#Adakain Jordan Buford Photography

[jordanbufordphotography]

Adakain at The Curtain Club in Dallas, Texas. (October 7th, 2017)

[themusicenthusiast]

Saturday, October 7th, 2017 – Adakain and Anova Set the Stage for Jibe with some Thorough and Hard-hitting Performances

All photos by Jordan Buford Photography This was set to be a big night at The Curtain Club as Jibe made their return to one of their old haunts. They had assembled a solid bill as well, a couple topnotch acts supporting them, the lineup certain to pump up all of the fans that turned out and build upon the immense initial excitement. In what would be a bit of a trend for this show, each band was showing off a new lineup (sort of), beginning with Anova. Joseph Kuban may have made his debut as the band’s bassist a few months prior, though that was for their unplugged show, and this marked their first electric show since expanding from a trio.

On one hand, their former variation as a three-piece was undoubtedly part of their charm. Not just because trios aren’t too hot a commodity, but because the way they went about it, James Meldrum and Bric Chaney playing roughly half their set in one setup – one on the guitar, the other using a bass – before swapping out instruments for the remainder of their performance. It was definitely unique, unlike anything you see from fellow acts in the region. (And even major touring ones.) The advantages of evolving into a four-piece come in the form of the stability it provides, everyone having a singular role to put their full dedication in; and now with two guitars in the mix, there were more layers to be heard in the music. Plus, there’s the fact that the new addition is Joseph Kuban (most recently of Serosia), one of the more compelling members of the D-FW music community, who even in theory sounds like an excellent fit with Anova.

And indeed, he is, as was seen right off the bat, a lengthy instrumental piece demonstrating their cohesiveness, the band already having tapped into a great chemistry as they dished out the thick and heavy intro that added to the anticipation of what was to come. They only intensified it from there, their opening number being rather thrash-y and extremely heavy; Joe Maurer holding nothing back as he pummeled away on the drum kit. “This is ‘Will We Fall?’,” Meldrum informed everyone after their first couple of numbers, the single from their debut EP further upping the energy in the room. He let loose a brutal and guttural scream in the final moments, further ensuring the song came to a fantastic finish; and on the subject of vocals, the harmony vocals that Chaney struck up with Meldrum throughout the show were topnotch, providing a bit of counterbalance to their heavy nature. They breezed through their set, squeezing as much as they could into the 35-minutes they had, the lone break allowing Chaney time to point out what a “special” night this was for him, his daughter being in attendance, getting to see what I believe he said was her first Anova show.

As they wound it down, “Give In” and “My Darkest Hour” were woven together in a splendid manner, maximizing the dynamics of those two cuts, ultimately leaving them with enough time for one final song. Anova is arguably one of the most promising acts currently in North Texas. In a region where there are plenty of hard rock and metal bands, they manage to be distinct, blending together both genres to make something that is powerful and commanding but also fresh. Perhaps it’s in the pristine voice that Meldrum possesses that is also capable of some vicious screams, or maybe it’s the slight melodic tendencies that their music has, allowing it to be appealing while also invigorating. Either way, once you add that with the superb musicianship and energetic performance – both of which have only grown bolder with the addition of Kuban – you have a winning combination. Check out their EP in iTUNES or GOOGLE PLAY.

The other act Jibe had selected to open for them was Adakain, something singer and guitarist Ryan Ray pointed out was significant to him, as he had wanted to share the stage with the band for a long time. Though it was still early, they had a strong showing of fans out by the time they hit the stage at 9:47, their intro, snippets of speeches from various past presidents, setting up the political tones their performance would be tinged with. That was most evident when Ray stressed that those in charge don’t care about the people they govern over or are supposed to represent, being up to the people to take care of one another. Another comment between songs had him stating how divisive some stories are, saying the time he has spent when they have been on the road over the past year or so showing him, that people are, in fact, more connected than ever.

