, but they were still more energetic and passionate than some three piece bands I’ve seen, and they rocked the venue like a fucking Led Zeppelin hurricane. They were pretty chatty with the crowd, accepting requests and responding to harmless banter. But the Indy is an intimate venue, there were probably no more than four hundred people, if that. The second time I saw them they played at the Warfield for Noise Pop. They were even louder and rocked even harder to a sold out crowd. I walked out the venue half deaf and still bobbing my head to their catchy tunes. It reminded me what it would be like to see the Rolling Stones back in the 70’s at full throttle. These guys seemed to be on a mission to bring back Rock N’ Roll, and not just the musical aspects, but the attitude.

Their performance at the sold out Fox Theater on February 12th didn’t fall short of my expectations. Not that I really have expectations, I just automatically know it’s gonna be a fucking kick ass time. These guys seem to stay true to their roots. They might pump out albums every year and half, but they’re legitimately good albums, and never have I seen them where they just play their “new” album and abandon old songs. They have so many quality songs that it’s almost impossible to hear all the tunes you want in one set. They always leave me longing for more in the best way possible. This was my third time seeing them and they still played a couple songs I didn’t recognize right off the bat.

The stage set up was very retro, like a scene from the sixties, paying homage to the historic Flamingo Hotel. On each side of the stage was a fern, possibly mocking the Funny or Die bit “between two ferns,” while a vintage pink backdrop hung from the ceiling. The drummer was on a platform with a semi circular light module behind him, illuminating an illustrated pink flamingo. Dr. Dog started off their set with the tune “These Days” from Be the Void, and didn’t look back. The Pennsylvania rockers played a great mixture of songs from their seven album catalogue. Some of the crowd favorites included “Army of Ancients,” “Lonesome,””Let Go” (one of my personal favorites), a version of “Heavy Light” that included an improvisation jam and drum solo, “Hang On,” “Heart It Races,” and “California” from their 2007 ep Takers and Leavers.

Whenever a band starts to get popular, there’s always going to be disgruntled fans who saw them in small venues ten years ago when no one knew who they were. For the most part, I’m that disgruntled fan. I’d love to see Dr. Dog at the Independent again, but this band deserves the attention. They’ve worked hard for over a decade and genuinely love playing music and I’m grateful to have witnessed their evolution. But they’re the type of band to play a secret show at Bottom of the Hill, or pay tribute to the Band at the Warfield, or play a show in their hometown with the Phillies mascot, the Fanatic, making a surprise cameo. They aren’t doing this for the money or the fame, they’re doing it to be able to sustain and give their fans the true rock n’ roll experience they deserve, no matter what stage they’re on, or venue they’re in.

Set List

These Days

Let Go

Army of Ancients

Long Way Down


Turning the Century

Shame Shame

How Long Must I Wait

The Ark

Heavy Light

Too Weak To Ramble

I Hope There’s Love

Hang On

Ain’t It Strange

Be The void

Broken Heart

That Old Black Hole



Heart It Races

The Rabbit, The Bat, and The Reindeer

Jackie Wants A Black Eye

The Devil Makes Three Come Full Circle with Sold Out Show at the Fox Theater

The Fox Theater was bustling with excitement as The Devil Makes Three are no strangers to Northern California, having resided in Santa Cruz while playing many intimate shows at places like the Mystic Theater and Phoenix Theater in Petaluma. They’ve even played Henflings- a notorious biker bar in Felton with a maximum occupancy of about a hundred people. They’re loyal to the bone but have surprisingly kept their fans at bay over the last year, possibly letting their record resonate with their fans. This was the first full tour supporting their newest record and their first performance in the bay since 2013’s Hardly Strictly Bluegrass and 2014’s special New Years gigs at the Fillmore and The Catalyst, respectively.

The response was overwhelming as the band plunged right in to their extensive set, starting with their first single “Stranger” from I’m a Stranger Here. People from all likes were singing along to the chorus- “I’m a stranger here just like you.” The realization that this band is in the midst of astounding popularity became very real, even to Pete Bernhard, who at one point pronounced “I feel like I’m having an outer body experience.” There couldn’t be a better band to root for, as these guys have played vehemently since their inception in 2002. And they only get better and better live, appeasing old and new fans by always  playing the songs that everyone wants to hear.


