LiveDC: Dinosaur Jr. @ Black Cat
BYT Staff | Oct 30, 2012 | 11:39AM |

All words: Jeb Gavin — All photos: Farrah Skeiky

Thursday night’s Dinosaur Jr. show at the Black Cat was exhausting. Brilliant, amazing as always, but exhausting. I hate admitting that. They play such good music. They play so loud, sound so aggressive without looking it. To a certain extent there is this oppressive nature to the show, they are there to kick ass, and occasionally your number comes up, and your ass gets kicked. It’s worth the experience, but it’s enough to wipe a man out you see it enough times.


The three paint quite a picture up there in a row. Mascis looks like someone scared Frank Zappa to the point where he was devoid of pigment and humor and really everything excepting madness-inducing guitar work. Barlow seems like everyone’s cool uncle, chatting by comparison since J and Murph didn’t feel like talking. Lou rocks back and forth as he plays, sliding around in place without ever moving from his third of the stage. Both are backed by stacks of amps- I’d go as far as to say ensconced, Marshall stacks towering over the pair of them on opposite ends of the stage. Murph was plopped between them, the dome of his head rising above the kit like a focal point on the stage. The backdrop behind the band- the cover of their latest album, was almost entirely obscured by equipment, an oddly funny visual statement about the band kicking ass no matter the cost.

102512_DinosaurJr10_FS 102512_DinosaurJr07_FS

>>>>>>>>>>>> Here is a Featured Event >>>>>>>>>>>>
DECLASSIFIED: Carnival of Sins featuring Storm Large & Hudson Shad with the National Symphony Orchestra
Friday 04/29
DECLASSIFIED: Carnival of Sins featuring Storm Large & Hudson Shad with the National Symphony Orchestra @ Kennedy Center Concert Hall
A lead singer with Pink Martini, Storm Large is a "sensational" (The New York Times) entertainer in her own right. She performs cabaret songs plus Kurt Weill's wickedly delightful The Seven Deadly Sins in concert with all-male vocal quartet Hudson Shad. Led by "talented young American conductor" (The New York Times) James Gaffigan, the program also includes Richard Rodgers's fanciful Carousel Waltz. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ABOUT DECLASSIFIED: FRIDAYS AT 9 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The secret is out! Some of the NSO's Friday night programs are taking on a whole new vibe with a fresh mix of sound and vision plus exciting pre- and post-concert activities, all at a great price. For the 2015–2016 season, the NSO has "unlocked" some of its standard Friday programs and opened them up to fresh concepts in concert-going with DECLASSIFIED: Fridays at 9. Not your typical Concert Hall experience, these late evenings will include an eclectic mix of classic and modern sounds, special guest artists, dynamic multimedia, audience interaction, and pre- and/or post-performance activities. They'll begin at 9 p.m. (an hour later than usual) and last 60–75 minutes (shorter than a typical program), all at a great price for making memorable nights out with a date or a group of friends! If you heard about the NSO's concert at D.C.'s Echostage in January 2015, you'll know exactly what to expect at these new concerts: - Come as you are: straight from work, in jeans, or whatever suits your fancy. Be ready to move! - Arrive early and/or stay after the concert for added fun to be announced--each night will be a different experience. - Grab drinks or snacks anytime and bring them back into the Concert Hall. - Most importantly, open your mind to a music experience where anything can happen! Performance Timing: Approximately 85 minutes, with no intermission
>>>>>>>>>>>> Ok, back to the article! >>>>>>>>>>>>

The set ran the length and breadth of their discography, with obvious emphasis given to the new album. “Don’t Pretend You Didn’t Know” was particularly impressive, though I was more taken by the opener, “See It On Your Side.” At one point Barlow explained how he and J used to be in a little hardcore act called Open Wound before they ran through their old “Training Ground”, which does in fact sound like someone might have an open wound, and they want to express their pain through evil, thrashing bass lines. Then for good measure, the guys closed out their encore with a cover of The Cure. I know it’s an odd comparison to make, but there were moments, often at the beginning of songs where it appeared as though we were watching a truncated version of the Grateful Dead up there on stage. The skronking, jamming intros were reminiscent of hearing Weir, Lesh, and Hart banging around in their intros. Each band member would bang around on his third of the stage, wandering their frets, tasting various drum pick ups and bouncing around sonically looking for an opening. Every moment was pure inspiration, maddening, flattening, grimy, unexpected sounds pushed out of the speakers slicked out on the audience like funky hot tar.


Fuck it. It’s always exhilarating seeing Dinosaur Jr. throw down. I was tired because I was tired. They bring it, and I should never say otherwise. The fact that I see Dinosaur Jr. melt faces and flatten pinna and all I can think is to quote PCU over and over again in reference to my own apathy is my problem. I’m starting to worry burn out is a real possibility here, and I’m not referring to the fan base. They were great. They were loud. They should play here more often.

See It On Your Side
Almost Fare
Start Choppin
Don’t Pretend You Didn’t Know
Watch the Corners
Feel the Pain
What Was That
In a Jar
Training Ground

Freak Scene
Forget the Swan

Out There
Just Like Heaven

102512_DinosaurJr01_FS 102512_DinosaurJr05_FS 102512_DinosaurJr04_FS 102512_DinosaurJr03_FS 102512_DinosaurJr12_FS 102512_DinosaurJr09_FS 102512_DinosaurJr16_FS 102512_DinosaurJr14_FS 102512_DinosaurJr17_FS 102512_DinosaurJr18_FS


Your Email Address Will Not Be Published