Fully capturing that disgust with those in control was “We Crawl”, most everyone there shouting along with the chorus, “We can’t just start the fire, we have to burn it all!” It felt like a rallying cry, pumping up the spectators. Adakain was also showcasing a bit of a new lineup, a new(ish) drummer having been brought in, and he fit right in with his aggressive style, further escalating the high-energy they work to achieve. And there was certainly nothing held back this night, Ray, lead guitarist Corey Goodwin and bassist KC Jenkins doing some synchronized jumps on occasion, and on the few songs where Ray put his guitar down and focused just on being a frontman, he was all about interacting with the audience and making sure they were enjoying what they were watching. They tried out a new song this night among their fan favorites (“Exposed” I believe it was titled, and it sounded great), their 44-minute long set concluding with “Hey Girl”, the gritty song supplying everyone one last chance to sing along as Adakain brought their show to a killer finish.

Admittedly, I haven’t seen them much, though this was easily the best show that I have seen Adakain deliver. The energy was off the charts, the fan participation providing further reason for the quartet to give it everything they had and then some… just in case the excitement of opening for Jibe wasn’t enough. They cultivated an atmosphere, the at times dark lighting and use of strobe lighting going a long way to creating it, and while their music covers a variety of topics, the central message of rebelling came across as the core one, and any more, as a band having a primary message to act as a sort of foundation for yourself is paramount. The guys of Adakain know that, wielding that sort of anti-establishment mindset well.

[jordanbufordphotography]

Adakain at The Curtain Club in Dallas, Texas. (October 16th, 2016)

[jordanbufordphotography]

Ryan Ray of Adakain at Trees in Dallas, Texas. (September 8th, 2016)

[themusicenthusiast]

Saturday, October 7th, 2017 – Rewind: Jibe Kicks it Old-school with a Perfectly Crafted Set at The Curtain Club

All photos by Jordan Buford Photography After a busy summer that included releasing their first record in fifteen years in June and then celebrating its release a month later with a monumental show that is still vivid in the minds’ of fans, Jibe is looking to keep the momentum going. Now a little more than two years after reuniting, the Dallas-based band is fully ushering in a new era, one that was furthered by the official worldwide release of Epic Tales of Human Nature (out via Sixtyfouronthefloor / Kobalt), now available not just from the band’s digital store, but all major online retailers, such as iTunes, Google Play and so on. Their fall is definitely off to a good start because of that, though there has been a bump or two in the road over the last couple of months, notably, the departure of the only man to ever set behind the drum kit for Jibe, Ben Jeffries. Having spent time drumming for some of the most renowned acts to ever call the D-FW area home, Jeffries certainly left some big shoes to fill, though the remaining core members of Jibe tapped one of best possible candidates for the job, bringing Todd Harwell of Doosu fame (and various other groups) into the fold. With both bands having been fixtures of the music scene from the ‘90s through the early 2000s, having played plenty of shows with one another during that time, he was the only choice that made the most sense. All of that was culminating at The Curtain Club this night, being another CD release show of sorts as Jibe marked the full scale release of their sensational new album, along with introducing Harwell as an official member of the group as he made his live debut with them.

The two acts that they had selected to support them -- Anova and Adakain -- had set a high bar, though there was no doubt that it would be surpassed by what was still to come; the most die-hard Jibe fans hastily snatching a spot in front of the stage after Adakain’s crowd dispersed. The sound check alluded to as much, the sonorous drum beats rattling one’s chest, while the bass did much of the same; the guitar being deafening. And then the waiting game continued, their eleven-o’clock start time rolling around and then passing by, eager anticipation beginning to build. All of a sudden the relative silence was pierced by some sizzling riffs as well a pronounced, deep percussion; the curtain soon opening to reveal Toby Bittenbender, Corey Tatro and Harwell in performance mode, rocking out with passion and conviction. Moments later Joe Grah sprinted onto the stage, quipping as he grabbed the microphone stand about how anymore they just dive right into the performance.

