#Of Mice & Men Jordan Buford Photography | Explore Tumblr Posts and Blogs

themusicenthusiast · 5 years

Text

Friday, March 22nd, 2019 – Nothing More Hits Dallas with the ɥʇnɹʇ, Thoroughly Exploring ‘The Stories We Tell Ourselves’ and Delivering an Explosive Performance at South Side Ballroom

Photos by Jordan Buford Photography It had been well over a year since Nothing More had last properly rocked Dallas with a headline set, though the rigorous touring schedule the San Antonio-based outfit keeps had brought them to town on a couple of occasions since they toured supporting other acclaimed artists or partaking in a festival. Those tireless efforts to continue to connect with and expand upon their fan base seemed to be rewarded on this picturesque spring day as NoMo brought the penultimate show of the ɥʇnɹʇ Tour to South Side Ballroom for their largest headline show to date in the city of Dallas. The extensive run they had been on had been one of the most successful of their careers, selling out plenty of shows in advance, the Dallas one not being much different, the massive South Side Ballroom pushing capacity by the time the band of the hour hit the stage. That was only after promising up and comers like Palisades and Badflower rocked the place, while veterans Of Mice & Men finished setting the stage, getting things pretty heavy in the process. The entire lineup of bands was topnotch, ensuring the ɥʇnɹʇ Tour at least be considered for one of the best tours of 2019, and that was even before Nothing More had demonstrated to everyone what they had cooked up for this round of shows. Patrons were eager to discover just what that was. Rather the focus was their current release, The Stories We Tell Ourselves (out via Better Noise Records) or the older self-titled record seemed to be irrelevant. New and old fans alike were just ecstatic to get to see the band again, the mood being electric as they anticipated the musicians’ arrival on stage, cheering as the lights dimmed before realizing there were still minutes to go. The intro music was deafening once it kicked in at 9:35 (and caused more than a few people to jump as it caught them off guard); lights hitting the sheet that concealed the stage to reveal the silhouettes of Jonny Hawkins, Daniel Oliver and Mark Vollelunga. Hanging onto a ladder like structure attached to the auxiliary drum kit, Hawkins rang what sounded to be an air raid siren. It heralded their arrival and alluded to the dynamic display that was about to unfold.

No warm-up phase was required, the quartet barreling out of the gate with a fury, as if they had something to prove from the get-go and they were going to do everything in their power to accomplish it. The curtain dropped to reveal them already in the midst of “Let 'em Burn”, which got things off to a riveting start, the high-energy, politically charged anthem acting as a rallying cry for the supporters who were instantly enthralled by it. That was evident at a few different moments when Hawkins – whose torso was mostly covered in black paint mixed with streaks of red -- abruptly thrust the microphone out towards the spectators, silently imploring them to sing along, fans collectively shouting the next few words back at them. It was a staggering display of raw energy, particularly from the frontman as he darted about the stage with ease and determination. His movements were somewhat chaotic yet highly refined, executed with immense precision and it was evident that he was totally committed to their performance. He was careful to pay equal attention to people on either side of the venue as well, making everyone feel involved as they all worked to pump up the crowd in hopes that they could get the onlookers to feel the same rush of adrenaline that was fueling them.

Thanks to “Christ Copyright” it was a one-two punch, Vollelunga moving to center stage, launching them into that number -- the first of a handful of offerings that would be heard from Nothing More -- by shredding on his guitar. It was the first of several great song pairings, those two arguably being the most conducive of the intensity that helps define a Nothing More show. If nothing else they’re some of the most pulse pounding in their arsenal; and in succession like that there was no denying their potency. The barrage continued with “Don’t Stop”. Coming from a record that saw Nothing More pushing their musical and creative boundaries -- even redefining themselves to a certain extent – well… I must confess, it’s a song that has never grabbed me when listening to The Stories We Tell Ourselves. However, in the live environment, its ferocity was undeniable. The beats that Ben Anderson unleashed from behind the drum kit were sonorous and you felt it in your chest and coupled with Oliver’s bass the rhythm section was a true force to be reckoned with. They were immersed in the zone by that point, that track further elevating the group even from where they had started at, and they would perpetually push themselves for the duration of their 85-minute long set. Upon finishing that one Hawkins formally addressed the concertgoers, welcoming them to the show and thanking them for coming out while expressing how elated they were to be back in the Lone Star State. “…We’ve been waiting on the Mexican food,” he quipped, earning some laughs. “It’s just not the same anywhere else.”

