Growing up in Massachusetts, it was impossible to ignore the tenacity of A Loss for Words. From sharing bills with hardcore bands in VFW halls to landing high-profile pop-punk tours, these boys from the South Shore spent 15 years as one of the hardest working bands in the scene. Their passion is palpable regardless of the size of the crowd, and it doesn't hurt that vocalist Matty Arsenault can sing circles around most vocalists in the genre.
Like when a local team wins a big game, A Loss for Words' signing to Velocity/Rise Records in 2011 felt like a victory for all of us who had been championing them for so long. The band seemed destined to take the scene by storm, as their virtually non-stop schedule of touring and releasing music never relented. But, like so many before them, they were never quite able to break through to the mainstream.
That said, the group has accomplished more than most bands ever dream of, developing a sizable fanbase, going on multiple worldwide tours and influencing several younger acts. The announcement of their imminent breakup in 2014 came as bittersweet; it was sad to see them go, but the guys graciously gave fans a year of advance notice. Their final show took place on December 27, 2015 at Worcester, MA's The Palladium.
A Loss for Words had played this particular venue countless times throughout their career, but this night was different. Ever the earnest frontman, Arsenault explained to the audience - which he repeatedly referred to as his friends - that it had been his dream when he was 15 to sell out The Palladium. Now, at age 31, he had done just that. The 2,100+ people in attendance roared with applause.
The main line-up consisted of Arsenault, bassist Mike Adams, guitarists Marc Dangora and Nevada Smith, and drummer Christian Mullen, but they were joined by various friends throughout the night, including several former members. Other guest appearances included Pvris' Lynn Gunnulfsen on "Distance," saxophonist John James Ryan for their cover of The Temptations' "My Girl," and Sweet Pete of In My Eyes doing his part on "Stamp of Approval."
The band's 80-minute set was appropriately career-spanning, including fan favorites like "Honeymoon Eyes," "Hold Your Breath," "Pirouette," "Half Step Down" and an ancient song, "Say Goodbye," from when they were known as Last Ride. The members left the stage after a huge singalong for "Wrightsville Beach," only to return moments later for an encore. They played the somber, acoustic number "Mt. St. Joseph" before powering through the ferocious "Stamp of Approval" to say goodbye for good.
The bill featured many longtime friends and fellow hometown heroes. Direct support was provided by Pvris, a group managed by Arsenault on the cusp of a breakthrough. For this performance, vocalist Lyndsey Gunnulfsen was accompanied only by guitarist Alex Babinski. The pseudo-acoustic (Babinski was playing electric, but acoustic would have been more fitting) environment showcased Gunnulfsen's impressive vocal abilities. I'm certainly not the first one to point it out, but this band is poised to do big things. Despite the rare quiet set, several enthusiastic girls crowd surfed during closer "My House."
Although they played their final show in 2010, local legends Therefore I Am reunited to play with their longtime friends one last time. Guitarist Brian Marquis was unable to make it for the show, unfortunately, but his brother, Greg Marquis (of Actor|Observer), did a fine job filling in; everyone else was accounted for. They only played three songs - "I Am Only an Island," "45 Miles" and "I Get Nervous in Cars" - but the crowd response was unreal. The band members appeared to be having just as much fun as the enthused audience. Hopefully this isn't the last we see of them. Before their final song, vocalist Alex Correia teased: "This is it. Might be a long time. Who knows?"
Prior to Therefore I Am taking the stage, the crowd was treated to a surprise reunion from Junction 18. Many people seemed confused, as the set was unannounced, but those who were familiar with the band (mostly fellow South Shore locals) were unbelievably excited. It was their first show in almost a decade, and their first time playing as that particular four-piece in twice as long, but they showed little rust. They did three songs, kicking off with "Granite Street Knife Fight." By the end of their set, Adams and Dangora couldn't resist getting onstage to sing along.
Vanna beat the odds by putting on the most energetic set in a night full of high-energy performances. They always put on a strong show, but you would have thought this was a headliner based on the fervent crowd reaction. Frontman Davey Muise sang closer "Digging" from the audience, the result of which was pure chaos. Earlier in the set, Muise revealed that Vanna will have a new record in the summer and strongly hinted that they'll be playing Warped Tour as well. It was also announced that it was drummer Eric Gross' last show with the group. Most poignant, however, was when Muise shared a story about how Vanna and A Loss for Words had given him a home when he didn't have one.
I was hoping for some old material from Transit, given the nostalgic occasion, but instead they pulled only from their three most recent albums. It's hard to fault the band when they only had 30 minutes, and the performance was solid nonetheless. Their live show simply isn't the same in the absence of founding guitarist/vocalist Tim Landers, but Torre Cioffi did an admirable job picking up the slack left in his wake.