They began with a string of cuts off of 2000’s In My Head, opening with the first full song on it, “Daybreak”. Oh, what a sensational opener it was. A ton of energy is packed into the recording of the song, energy that was fully unleashed in the live environment, behooving of the vigorous performances that Jibe has built their reputation around. Right out of the gate it was almost a bit of a sensory overload, trying to keep up with all of the action being an engaging and delightful task as Grah dashed around, frequently leaning out towards the crowd, while the instrumentalists stole the spotlight when the short break came around. “Underwater Life” came in rapid succession, becoming a shred fest as Bittenbender wailed on his guitar, crushing the blistering solo, and as they made a seamless segue into the next song, Grah trekked back to the drum riser, a floor tom sitting to the right of Harwell’s kit. Bolstering the percussion, the pair carried on for a few seconds, fans’ excitement reaching a fever pitch, ecstatic over what they knew was coming next. Practically everyone was echoing along to the words of “Naked In the Rain”, an exceptionally impassioned performance of it allowing it to really resonate with the people.

In those three songs they had quickly proven it to be fact that Harwell was the right man for the job, the drummer holding nothing back, his style being fierce and authoritative, the kind of backbone a band like this needs, not just because it’s what they’ve always had, but because it ensures the music actually grips the listener. “…We’re so glad to be back where we started!” Grah exclaimed as he bantered with the concert goers, noting they had put this bill together and were thrilled with how well everything had turned out before stressing, “We’re going to be here a longtime,” reinforcing the idea that they are back in for the long-haul. They would play about half of the material from Epic Tales of Human Nature, beginning with the latest single from it, “Release”. In just a few short months it seems to have found a spot as a revered favorite among fans who cheered as they recognized the gritty and grungy song that nicely captures that Seattle sound of the early ‘90s.

Throughout that song (and the show in general) Grah was constantly interacting with everyone. Hands thrust up from elated fans were met with a shake as he leaned out over other patrons to reach them. Reciprocation is crucial in life, and the vocalist was all about making certain that everyone knew that bond of respect and love was a mutual one and that the caring spirit was felt. A megaphone dangling from his arm as that track got underway, the battery compartment on it wound up coming open during all of the moving around, some of the fans saving the batteries that fell out, all unbeknownst to the singer. As the bridge came around he turned it on, soon discovering it wasn’t working. “A whisper, a word cannot be stopped by any wall. …Love, set us free!” he shouted straight into the mic, a reverb effect still providing a similar feel as the megaphone would have. It sure didn’t hamper the song, and honestly, it even sounded a bit cooler in that manner, the conviction in the plea for unity being palpable. Afterwards, it was time for a couple more gems from the past, though ones that received some context as Grah regaled everyone with some stories about them.

Some seemed a bit shocked when he spoke of being high on ecstasy back in the day, Grah quickly stressing he wanted to be open and honest with everyone. He and the woman he was with at the time sharing the experience, he said she looked at him and said, “I’m going to kill you,” something he took at face value. Such candid remarks were welcome, even if they surprised some, and they fit in line with “Conversation”, a song that boasts the confession, “…When I’m inside her, I can’t let her go…” during the second verse. Already firing on all cylinders, they still gave the impression that they were just warming up, Tatro radiating sheer confidence as he demonstrated his mastery over the bass, bounding around stage left, while Grah slung the mic stand over his shoulder and carried it around with him for a time, ultimately slamming it to the ground, leaning into it and closing as eyes as the song concluded. Another anecdote revolved around a pay phone that used to be located right outside the doors of the Curtain Club and a dark time in the singer’s life when he used it and didn’t get an answer from who he was calling.

A true rarity that felt as if it had been selected specifically for this show at this venue, “Phone Call” drew an exuberant reaction from the fans, most of whom had been desperately hoping for it. Talk then circled back to the present and their new record, along with a formal mention of Todd Harwell and welcoming him into the band. Grah then reminisced about their times touring with Doosu a couple of decades or so ago and all of the good times and wild rides (literally, from the story he shared) they had together. As spectacular as those songs are, there’s a grand scope to the new material that is unparalleled, “Change” exemplifying that, capturing an overwhelmingly positive vibe and unrelenting dedication that’s inspiring and it washed over everyone that was in the room.