The backdrop was set up with three giant illuminated eyes that grace the cover of I’m a Stranger Here. Pete Bernhard, Lucia Turino and Cooper McBean owned the stage and at times were joined by a cellist and a fiddle player during various songs, adding an extra layer to an already big sound. Their musicianship is incredible for a three piece band without a drummer to hold the rhythm, but who needs a drummer when you have hundreds of people stomping their feet against the ground, creating a human bass drum effect that vibrates through the floor boards.

Forever grateful and never lacking praise for his fans and friends, Pete gave a brief history lesson about their relationship with the beautifully remodeled Fox Theater. “When this place reopened, we opened for Social Distortion,” he explained. “So we may have been the first band to play here.” While that’s an incredible feat in it’s own right, headlining to a rowdy sold out crowd was probably more gratifying. Hopefully it’s a little while longer before they start rocking Arena’s across the country, for anyone who’s seen them at a modest venue knows it’s an experience fueled by boot stomping, dancing and whiskey that leaves you with a raspy voice and a handful of amazing memories.

Set List


Beneath the Piano

The Bullet

All Hail

Statesboro Blues

40 Days

Gracefully Facedown

The Johnson Family



Spinnin Like a Top

Black Irish


A Moments Rest

Old Number 7

For Good Again

Dead Body Moving

Worse or Better

Aces and Twos

Do Wrong Right


Ten Feet Tall

Check out my interview with Pete Bernhard through Sf Station

She Keeps Bees Make a Buzz

The Brooklyn duo, She Keeps Bees, comprised of Jessica Larrabee and Andy LaPlant, formed in 2006 after Larrabee was LaPlant’s bartender. Larrabee explains that “Nothing really clicked until I met Andy.” While she was working on solo material under the name She Keeps Bees, LaPlant was the perfect counterpart, bringing a strong rhythmic backbone to her naturally talented vocals and guitar playing. After two albums, “Nests” and “Dig On,” the band drew comparisons to Cat Power, Patti Smith, the Kills, and were quoted as “the White Stripes in reverse” by the Guardian.

She Keeps Bees - Eight Houses | Press Pic

*She Keeps Bee’s play at Brick and Mortar Music Hall September 3rd
Tickets Here

The first track from their new album, Eight Houses, is simple and sweet. Lasting not even three minutes, “Feather Lighter” introduces the band to the listener with an intimate sample of what to expect: a subtle guitar riff layered with vibrato, overlapped with Jessica Larrabee’s warm vocals and poetic lyrics reminiscent to Mazzy Star or Elysian Fields. They’ve kept their raw, blues ridden mantras, but have elevated their sound to the next level.

Caught up in a musical era where glamour and pop have overridden the subtly of female sensuality and sensibility, Larrabee could be the one to bring back that powerful sultry swagger. There’s an undeniable sense that they wanted to make a impression with this album, creating an introspective experience for the listener. From start to finish it flows like an ocean’s rippled waves, connected and grounded to emotions, touching on something much greater than words written on paper. Larrabee seems to be questioning humanity and its history without any remorse, and in a manner that’s not overbearing but profoundly genuine.

The subtleties are appreciated on this record. The second track, “Breezy,” starts off with a simple bass line and drum beat that’s easy to nod your head to. There are subtle synth noises but nothing like the overproduced and tiring sounds that sometimes burden music these days. Raw and powerful guitars chime in halfway through the song, lending an intensity of Rage Against the Machine with a hypnotism of Jefferson Airplane’s “White Rabbit.” It’s haunting, intense, and innocently unforgiving.

The album also features guest appearances by Adam Schatz from Man Man, Sharon Van Etten singing back ups on “Is What it Is” and “Owl,” with Rare Book’s Room producer Nicolas Vernhes (Deerhunter, Dirty Projectors) helping define and shape the album. Nothing is ever overused or redundant, as LaPlant admits “having a producer was nice in that respect; if things were starting to sound too similar and we didn’t hear it, Nicolas wasn’t shy about letting us know.” From the soft pianos on “Burning Bowl” and “Radiance,” to the horns on “Owl,” nothing is ever exploited, but used just right. There’s a perfect balance of antique admiration with a modern acceptance that melds the great artists of the 70’s with todays current icons. They should be making a buzz with Eight Houses, which officially drops on September 16th, stinging the masses with their mesmerizing tunes.

A Wild Night with OK Go


Check out my interview with Damian Here!