Lions Lions, another group with a longstanding and incestuous history with A Loss for Words, is such a fun band to watch. Its members are absolutely reckless when it comes to the well-being of themselves and their belongings, carelessly tossing around their instruments without giving it a second thought. During their closer, "The Undertow," guitarist Isaac Vigil hopped in the audience and continued to play while crowd surfing.
Despite not being from the area, the crowd greeted openers Handguns and Major League - both former A Loss for Words tourmates - with warm responses. With eight bands playing brief (15-30 minute) sets before the main event, the evening felt like a mini Warped Tour. In the six and a half hours in which the show took place, the lively crowd never lost momentum; they may have even set a crowd surfing record for the venue.
Success comes in many forms, particularly from the perspective of a band. A Loss For Words never got that major record deal, mainstream radio play or platinum sales. But they had a profound impact on the microcosm that is the New England music scene, to listeners and musicians alike. From a group of small-town high school friends to revered torchbearers, A Loss for Words paved the way for many kids just starting out to take a shot at pursuing their dreams.
In "Finite," Arsenault sings: "I won't let tonight pass me by / I won't see with paralyzed eyes / No I won't, no I won't because / Time is so precious for us all." Those lyrics rang especially true as A Loss for Words laid down their instruments for the final time. Running the gamut from punks and hardcore kids to hipsters and preppy bros, the diverse audience came together to sing along with a longtime stable of our local scene for the one last time. 15 years of blood, sweat and tears had led to this moment, and the band members received the grand send-off they deserved.
Glamour Kills' past holiday celebrations have been restricted to one- or two-day events in the New York area, but this year's A Very GK! Holiday Festival has been spread throughout the country with different line-ups at each date. I was happy to find a stop at the House of Blues in Boston, MA on December 14th. With a stacked line-up of eleven bands (arguably the best of the four shows) with truncated sets, the day felt a bit like a winter Warped Tour.
It has been fascinating to witness The Wonder Years' rise to success. From seeing them play at a local church just four years ago to selling out a 1,000-capacity club earlier this year, they have quickly risen in rank, becoming crown jewels of the pop punk scene. Although they were in Boston recently in support of Yellowcard, they returned to the venue less than a month later as the main draw. With more than a thousand people in attendance, it's the biggest crowd I've seen them headline, and they had every last one of them in the palm of their collective hand.
Although the show was a joyous occasion, it was the same day as the tragic Sandy Hook shooting in Connecticut - not too far from the venue or some of the performers' hometowns. The Wonder Years frontman Dan "Soupy" Campbell took time out of their 45-minute set to make a brief but passionate speech about the events, and the crowd was nothing but respectful.
The band's setlist was different enough from the Yellowcard tour but still consisted of the "hits" from Suburbia and The Upsides that fans have come to expect, along with "You're Not Salinger. Get Over It." The songs were performed noticeably faster to fit in as much material as possible. After concluding with "And Now I'm Nothing," Campbell and guitarist Casey Cavaliere lead an acoustic rendition of "Living Room Song" reminiscent of a campfire singalong. (I was hoping for "Christmas at 22," given the spirit of the event, but no such luck.) They were joined by the rest of the band to close the night with "All My Friends Are In Bar Bands." Friends from the supporting acts - members of A Loss For Words, Transit and Hit the Lights among them - came out to sing the song's anthemic conclusion.
Prior to The Wonder Years, Boston's own A Loss For Words took the stage. I have seen these guys play at venues of varying size all over the state, so to finally see them on the grandest stage Boston has to offer was exciting, and the band members were visibly enthusiastic as well.
In addition to the standard favorites (opener "Hold Your Breath," "Wrightsville Beach") and an unexpected inclusion ("The Lost Cause I Used To Be"), they also covered Kings of Leon's "Use Somebody." It seemed like an odd choice at first, but frontman Matty Arsenault can nail virtually any song, and his passion remains unparalleled. (His R&B side project, Class of 92, also played a surprise song - a cover of Miguel's "All I Want Is You" - earlier in the night.)
While guitarist Nevada Smith was in London with his new bride for the holidays, Lynn Gunnulfsen, young frontwoman of the Arsenault-managed Paris, filled in. She meshed with the group well, and it was interesting to hear some female back-ups. Speaking of vocals, Transit's Joe Boynton lent his voice to "Stamp of Approval," returning the favor for Arsenault's earlier guest spot during Transit's performance of "Stay Home."
Transit ages like a fine wine. On record, they evolve with each release, and I'm always left impressed by their live show no matter how many times I see them. The band teased the audience by speaking of their recent recording sessions for their new album but didn't offer any new tracks, instead sticking with the standard favorites.