“Crush” was another tune from the Uprising era that was worked into the show this night, those songs still having a special spark about them, as that record cemented the band as true powerhouse. Fifteen years later and they still sound edgy and fresh, having no trouble holding their own against more modern rock songs. Keeping the swift pace going, the quintet soon launched into what was one of the most brilliant songs of the night, “Children Of The Sun” being absolutely epic. I don’t think it even sounded as phenomenal at their July CD release show as it did this night. It was teeming with energy and enthusiasm, the nuances heard in it making it utterly compelling. Upon finishing it, Bittenbender got a chance to address the spectators, mentioning one of the most revered soundmen in North Texas, James. He may not be the resident sound guru at the Curtain anymore, though he was back behind the board for them on this night; the guitarist also mentioning that they had recorded In My Head there, in that venue, with James. For those that weren’t aware, it was an interesting fact to learn.

After disappearing from sight briefly, Grah was back on stage and took over once his band mate was done, thanking their “real” supporters for showing up on this night, promising they would never forget what all they had done for them. That seemed to suggest, or at least allude to, some big plans for the future in regards to pushing Epic Tales…, subsequently making “We've Only Just Begun” a fitting follow-up to rip into. It allowed them to further assert their dominance, kicking it up several notches, while also better highlighting the chemistry this revamped lineup already has, making it look as if they have performed that hundreds of times over instead of the reality of just a handful. The story of Jibe now being an encouraging tale about redemption and making amends, Grah stated how good it was to put this “family” back together, they very one he admittedly had torn apart. As he continued speaking, some subtle riffs became noticeable, the audience roaring upon realizing “Uprising” was next.

It was then, for (surprisingly) the first and only time of the night, that Grah crowd surfed. After grabbing their flag with their logo on it, tucking it into the waistband of his pants, he let himself drop into the crowd, complete faith in the fact he’d be caught. “We’re taking it fucking back,” he repeated as it ended, gradually elevating from a normal speaking voice to a shout that conveyed it as a defiant declaration. “…It’s never too late to find yourself… It’s never too late to rebuild…” he cried during another series of remarks that went along with the idea of second chances. “We deserve more than what has been handed down by the fools in charge…” added Grah. “We will redeem ourselves! I don’t care if we die in the process, we WILL find a way!” he finished, now riding a new wave of excitement as Harwell opened up “Best I Ever Had”.

The crowd surfing may have been sparse this night, though there were other antics Grah decided to do. At the tail end of that number the singer climbed atop the stack of speakers on the stage, staying perched up there for a few moments. Most surely would have bet money on the fact that he was going to jump from there back into the crowd. There were more than enough people to catch him. But no, he had intentions of going higher than that. A quick glance at the ceiling, surveying what he might be able to grab onto, and then he leapt, finding a pipe that he wound up hanging upside down from, singing the remainder of the song like that. Every bit as shocking was the way he just dropped back down to the stage floor, as if being ten or so feet in the air wasn’t even that big of a deal. That’s the kind of classic behavior that defines bands and sets them apart from others, something that makes certain that fans will be amazed and the concert will be an experience worth remembering. With a handful of songs left, things got a little heartfelt, their next number being dedicated to the victims and those affected by the shooting in Las Vegas nearly a week before. “…It’s fucked up that we live in a world where a person will do that…” Bittenbender said, like so many still seemingly trying to grapple with why it would happen in the first place.

Arguably one of the most beautiful songs ever written, “Rewind” was an apt one to send out to those linked to such a tragedy. “If I could turn the hands of time, I’d go back and rewind to the days I spent with you. If I could see your face once more I would wrap you up, for sure, and hold you. Never let you go.” The crowd sung along to every heartfelt word of that chorus, one that perfectly captures the power that music has, especially in its ability to connect on such a raw, emotional level with people. “POWER to the fucking people! We deserve MORE! …We got a life to live, TOGETHER!” Grah bellowed; “The Human Condition” seeming to have been carefully selected to proceed that previous song, especially given the context it was presented in this night. It went from a touching number about loss to one focused on reckoning the current state of things, imploring a drastic change in people and society, a shift away from the (self-)destructive behavior that seems to be ingrained in everyone. The bane of existence, perhaps. “We want to thank you guys for being here. …We would be nothing without you. You mother fuckers are the foundation of it all!” Grah graciously remarked. “Let’s see if you remember this song,” he finished, Bittenbender promptly firing up “Yesterday's Gone”.