Sometimes it’s easy to forget about Rock N’ Roll, or what it really means to be Rock N’ Roll. Most people into the genre have probably been influenced by their relatives or idols in some sort of capacity, hearing the stories about seeing Van Morrison so drunk he couldn’t even sing a sensible sentence (which is hard to understand even when he’s sober), or Jimi Hendrix super high on acid playing his guitar with his teeth while he was the still the opening act! By and large, it might be fair to assume most people’s standards have gone up. People don’t care for the circus shows or dysfunctional bands, at least not live. They’d probably rather just hear about it from their uncle, but what happens when they become the uncle? At the time it might seem like a let down, or a waste of money, but those Rock N’ Roll stories need to live on in order for it to survive. And, like the American Express commercial stated- Tickets to a G n’ R concert in the 90’s: $50-$100 bucks, the moment when Axle Rose dives into the crowd to whoop someone’s ass: priceless.

Given this pretense, a band came through San Francisco last night who’s rock roots might have been buried underneath a thick soil that is starting to decease the underbelly of momentous antics in music. The band is OK Go, natives from Chicago who moved to Los Angeles to further their film career. They’re wildly popular for their creative videos and commercials that feature everything from treadmill dancing, dog championing, sophisticated synchronized dancing, musical demolition derbies, giant life sized Rube Goldberg Machines, and lots of paint splattered across their faces. In short, everyone who knows this band has at least two favorite videos they’ve produced. And this, however, is odd. So when OK Go plays live, they might have a bit of a chip on their shoulder.

At a sold out Independent theater, a modest venue in comparison to some they have played in the past, people awaited anxiously while a DJ pranced on stage drinking Jameson from the bottle and playing Nirvana. He even gave swigs to the crowd, which meant he was undoubtedly giving swigs to other band members. He walked off the stage in sunglasses and it was most certainly a glimpse into what was about to happen. OK Go exploded through the stage as giant robots, all running on hamster wheels while playing their instruments on fire and eating burritos while hoola hooping!

No, that didn’t happen, but people probably expected it. The problem with being so ambitious is that people won’t just accept you for who you are. People want you to literally explode their brains. So how does one deal with this type of pressure? You get drunk. Hey, what did the lead singer Damian Kulash and I have in common? We were both probably pretty drunk. But in any case, it gave him the right to do or say whatever he damned well please, and it was actually sort of awesome.


Most other reviews I would have divulged the hit songs they played that had the crowd roaring, but for the most part the crowd was in a sort of paralysis the entire time, stuck somewhere between awe and disappointment, not knowing whether this was a joke, a silly antic, or if they were going to be part of a video. It had the makings of one. There were two decent sized projection screens behind them, and a giant one in front of them that would appear and disappear spontaneously throughout their set. Their first song you could see their distorted and colored faces twirling about like ghosts from Ghostbusters while the band played along, somehow matching the lyrics and instrumentation. It was cool and creative and different, and that’s what OK Go was really going for; something to separate them for every other stale performance. That’s sort of been their mantra their entire career.

They did play some great songs, the one’s you’d expect- “Get Over It,” “When the Morning Comes,” “The Writing’s on the Wall,” “Here it Goes Again,” “This too Shall Pass,” “Skyscrapers,” and a few new songs. One of the best parts came when Damian took his acoustic guitar out in the middle of the crowd and played “Last Leaf.” Halfway through the song someone shouted “shut up,” and so he turned the other direction and finished the song.

Maybe the crowd was agitated by this point? If not, maybe it was the avalanches of confetti that doused the crowed after every other song? Or the fifteen minutes of trying to sample the crowd making drum sounds for a song that lasted about a minute at most. Or maybe it was their multiple breaks for pointless Q&A, or Damian’s snide back handed compliments about San Francisco having the most “gays and technology, two things that keep pushing the world forward.” It could have also been Tim and Damian’s short reenactment of Macbeth, showing their love for Theater, or Damian divulging information on how much Jameson he drank while swigging a beer. Whatever it was, the crowd should have gotten over it, because this was Rock N’ Roll.

It was four dudes on a stage just having fun. While they could have played a couple more songs, how many times do you get to shout questions at a band that are so revered by their fans? How many stories does one have about a show that was flawless? How often do you actually get to witness people step down from pedestals or have the foresight to see that these people are just regular old chaps that sometimes get too drunk and sometimes have just a little bit too much fun?The experience was unique, almost like a night of just hanging out with some crazy dudes. And for all the real fans of the band, the feeling walking out of that show was most likely the feeling they have after finishing one of their videos: confused, exhilarated, and utterly amazed.