#Jibe Jordan Buford Photography

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Jibe at Gas Monkey Live in Dallas, Texas. (August, 10th, 2018) [Part I]

[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.

[jordanbufordphotography]

Jibe at The Curtain Club in Dallas, Texas. (October 7th, 2017) [Part III]

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Jibe at The Curtain Club in Dallas, Texas. (October 7th, 2017) [Part II]

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Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part III]

[jordanbufordphotography]

Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part II]

[jordanbufordphotography]

Jibe at Gas Monkey Live in Dallas, Texas. (August, 10th, 2018) [Part II]

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Jibe at Gas Monkey Live in Dallas, Texas. (August, 10th, 2018) [Part III]

[jordanbufordphotography]

Jibe at The Curtain Club in Dallas, Texas. (October 7th, 2017) [Part I]

[jordanbufordphotography]

Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part I Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part VI]

[jordanbufordphotography]

Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part I Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part V]

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Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part IV]

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Jibe at Gas Monkey Live in Dallas, Texas. (July 8th, 2017) [Part I]

[themusicenthusiast]

Saturday, July 8th, 2017 – We’ve Only Just Begun: Jibe Ushers in a New Era During a Phenomenal, Action-packed Performance Celebrating the Release of ‘Epic Tales of Human Nature’

All photos by Jordan Buford Photography The last time that Jibe had taken the stage at Gas Monkey Live, a sense of excitement hung in the air, peoples’ dismay and sheer glee being palpable. It was an excitement centered around nostalgia. The reunion show that no one had ever expected to happen was. Even better, after a spur of the moment split that left several loose ends (that’s probably putting it mildly), the four-piece rock outfit had no intentions of tying things up but rather continuing the journey that had been Jibe. A feeling akin to that was again present on this Saturday night as Jibe returned to the place their second coming had begun, nearly two years later. However, the ecstatic demeanor everyone was experiencing wasn’t rooted in nostalgia this time around. It played a part, sure, but more than anything fans were eagerly anticipating hearing some new songs; this CD release show for Epic Tales of Human Nature happening almost one full month after the album officially dropped. Their first release in fifteen years. That may break with standard protocol, bands throwing CD release shows and making those events the first time anyone ever has a chance at picking up their new product, though there’s something to be said for waiting like this. For instance, let’s circle back to that anticipation factor. Every Jibe fan had ample time to explore the record, pick out their new favorite songs and commit every little nuance to memory. That eliminated spectators just curiously standing there as new songs received their live debut, instead being fully invested in them; and as grueling a wait as that June 9th release date had been, this show date had felt as if it would never arrive. To say Jibe’s friends and fans were elated would be a vast understatement.

An incredible amount of talent had been lined up to get the spectators in the perfect mindset, Chroma leaving an impression on those that got out the earliest, while Royal Sons’ blend of bluesy rock sounded superb. Blacktop Mojo traveled the furthest out of any of the bands, the East Texas-based rock outfit (hailing from Palestine, TX) using this gig as a prelude to their upcoming tour that will have them trekking out to the West Coast and back from mid-July until the month’s end. Mining a vein of classic rock, their music was well received. And as good as it may sound on their record, it was evident the live show is where it’s really at for these guys, the quintet getting into the performance during the brief 29-minutes that they had. Murder The Name rounded out the supporting acts, this being their first show in some time; the projected fronted by Jasen Moreno being just the right band to finish setting the stage for Jibe, as they were teeming with energy and relished having so much space to roam around. It was finally nearly time for the band of the hour, a sizable gathering of fans having made it out and packed in as tightly as they could around the stage, eager to witness what was bound to be a monumental night that would go down as significant part of history in the North Texas music scene.

By about eleven drummer Ben Jeffries, bassist Corey Tatro and guitarist Toby Bittenbender were on stage, an eerie calm gripping the venue, the musicians finishing getting everything in order, while most conversations ceased once everyone began to notice them up there. Bittenbender then pierced the silence, the drums and bass soon being layered over the guitar, keeping things ambiguous for a time before it morphed into the start of “Children Of The Sun”. That was one of the only safe bets that could have been made about this night, that they would open with the lead track from Epic Tales…. Not just because that’s the way a lot of bands do it now but because the song so perfectly sets the tone for everything that is to come on the album, doing the same thing now in regards to what this performance held.