That hit single of theirs brought the show to what kind of seemed like an abrupt end, at least until checking the time and discovering they had been up there for 75-minutes. It felt like a fraction of that, everyone having become thoroughly immersed in the blissful world that Jibe’s music and performance creates. Their return to the Curtain Club acted as a great nod to days gone by, though not necessarily Jibe’s glory days. By all accounts, those seem to be on the horizon. Harwell already appears to be broken in; the band looking to be in prime touring shape, something that apparently is planned in the not too distant future. Armed with a stellar catalog of songs they’re bound to make some waves, thanks to classics that are sheer rock ‘n’ roll and new tracks that can be enjoyed on the most basic level but also work to engage and challenge listeners’ by touching on relatable issues. Getting back to how the time had just flown by, it's so easy to get lost in a Jibe show. The caliber of performance that they deliver is exceptional. They operate in the league of the most elite, the amount of professionalism that Grah, Bittenbender, Tatro and Harwell carry themselves with being as extraordinary as the enthusiasm that they exude. And it’s evident that they are relishing every second they get to spend on a stage, in front of adoring and clamoring fans, the four of them giving nothing less than their best.

That can surely be attributed to the fact that they were defunct for so long, a newfound appreciation having come out of their reconciliation, none of this -- be it sharing their music with others that want to hear it to the camaraderie they share -- being taken for granted. And it could be argued that that is precisely what makes Jibe better now than they ever have been. While retaining the youthful energy and reckless abandon that made them turn heads during their initial time together, they now epitomize second chances. That’s open to interpretation. Second chances at personal redemption in the form of making amends or proving something to yourself, or even in pursuing what you love and following your heart. It’s never too late. That was the defining message to take to heart from Jibe’s return to one of the most storied venues in Deep Ellum, and they worked to impart it to everyone. It’s never too late. Next up for the band is a show at Rockin’ Rodeo in Denton on Thursday, November 2nd. They’ll be the main support act for The Nixons’ latest reunion show. It’s sure to be something special; and get tickets quick, because it will sell out. Also, be sure to check out Epic Tales of Human Nature in iTUNES or GOOGLE PLAY if you don’t already have it.

[themusicenthusiast]

Saturday, May 13th, 2017 – Cheers!: Manny the Martyr Caps Off a Five Year Run with One Last Epic Party at The Curtain Club

All photos by Jordan Buford Photography This was the night no one wanted to come yet everyone was kind of looking forward to: it was the night that Manny the Martyr would put to rest. Fans and friends were eager to see what the sure to be epic final set would be like, and on top of that there was a sense of excitement about the homecoming of Jake Cravens for the band’s first club show since March, after which he moved to Chicago. That would play somewhat of a significant role in the performance; and further making this one final party was the fact that they enlisted the help of several of their friends to warm up the stage for them. Dear Rachel kicked things of early, the pop/rock outfit being able to squeeze in the majority of the songs from the two-month-old But Really, Only You, kicking things off with the high-energy “Hollywood Called”. It wasn’t long before Alex Casado commented on the significance of the night, saying they hadn’t cared what time slot they got this night, they just wanted to be a part of the bill, thanking Manny the Martyr for making it happen.

They continued tearing through their 29-minute long set; Trey Williams launching them into “Backseat Driver”, Casado noting it would be their next single. Deservedly so, because it, and for that matter, everything in their arsenal, has a mainstream appeal while retaining a freshness about it. “Translate” would conclude their time on stage, and what a striking closer it was. A great song in general, it seemed intensified this night, everything else they had done building up to that moment, allowing it to provide an explosive finish to a dynamite show. And the night was just getting started. The turnaround time between bands was quite quick (then again, with six bands playing, it needed to be), and in no time at all Werewolf Therewolf was ready to go.