The set featured many cuts from the band's latest effort, Listen & Forgive, along with some older tracks. Although fans enjoyed the entire set, it was the older, more upbeat songs - "Please Head North" and "Stay Home," specifically - that received the rowdiest response from the crowd.
I'm a fan of The Dangerous Summer, but I'm not sure why they were booked to go on after Hit the Lights. The Dangerous Summer sounded great - no drama there - but their performance elicited little response from the audience. However, I loved seeing them close with "Work in Progress," as it puts a perfect exclamation mark on the end of their set.
Hit the Lights, on the other hand, always brings an excited fanbase, and this show was particularly special because it featured both current vocalist Nick Thompson and original singer Colin Ross. Although they only had 30 minutes, they made the short time count with seven cuts from their first two full-lengths - and nothing from their latest album.
Ross sang the first three songs ("Three Oh Nine," "These Backs Are Made For Stabbing," "Save Your Breath"), while Thompson went back to his original duty as guitarist. Thompson then took the reins for the next three tracks ("Stay Out," "Back Breaker," "Count It") before being joined by Ross as they shared vocal duties for the catchiest song about killing someone, "Bodybag."
I haven't really sat down and listened to With the Punches enough, but their live show was enjoyable regardless. Bursting with energy, they crammed as many songs as possible into their 20-minute set. Obviously not used to such a disconnect between the stage and the audience, vocalist Jesse Vadala spent a good portion of the set at the barricade, allowing kids to crowd surf their way up and sing along.
I've lauded Brian Marquis before, and his performance only reinforced my praise. I've seen him in numerous smaller venues since he began his post-Therefore I Am solo career, but it was an entirely new experience to hear him through a big sound system. He threw in a new song, which sounds just as good as his old material. As is the case with most acoustic performances, some audience members where obnoxious with their chatter, but most were respectful.
Hostage Calm played earlier in the day - a bit too early, if you ask me. They had enough fans singing along to warrant a later set time, and even Campbell came out to sing on "On Both Eyes." Also underrated are I Call Fives, who played right before them. I have no idea why they aren't as big as, say, Fireworks or Man Overboard. For my money, their catchy pop punk jams are on the same level.
The line-up also featured State Champs, who received a surprisingly warm reception considering they went on at 4:50 (and covered P.O.D.'s "Alive"), Kid Jerusalem and local battle of the bands winner Premier. Some attendees stuck it out for all 7+ hours.
The show was originally scheduled to take place at The Royale, a smaller (but still relatively large) venue in Boston that allows stage diving. Although that most likely would have to a more fun show experience, the change was necessary in order to allow all of the bands to play. Besides, it's hard to complain after seeing such a strong line-up. A Very GK! Holiday Festival in Boston is a late but strong contender for the best show of the year.
"All we ever wanted was a cool, dry place to rest our bones / Not to drift along with this current forever, not to have to sink alone."
Not only were the above lyrics, taken from A Loss For Words' "Wrightsville Beach," the most enthusiastically chanted singalong at the Warped Tour's Acoustic Basement at the Comcast Theatre in Hartford, CT on July 22, but the stage also gave the words new meaning. The Warped Tour was founded on in-your-face punk rock, but sometimes it's nice to take a break from the loud music, blistering sun and throngs of people. Of course, you'll still want to enjoy music with like-minded individuals, so the Acoustic Basement the perfect getaway.
The stage, the brainchild of Brain Marquis, is a brand new addition to the Warped Tour. There are other sponsored tents that feature sporadic acoustic performances, but this is the first one dedicated solely to regularly scheduled artists. The stage is actually two large tents - it had to be expanded, as one wasn't enough - with a small platform for performers. Some of them are on the tour as solo acts, while others are taking on double duty with full band electric sets on other stages as well.
Typical for Warped, the Acoustic Basement changes locations each and every day. On this particular day, it was situated a bit too close to one of the main stages, and the noise could be heard during quiet moments. Thankfully, the tent is equipped with a good P.A. system to drown out the external sound. Refreshingly fast paced, each musician performed for about 20-30 minutes, with only 10-15 minutes in between each.
Geoff Rickly was a late addition to the tour and took the stage early, but he brought a handful of dedicated fans. (Unfortunately, some passersby didn't know who he was; I actually heard someone look at their schedule and say, "This is Gee-off Ricky.") Since putting Thursday to rest late last year, the frontman has been focusing on solo material as a creative outlet. He is happily independent, stating that he has no need for a label or management. Instead, he has a mailing list and will free music to anyone who signs up. The independence seemed to invigorate Rickly, and the new songs - including one that began as a United Nations track - sounded great. He also threw in covers, such as Buzzcocks' "Ever Fallen in Love (With Someone You Shouldn't've)," and a couple of Thursday cuts, ending the set with an acoustic rendition of the band's "Turnpike Divides."