Joe Grah raced out form the wings of the stage shortly before the first line, and then they were off, the musicians’ energy rivaling that that the song conveyed, all of them being live wires from the start. It was thrilling, that song sounding more magnificent live than I think anyone could have imagined; and as they approached the instrumental break Grah climbed atop the drum riser and in a split second, timed perfectly to the music, he launched himself into the air, retreating towards the shadows once he landed. That allowed everyone else to shine during that segment, Bittenbender wailing on his axe during his solo; the instrumentalists demonstrating just what a robust sound they’re capable of. “Sing it if you know it!” Grah encouraged upon returning, seconds before they kicked it back in from the lull. And that was merely Jibe working on getting in the groove. They bridged it directly into another offering from the new album, one whose premise is deeply felt to this band. “This song’s about how it’s never too late to start over,” remarked Grah, Jibe being a prime example of that fact.

“We've Only Just Begun” built upon the intensity, Jeffries and Tatro providing a solid foundation for it. Jeffries’ drumming was merciless as he fiercely hammered out the beats, the bass making it all the more pronounced while contributing a certain thickness to it that guaranteed a forceful quality. “Where about to kick it up,” Grah said in the final minute, making it sound more like a warning instead of a simple statement. Moments later Bittenbender ripped into his soaring solo, the homestretch of that track being a full-blown assault. The entire record is as charged as can be, though those two are some of the hardest hitting tracks from it, and back-to-back like that… well, they had whipped the audience into a frenzy. The air was electric as everyone looked on, wondering just how that could be topped but knowing full well that Jibe was capable of doing it.

A dark blue light washed over the stage; Grah suddenly joining in on the percussion via a floor tom that was brought out beside the drum riser. It added an excellent tone to Jeffries’ full kit; the screen at the back of the stage depicting rain drops falling to the ground. The drums were all it took to give away “Naked In the Rain”, the first of a couple of staples that would be heard from In My Head. Already plenty of people had been singing along, though it was certain that everyone would know that particular song, so, shortly after returning to the mic, Grah promptly hopped off the stage and into the pit area that separated them from the crowd. He made his way along the barrier, frequently holding the microphone out above the patrons, who were shouting along at the top of their lungs.

It was magic. That’s the type of reaction you certainly don’t see often and certainly not when it comes to a band whose following is primarily just a regional one. Yet here was Jibe, getting the welcoming of an arena-sized band, fans proving just how enamored they are by them. By all accounts another new song was coming, the frontman taking a moment to passionately speak about Epic Tales of Human Nature. Honestly, Grah sounded every bit as euphoric over it as the die-hard fans, noting it told the story of where we have come from and where we’re going as a species, seemingly relishing the ambitious scope of the project. Despite hyping the new release, they instead opted for a curveball, treating everyone to another classic. There were no holds barred during “Underwater Life”, Tatro, Bittenbender, Jeffries and Grah firmly demonstrating what high caliber class of performers they are. They pulled the new material off with unwavering confidence, though those old hits were done with extreme ease, the four of them constituting a well-oiled machine as they cranked out that one.

“Change” was the keyword for the next song as Grah set it up, stressing we all needed to be a part of it; and before carrying on, Bittenbender took a moment to express their gratitude to all of those that had shown up. “We love you. Thanks for being here,” he said as he beamed at the crowd. A highlight from Epic Tales…, “Release” is steeped in ‘90s era grunge rock and by all accounts it was one the fans had been eagerly hoping for. Like all of this new stuff it’s fitting with the current political and social climate of the world, not limiting itself by picking a “side” but rather working to spread ideas and encourage a deeper sense of humanity. That meaning tacked along to it allows it to become all the more striking.

A megaphone dangled from Grah’s right arm from the moment they started it, and finally, as they hit the bridge, he put it to use. “A whisper, a word cannot be stopped by any wall. Connected to the truth that lives within us all. Look for the signs, reminders of the fall. Love, love, love set us free.” The interludes featured on the record even made the cut in the form of the tracks, “A Shadow In The Garden” playing over the PA system, setting up the subsequent song on the record. “…It’s time to change the rules…” Grah commented in the midst of another quick though impassioned speech. “There’s no more them. There’s only us.”

They had a little help with “Change”. Matt Noveskey (known for his lengthy career as part of Blue October’s bassist) had produced this new album at Orb Recording Studios, and he was there this night. Tatro ceded the role of bassist to him, adding a rhythm guitar to the mix for the time being; and also venturing out onto the stage was fellow Blue October member Ryan Delahoussaye, violin in hand. The extra guitar helped flesh it out further, while the violin aided the sense of urgency captured by the track, something that was certainly witnessed in the fierce performance; Delahoussaye wandering over to stage right and jamming with Bittenbender for a few seconds. The two seemingly dueling, seeing if either the guitar or violin could be the loudest.