No band sounded the same this night, each one bringing a little something different to the table, the Denton-based outfit expanding upon that greatly with their brand of progressive rock with a pop sensibility. It’s something completely unique, ensuring they stand apart from anyone else. But all the same, they’re still a rock band at their core, as the quartet demonstrated this night. There was an undeniable intensity about much of their material, singer and rhythm guitarist Daniel Galvan effortlessly belting out some of the lines when necessary; the vocalist even making a joke or two when he was able. “You guys having a good time?” he asked several songs in, the patrons that where there cheering and applauding. “Good, ‘cause that would be weird if you weren’t,” he commented.

From precise and technical to powerful, raw rock ‘n’ roll, Werewolf Therewolf traversed a wide spectrum, Carlo Decanini, Aaron Caruthers, Cameron Sather, and Galvan holding nothing back. They found their stride early on, but even so and with around thirty minutes to fill, one couldn’t help but think they were still just scratching the surface as the curtain closed on them. All the same, they were crucial to enlivening the atmosphere at the Curtain this night. Given Manny the Martyr’s unique sound, it was fitting that some other reggae-esque band be on the bill, and Burning Slow filled that niche perfectly. Leaning more towards the heavier side of rock, they weren’t without a little reggae and even funk flare to their music; and since Clinton Styles had prior commitments, Brian Scheid of Triple SP was filling in with them, pulling double duty for the night.

He meshed well with them, and thanks to the confidence they all exuded, those who didn’t know better wouldn’t have had a clue that wasn’t the official Burning Slow lineup. They weren’t too far into their 27-minute long set before some fans started shouting for “Justice”, Matt Brodeur promising they were getting there, what has become their signature song eventually finishing off their time on stage, fanfare from the ever increasing number of patrons seeing them out. Triple SP had the stage next, Scheid seemingly ready for more, especially since that now entailed songs he had helped write. Only about a month out from a little West Coast tour, they would prove to be a completely different Triple SP from when I had last caught them, and with that being about two years ago, that had been too long.

Their 38-minute long set was comprised of plenty of classics of theirs, such as the opener, “Alone”, which acted as a call to everyone in Curtain Club to congregate around the stage; singer and guitarist Derek Procter cutting loose during that one, taking a few steps back form the microphone and wailing on his axe. Almost immediately they revealed themselves to be a cut above, their time on the road, being able to play a series of consecutive shows and deepen their chemistry, having incredible results. “Closure” was one that exemplified that bond, from the rhythm centric intro to the blazing riffs, lead guitarist Brad Mccain putting on a clinic at times and often mingled and jammed with Procter and Scheid. “How you doing?!” the bassist asked during one of the instrumental stretches, going the extra mile to get everyone pumped up, the crowd responding with plenty of shouts.

“I Want it All” was one of those numbers that saw a phenomenal duel (and dueling) guitar solo; while “Drugs” further intensified the rhythm section, Jacob Bobo hammering out the beats with a fury, as he and Scheid demonstrated what a dominant force they are. They breezed through their set, or at least they made it feel as if they had, continuously growing more compelling, until everyone was eventually left wishing they had more time to work with to squeeze in a few more numbers. Triple SP helped bring things to the next level, truly helping build the excitement of the night. The musicianship they displayed was staggering, and they were so impeccably tight that most acts would be envious of such chemistry.

A noteworthy band of D-FW for a while now, they were a whole other kind of impressive this night, the touring shape they’ve gotten in elevating them to something grand. Despite having heard the bulk of the songs they played a few times over, they all sounded fresh this night, a little more kick added to them. In turn, that made it all feel almost new. They tore it up, fiercely rocking the stage and easily proving themselves to be one of the most notable bands here in the music scene. The main support slot went to Innrcor, who whipped everyone into shape with some straight up, slightly heavy rock ‘n’ roll. Their set wasn’t without some slight hiccups, some guitar trouble occasionally plaguing them, though the other three members marched on with what they were playing, making the best of it, which is the only thing that can be done in a situation like that.