Owen Plant brought a distinctly different vibe to the stage. One half of The Sunshine Brothers, Plant uses his Jamaican ancestry to infuse reggae into his brand of folk. He made good use of two microphones, layering one with delay effects. I'm not familiar with his songs, but the music and the atmosphere created by it were chill.
Acoustic Basement mastermind Brian Marquis took the stage next. Combining elements of acoustic, folk, blues and country, his solo material is quite a departure from his work in Therefore I Am - but it's equally impressive. He played a mix of original material and eclectic covers, ranging from Bruce Springsteen's "Terry's Song" to Ryan Adams' "To Be Young (Is To Be Sad, Is To Be High)," which can be found on his new EP, Beneath the Cover is Earth.
Chuck Ragan's foot-stomping performance hardly left time for him to breathe between songs. As far as acoustic material goes, it was positively rambunctious. His gruff vocals and guitar were joined by Jon Gaunt on fiddle and Joe Ginsberg on upright bass, giving his performance a fuller sound. I was hoping for a Hot Water Music song or two, but Ragan didn't so much as mention his recently reunited band. (He did, however, play "Cursing Concrete" from his folk side project Rumbleseat.) Regardless, the original material sounded great.
Make Do and Mend were excited to be back in their homestate. Frontman James Carroll and guitarist Mike O'Toole's all-too-short performance largely consisted of material from last year's acoustic EP, Part and Parcel. The release seemed to go under the radar, but I think it's excellent. The acoustic songs translated well live, including their cover of Touche Amore's "Home Away From Here," a unique take on a great song. The set concluded with a rendition of "Night's the Only Time of Day," featuring a brief interlude with the chorus of Carly Rae Jepsen's "Call Me Maybe."
Koji is perhaps the most humble person in the music industry today. His authenticity oozes from the stage. In addition to his usual material, such as his rousing cover of the Bob Dylan/Old Crow Medicine Show tune "Wagon Wheel," he showcased some new songs from his forthcoming album. He didn't play his typical closer, "Spring Song," opting instead end with one of the new songs. Not only does it not have a title yet, but Koji stated, "I barely know the words, but I understand its meaning." That goes to show you how genuine he really is.
The largest crowds of the day came for the stage's final three acts, beginning with Transit. As with their electric set, singer Joe Boynton and guitarists/vocalists Tim Landers and Torre Cioffi gave it their all. They may not have hit every note perfectly, but they more than made up for it with passion - plus they had a large audience singing along. They played five songs from their latest album, Listen & Forgive, before closing with an older track, "Outbound."
Bayside frontman Anthony Raneri brought the biggest crowd, which spilled out from the pair of tents. He began the set by professing his love for Connecticut and revealing that he was there with the rest of the band just before Warped started to record something (although he would not say what). He then went on to play "Don't Call Me Peanut," the first of a few Bayside favorites. He also performed one of his solo songs, "Sandra Partial," and his cover of Smoking Popes' "Megan," which tops the original.
A Loss for Words was the stage's final act. As a local band, I have seen them many times over the years, and they never disappoint. I am constantly impressed by Matty Arsenault's voice; I rank it among the best in pop punk, even after having already performed with the full band earlier. He puts those pipes to good use during these acoustic performances and maintains his stage presence as well. Accompanied by guitarist Marc Dangora, the pair played a half an hour's worth of crowd pleasures, including the aforementioned "Wrightsville Beach," the fan-requested "Face to Face" and their covers of Acceptance's "So Contagious" and The Temptations' "My Girl."
Not only did the Acoustic Basement provide refuge for lucky music fans, it also showcased genuine talent from real humans. There were no rock star attitudes, no gimmicks, no egos, no auto-tune. Everyone was there because they wanted to be, and the performers all took the time to express their honor to be a part of the stage. It was great to see all of Marquis and company's hard work pay off. As an added bonus, the stage was done at 6, so even after having spent the entire day there, I had a few hours left to catch other acts (although I gladly would have stayed for more).
Warped Tour founder Kevin Lyman would be crazy not to bring back the Acoustic Basement next and every year. In addition to those artists highlighted above, performers such as John Nolan of Taking Back Sunday, Mike Herrera of MxPx, Kristopher Roe of The Ataris, Vinnie Caruana of The Movielife/I Am the Avalance, Man Overboard, Into It. Over It. and more have graced the stage on other dates. I hope this is the first of many successful years for the Acoustic Basement, as it has the potential to become a crowd-drawing staple of the Warped Tour.