Scattered about the set where some of the gems – the slightly deeper cuts – that The Stories We Tell Ourselves has to offer. Songs that fans might like to hear, but would assume the chances of that happening were slim. “Funny Little Creatures” was one of those, Hawkins prefacing it by stating that it was one song they had never done live until this tour. It was clearly a fan favorite, though, practically being written for the live environment; while “Go to War” was brimming with emotion and held on to be one of the most impassioned songs of Nothing More’s set. Poignant and incredibly open and honest, it wonderfully depicts the division that can arise in relationships, loathing yet still somewhat loving someone all at once. All of that was palpable as they tore through the track; a line from the final chorus being turned over to the audience who enthusiastically shouted, “Screaming at the ones we love, like we forgot who we can trust…” “Do we feel safe?” As Hawkins quietly repeated that closing line the lights gradually dimmed as a near absolute silence fell across South Side Ballroom. The vocalist halted the fanfare before it could erupt, kindly hushing the crowd who was left to anticipate what was next. The momentary pause lasted but a few seconds, though it seemed to stretch on and on before he finally broke it by asking, “DO YOU REALLY WANT IT?!?”

The next sensational pairing came with “The Great Divorce” and “Still in Love”, much like listening to the record. The intricacies and forcefulness of Vollelunga’s guitar playing were on prominent display during the former, the guitarist extraordinaire shifting between the various styles with ease; while the searing passion heard throughout “Still in Love” made the song overwhelming. “I'm still in love with you!” It was like a mournful cry as Hawkins shouted that out, frustration, sadness and defeat all mingling together as he reflected on and worked to come to terms with what led a relationship to its end, seemingly still struggling with it even at that precise moment. Heartbreaking in a way, it was also astounding and it certainly struck a chord with the listener. Seamlessly transitioning into the next number, Hawkins hopped atop his drum set, crooning “I want my MTV,” alluding to what was coming next. Separating the songs was an electrifying instrumental piece; Oliver triumphantly holding his bass high in the air before getting back to fiercely striking it, the gusto displayed leading one to believe that they were still merely getting started. “Alright, alright, alright! Are we ready?!?” Hawkins roared moments before “Mr. MTV” officially got underway, the spectators sounding more fervent than ever as they cheered and applauded. To call it their most explosive song up to that point would be saying a great deal, though it certainly was, being nothing short of seismic as the full throttle number allowed the four-piece outfit to cut loose even more, their keen showmanship and primal approach being magnificent.

In the home stretch, they took a momentary breather, Hawkins calling attention to a young kid who sat atop the shoulders of one of his parents. “This kid in the back is just going crazy!” he remarked, calling him the new “standard” that everyone else had to live up to before inviting them up closer to the stage. Attention then turned to a couple organizations they had partnered with for this run, HeadCount and To Write Love On Her Arms, elaborating on the missions of both. The latter of those was appropriate for what was next, Hawkins acknowledging that many of their songs place a spotlight on various forms of illness, such as addiction. “…It’s not a pretty song, but it’s honest,” he stated, adding, “It’s about my sister, Jenny.”

Something of a surprise hit from Nothing More, that honesty is what allowed “Jenny” to resonate so well with those who heard it. And the way most everyone was heard singing along to it, it’s still just as impactful as ever. It even felt like a personal favorite of the musicians as well, Vollelunga joining Oliver on stage left as they approached the second chorus, the two standing back to back and jamming together. “Tunnels” acted as an all too appropriate follow-up to it, going from a song about being in the throes of addiction to one about rising above whatever inner conflict one is faced with. “…I will make it through this. There's a time to die and a way to live. I'm not going out like this.” That refrain is immensely encouraging, the hope that it exudes radiating from the stage an infecting and uplifting everyone who was packed into the venue. To top it off they tacked on the chorus from “Here’s to the Heartache”, which meshed well lyrically and added immensely to the emotional weight of it.

The band had a few more left, treating onlookers to both a new and old favorite, along with a couple twists. Never much of a band for covers, they did include what amounted to a mash-up of a couple of songs that are polar opposites. It began with a partial rendition of Skrillex’s “First of the Year (Equinox)” which ultimately was segued into “We Will Rock You”, the intro of that classic from Queen truly catching the audience off-guard, but in the most delightful way. The way they melded them together was brilliant. Despite the clashing sounds they made it all flow and complement one another. Not only that, it sounded exceptional and was just fun. “Is everyone still alive?!” bellowed Hawkins, pumping everyone up for whatever was left.