By the time they finished it was pushing midnight, and the main act was yet to come. This wasn’t the sold-out event everyone had anticipated. In fact, more people turned out to see Manny the Martyr back in March than they did at this final show. Somewhat surprising, though that was their loss; and even then, upwards of a couple hundred people were in attendance on this Saturday night to help them wrap up their five year run. A little sadness still hung in the air, but for the most part everyone was ecstatic about seeing Manny the Martyr again; the band members earning a laugh every now and then when they would suddenly poke their head out from between the curtain, surveying everyone before disappearing again. It was 12:22 when they got their 90-minute long set going, kicking it off with a moody jam, the curtain remaining closed for a time as they built up the suspense before launching in to their first song. It was a night in which they tried to hit as many highlights as they could, touching on all of their albums and many of the covers that had become standards.

Their first two cuts came in rapid succession, Jake Cravens having just enough time between them to comment, “I have never felt so much love in life!” He was beaming as he said, and he and his band mates aimed to return that love with the best possible show they could deliver, promptly ripping into the funky fresh “Play The Part”. They stayed on their Bail Me Out EP, doing a song that has always been a fan favorite, though one Cravens was always reluctant to play, as it could be a bit strenuous on his voice. To help with the screams featured in that song they enlisted the help of Adakain’s Ryan Ray, the frontman having some kind words to say about Manny the Martyr before helping them pull off an unforgettable rendition of “Sink Or Swim”, the two vocalists commanding the stage and working together in perfect harmony. “It’s something special…” Cravens remarked as they hit their first break of the night, the singer, still overcome with emotions, talking on how amazing it was to leave his hometown and come back to a reception like this.

As they continued on, they even did a few new songs from the Full Range EP they were releasing this night, one’s they hadn’t played before, at least letting their die-hard fans know how they would sound live. One of those was “Ad Nauseum”, which stood out as one of their most creative pieces of work. The mix of funk, reggae and rock was even more intriguing than usual, the chords being mesmerizing, Mike Ubben and Brad Green being methodical and intense in their playing. It was one they had been sitting on for a while, hearing it being well worth the wait, even it was the first and only time. Everyone knew what was coming after being asked, “Where are my weed smokers at?” cheering in response. It was with “Boogyman”, an absolute classic of MTM’s, that they really hit their stride, settling into a whole new level of comfort and confidence for the night, performing it seeming more like a reflex. Jason Stark was in the zone, the bassist strolling around the stage, kicking the air every now and again throughout the night. However, the most memorable moment of that song came when Cravens welcomed a young kid up on the stage, allowing him to sing some of the lines. “…I got usurped!” he quipped, saying he felt confident they had just found his replacement.

They followed it up with the subsequent track from Brighter Sun, Cravens mentioning, just in case no one knew, that his brother had passed away while he was serving his country a few years ago. Hence why “Too Soon” was never played too often, it was often an emotionally exhausting one that, understandably, brought up strong feelings, though it was one they felt needed to be a part of their final show. He was up front in stating he didn’t think he would be able to get through it, asking for help from those who knew it, who were happy to chime in when necessary. Even at the end of the night the emotions weren’t as high as they were during the performance of that song, Cravens noting afterwards that there was something about the fact that he knew he’d never play that song again that made it even more difficult. Still, I think everyone would agree he kept his composure a lot better than most could. “Anteman” was another from the last batch of songs they released, and while it had been heard at their final few shows, they had apparently been holding back on the full version, specifically the guitar solo that Green ripped into. It was said to be his first live solo ever and he slayed it, catching everyone off guard as he laid into his axe.

A chance to catch their breath followed, the band’s plaque they had earned a few years prior being brought up on stage to them, Cravens saying he grew up coming here, mentioning bands like Drowning Pool and SouthFM who had earned their rightful place as icons of the music scene, seeing their plaques and making it a personal goal to get one of his own. It represented an older era of MTM, a couple bass players ago, and Cravens sounded excited talking about what he planned on doing do it, like making a few adjustments before hanging it on his wall. Dedicated to their longtime fans, “It's Alright” ended with a joke that only those who had been with them since the very beginning would get. The closing “And that’s okay” became, “Dad, I’m gay,” Cravens adding the context afterwards, recalling a show at House of Blues where, after a few drinks, he just thought that would be a funny addition to the song, and felt it only fitting he repeat the move for its final performance. “Cereal Killer” would be one of the final originals they would do this night, the remainder of their set being mostly covers, such as their delightful rendition of “No Diggity” that had the whole place moving. They had another one at the ready, however, after being put up to a vote, an original won out, leading them to busting out “Brighter Sun”, a little extra funk flare added to the breakdown.