“Give it up for the Blue October boys!” Grah said afterwards, thanking them for their help. The string of new songs continued with the lead single released form the album, and by all accounts “The Human Condition” is already a gem in the eyes’ of fans. Before you knew it Grah was back down in the pit, letting people sing along, ultimately climbing up on the barricade and falling into the sea of patrons. It was difficult to figure out who was enjoying that crowd surfing more, both he and the supporters clearly savoring the moment of unity.

“Girl On A Hill” was another good one, being exhilarating and highlighting the instrumentalists’ prowess on their respective instruments. About the time Bittenbender ripped into his solo, Grah grabbed one of the lights they had setting around, kneeling facing the guitarist, shining it at him, somehow making it look and even sound more impressive.

“We appreciate all of you beautiful people coming out,” the guitarist stated. They had appeared overwhelmed from the moment they stepped out underneath the stage lights, and based on the look on his face at that point that feeling hadn’t diminished, still being awestruck by the type of reception they were getting. “I wrote this song about someone who I care really deeply for,” was the preface for the next track, a jubilant, “We love you, Joe!!” being heard as the vocalist spoke. “Fuck yeah! Love you, too, dude!” the singer responded. The emotional “Don't Give It All Away” was the song he had been setting up, one centered around the cruelty that exists in the world and how severally it can damage some people; Tatro owning the lone bass solo of the night, the pulsating notes being deafening as he slapped them out. That one also saw Grah using the megaphone once more, and when he was done with it he tossed it behind him, the handle breaking off of it as it hit the floor. Something he didn’t realize as he was still completely engrossed in the music and giving the fans nothing less than the best.

The setup changed a bit once that one was in the bag, Jeffries getting a little break as some stools were brought out on stage. Bittenbender was confident that this was something that had never been done at a Jibe show before, acknowledging while they had done acoustic shows in the past, throwing an acoustic song in, in the middle of an electric show was uncharted territory. Probably. He quipped it was possible some things had slipped his mind since the ‘90s. Grah then offered some background to “Waiting”, a song he said almost didn’t make the cut on the record, feeling as if it didn’t fit with the concept. Only after they stripped it down did they find a version they liked and felt appropriate when put in context with the other stories offered up and luckily, they did, because it stands as one of the best things on Epic Tales….

Bittenbender and Tatro were both on acoustic guitar duty; and while he had a chair, Grah had little desire to use it, still pacing about the place as they performed that one, even kneeling down behind his stool at a point, resting his arms on it. That just spoke to his excitement, not wanting to relax even during a chilled-out number. ably.

Again, most everyone was well versed in what the band had been playing, though it was still new music and after so much of it, it was time for something beloved by all. Something from the Uprising album, a release that Grah stressed was what set a precedent for Jibe. “This is our ‘Freebird’. You’re right,” he joked after hearing something a fan shouted at them. In a way, “Uprising” is just that, at least by their standards; the anthem-esque tune fitting perfectly in line with the message their new stuff had been spreading. One about banding together, people taking control of their own fate and making their own decisions instead of turning them over to other entities to decide. As the spectators echoed along, Grah rushed to the back of the stage and grabbed their flag with the Jibe logo on it, waving it about before leaning over to make certain those in the front row could grab it. And moments later it was hoisted in the air by the crowd.

“I’m really excited to be here,” the singer remarked afterwards, the adrenaline from everything being noticeable in his voice. “I personally had to go through hell to get back to you guys. I wasn’t treating you right. I wasn’t treating these guys right. But that's over…” he said, the moment being a rather candid one that highlighted his awareness of everything that transpired so long ago and how it has all been reconciled. “This band is the best I ever had. This crew is the best I ever had. This crowd is the best I ever had!” he exclaimed, Jeffries then firing up “Best I Ever Had”, one of the few remaining tracks off Epic Tales of Human Nature.

Things then played in sequence as they appear on the record, the second interlude, “Sanctuary”, filling the air. The piano piece is gorgeous, and there was little doubt as to what it was leading to. Noveskey and Delahoussaye rejoined them for “Bravery”, ensuring their time spent on the new record drew to a spectacular close. The violin sounded beautiful on the forceful and optimistic piece, on that’s an instant sing-along; and while the record delves into the dark parts of humanity and the chaos that has consumed the world, there’s an obvious glimmer of hope present on that song. Hope that things aren’t too far gone, not just yet, a feeling that seeped out of every note as they performed it.