They took time to thank one of the most integral members of their team, though one seldom seen, mentioning the veteran of the D-FW music scene, Paco Estrada, who co-writes most of their songs, and invited him up on stage for a moment. Afterwards, Hawkins took a hand count of how many in attendance had seen them in the past before inquiring if anyone was getting their first Nothing More experience this night. A surprising amount of hands raised into the air in response to that second question, but thus proved that they are continuing to attract new listeners and subsequently convert them to fans. For those unaware he went on to explain their stance on encores. “They’re fake… and they’re fake.” Their idea: just leave it all on the stage at once and they promised to give their closing song everything left in their bones. A decade out from the release of The Few Not Fleeting and one song from that record has managed to hold on and continue to be a mainstay of their live performances. Not just a fan favorite but one near and dear to their hearts. A partial rendition of “Salem” capped things off, complete with a percussion break after the first chorus. Hawkins took a spot behind his drum kit and tore it up while Oliver and Vollelunga each grabbed the floor tom that sat off to the side of each of them. Approaching Hawkins, he added those drums to the mix, alternating between all three as Vollelunga and Oliver tossed around and re-positioned the drums. That’s been a staple stunt of theirs for what seems like forever, since around the time or shortly after that album was released, yet it’s still every bit as amazing now as it was upon first seeing it. It’s so unique and truly one-of-a-kind; and once it was complete, they jumped back in at the final verse, finishing strong before leaving everyone with a sincere, “Thank you, Dallas!”

So much of this performance was absolutely stunning. There was the fact that Hawkins, Oliver, Vollelunga and Anderson were so relentless, never seeming to tire. Not for one second did they ever let up, instead digging in and tapping into a well of seemingly limitless energy, constantly demanding more from themselves and doing everything within their power to achieve that. You had to marvel at it, as it can’t be easy to maintain that pace for nearly an hour and a half, making it appear effortless in the process. Adding to that, they made the performance so enthralling. They truly helped one forget about the concept of time for a bit. It didn’t seem as if they had been on stage any time once they got to the tail end, and it was shocking to see it was already close to eleven o’clock. Nothing More has come a long way from the band that could pull maybe a couple dozen people out to see them when they would visit the clubs of North Texas, gradually winning over new fans and eventually doubling or tripling that number. And they’ve risen to meet the new expectations of them.

I’ve seen some acts play venues like South Side Ballroom or even larger spots and while they’re popular enough to fill the seats, the performance fails to fill the venue. That certainly wasn’t the case with Nothing More this night. They didn’t stop, dedicating everything they had to entertaining the audience and giving them the concert experience that they deserved, commanding the crowd for every second that they had the stage. A spacious stage that allowed them to better strut their stuff. They benefited from having ample room to roam about, being more aggressive and in-your-face than I had ever seen them before. Frankly, I didn’t know that was possible. Everyone was transfixed by them; and even though they were performing to upwards of a couple thousand people, they still injected the gritty feeling of a club show into this performance. Furthermore, they did all of that on their own merits. Some cool lighting accompanied the songs, and there was a large elevated platform at the back of the stage that mostly ran the length of it, Hawkins occasionally walking up on it, though that was the extent of any, shall we say, theatrics. Other than that, it was just four guys on stage relishing getting to do what they are so passionate about, putting every fiber of their being into it, while being grateful that they were able to share it with people who appreciate the music they’ve created. So, in essence, the ideal concert experience, especially since they strove to build a genuine and deep rapport with all of the patrons.

This marked my twenty-fifth time seeing Nothing More, and overall, it was unquestionably the most phenomenal. Still in touch with their roots, remembering every inch of the arduous road that finally led them to where they’re at now, they’ve made sure to refine and challenge themselves at every turn in order for the band to be the best version of itself that it can possibly be. Because of that they are one of the most extraordinary rock bands currently in existence, being more than deserving of every bit of recognition they’re receiving. They paid their dues and then some to get to this point and have certainly earned all the success they’re enjoying. Always innovating and working to evolve, there’s no doubt that Nothing More will continue to push their own boundaries, finding new ways to dazzle fans; and after seeing the caliber of performance they gave this night, it’s quite easy to envision them packing out arenas in as little as a few short years from now. The U.S. leg of the ɥʇnɹʇ Tour has concluded, with Europe set to get a taste of it from mid-April through early May, Nothing More supporting Papa Roach for several shows before doing some headline gigs in Switzerland, Germany and Denmark. A full list of their upcoming events can be found HERE; and check out The Stories We Tell Ourselves or any previous release in iTUNES or GOOGLE PLAY. Set List: 1) “Let 'em Burn” 2) “Christ Copyright” 3) “Don't Stop” 4) “Funny Little Creatures” 5) “Go to War” 6) “Do You Really Want It?” 7) “React / Respond” 8) “The Great Divorce” 9) “Still in Love” 10) “Mr. MTV” 11) “Jenny” 12) “Tunnels” (with “Here’s to the Heartache” outro) 13) “Fade In/Fade Out” 14) “Ocean Floor” 15) “This Is the Time (Ballast)” 16) “First of the Year (Equinox) (Skrillex cover) and “We Will Rock You” (Queen cover) -- mash-up 17) “Salem”

0 notes