Thus far, Joel Simka had been drumming like a champ, even going above and beyond what’s normal for him, and that was made exceptionally impressive due to the fact that he had thrown his back out just a couple days before the show. “…He’s in extreme pain right now,” Cravens pointed out, asking everyone give Simka a hand. Last time they were here they celebrated 311 day slightly early, playing a couple 311 songs to commemorate it, and now, they gave those who missed it a taste of what it was like. “Beautiful Disaster” had everyone raving, but before going any further, much to Cravens surprise, his dad actually got on stage with them. He had another cover in mind, trying to coax his son into playing the first song he taught him, while stressing to everyone that it had taken thirty years to get Jake to the point he’s at now, all thanks to his training and watchful eye. “I have video of him on the back porch in diapers singing this song,” he informed the audience while still prodding his son to sing “Itsy Bitsy Spider”. He wouldn’t, though his band mates and everyone else in the club had no problem with it, adding the nursery rhyme to the set list.

That drew some laughs, though there were also some tender moments shared by the father and son. And before he left the stage, he had something important to say. “Son, I’m gay, too,” he finished, the room erupting into laughter, that being the last thing anyone would have expected to hear, but oh, it made the night. The quintet got back to it with “Creatures (For A While)”, and with two-o’clock fast approaching, it was nearly time to end it. Not even because they wanted to, as it looked like they could have played another hour, but because they just had no more time to work with. Because of that, they said their cover of “Stand by Me” would be it, and that could have been a fitting end. Like most of the other songs they’ve tried their hand at over the years, that one is unexpected but they make it sound stupendous. As had become customary, Cravens got out among the people during it, making it into a sing along as the audience clustered around him, making the most of the final few moments they had with Manny the Martyr. As fitting an end as that may have been, it just didn’t feel right, and no sooner had they finished it and they fired up one more song. The last song, and one of the first ones they wrote after starting the group. Cravens would joke this night that it was his band mates fault he got tied up in all of this, answering a Craigslist post about needing a singer, first being told it was going to be more of a covers gig, and then they decided to get into the original music game, becoming a part of the club scene. Not that he would have wanted it any other way.

Just like so many times before, the action-packed “Hit the Brink” saw them out, leading to an electrifying finish not just to the night, but the career. Ubben, Cravens, Simka, Stark, and Green stood arms around one another, taking that final bow on a stage that had been their home more than any other venue; Cravens delivering a eulogy of sorts, choking up as he spoke of how much this experience had meant to him. How grateful he was the to the guys standing beside him and how much he appreciated everyone that had supported them. “…The last five years have been a blast because of you!” he said shortly before the curtain closed on them. It was sad, to an extent, though this was a perfect final show. It was a celebration of what Manny the Martyr was, being incredibly fun right up until the very end, capturing the essence of what they were about. That’s one of the things that will be missed most about them, the sheer enjoyment they got out of performing. It’s a rare treat to see a group of musicians have the amount of fun they packed into every show, which made it even easier for the onlookers to get pulled in. On top of that, there’s the fact that they stood out from every other band in the scene. There’s plenty of rock outfits and metal bands, and indie acts are still in abundance, too. But bands like MTM, ones that mix rock, funk, reggae and even a little ska, those are virtually nonexistent. That’s not a slight against all the other styles, but Manny the Martyr offered something refreshing. It was unique, even among the bands they molded themselves after, and that diversity they brought to the scene will be sorely missed as well. I know that was what drew me to them a few years back when I stumbled upon them here at the Curtain Club. I don’t recall who I was there to see that night, but Manny the Martyr certainly made a lasting impression. Five years may not seem like long, but a plethora of great memories were made in that time. Thanks to the five of them for making that possible by sharing their talents with others and best of luck to them in any and all future endeavors.