“We’re all strong and brave!” declared Grah as it concluded. That easily could have been the end, if it weren’t for the fact that at least one key song of Jibe’s was missing, and they had promised some other guest appearances beside those in Blue October. Rather fittingly, one of those was Paco Estrada, a singer Grah welcomed to the stage as being someone most everyone there surely knew. Sure enough, cries of “Paco!” filled the air.

His appearance was fitting not just because he has been a longtime staple of the D-FW music scene, but also because he recently resurrected SouthFM after more than ten years, them and Jibe overlapping for a bit back in the early 2000s. There was really only one song Estrada’s was best suited for, and sure enough it was “Rewind”. “If I could turn the hands of time I’d go back and rewind to the days I spent with you…” the two titans sang, even harmonizing some as they co-sang that gorgeous song; Grah venturing over beside Estrada and placing his arm around him at one point.

As great a sight as that was it wasn’t the only memorable thing happening at that moment. The lone crowd surfer of the night made their way up from the back of the crowd, Scott Tucker of The Orange clearly on cloud nine as he reveled in the glory days of the Dallas music scene. After a little work and at the behest of Grah he was allowed up on the stage to add a third voice to the mix.

Three significant vocalists in the scene all on stage at once was incredibly epic, though it was about to be eclipsed by their final guest. Pete Thomas, of Slow Roosevelt fame, was welcomed to the stage, Bittenbender introducing him and plugging the Louder Than Stigma campaign that Thomas began. Something dedicated to those who took their own lives and is geared towards preventing any more such tragedies by having artists open up and discuss their struggles, be it with addiction or any other illness such as depression or anxiety. Bittenbender is one who gave a candid interview on the page, with a few others up, all of which are worth reading.

A joke was made to the effect of wondering if Thomas was certain he knew the words for the next song, Grah laughing as he said he hoped he could remember them. That almost had one thinking that perhaps they were pulling out some deep cut, but no. They struck with “Yesterday's Gone”, that hit single from 2002’s Uprising eliciting one last moment of pure elation from the audience; the two frontmen making certain the song packed an extra punch from its usual version, everyone – the band members and fans alike – being all smiles as this 85-minute long set came to a close.

A few were wondering if perhaps an encore was planned, but after Jeffries approached the forefront of the stage, throwing out some drum sticks as well as a the drum head, it was apparent it was over. And really, what else could they have done? Sure, no one would have had a problem hearing more of the classics, but this night wasn’t about revisiting the past, it was about officially beginning down a new path and introducing everyone to what lies ahead for Jibe.

There’s a seemingly unlimited amount of potential down that road. The new sound is similar yet different from where they left off in the early 2000s, taking that sound from then and building upon it. The result is something bolder with grand characteristics that can’t be ignored. Fitting in line with the title, epic is precisely what all of these new songs are, aiming to light some sort of fire underneath those who listen, instigating some sort of change in the world with whoever hears them, one person at a time. The passion that’s packed in to every cut makes that possible, easily so at that. The blood, sweat and tears put into making this album is evident, the band nicely capturing the energy that makes their live shows so unforgettable into the recordings. And on that note, this show will be a legendary one. The stage is clearly where Grah, Bittenbender, Jeffries and Tatro are able to let it all go, becoming completely uninhibited as they cultivate an atmosphere where the only thing that matters is the performance people are watching. The way they hit the stage with such fury and never relent is utterly transfixing, the show they deliver being as explosive as anyone could want. A caliber of which could only be rivaled by the most road-tested of veteran performers.

However, the way they all finessed the crowd was remarkable, going above and beyond to make certain fans knew that they were an integral part of all this, and that’s something even many revered national touring acts lose sight of. Frankly, Jibe epitomizes that rock ‘n’ roll spirit, that raw energy being prevalent throughout the show, looking and sounding slightly edgy, a hint of reckless abandon present as the four of them make wowing the spectators their primary goal. That’s what rock has always been about; and the guys in Jibe aren’t just up there to have fun and play some songs, they’re entertainers, and they certainly do entertain – at all costs. Stay tuned to their WEBSITE for news on future shows; and head over to their OFFICAL WEBSTORE to pick up a copy of Epic Tales of Human Nature.

[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.