I have a question for all of you indie kids: what is with the bandanna?

I get the whole skinny jeans, converse kicks, and [insert vintage thrift store tee shirt here], but the bandana is completely mystifying to me. Scarf? Sure. Headband? Fine. But a bandana around the neck? Is there a secret underground Kanye West following in the indie world? Members only? Do ultra-chic indie kids get ‘tapped’ into an upper echelon society of bandana-wearing hipsters? I saw at least five such bandanas around the necks of band members and fans at the Evangelicals [Official Site, MySpace] show Wednesday night. They played with The Parenthetical Girls [Official Site, MySpace]and Matt Mays & El Torpedo [Official Site, MySpace]. Truly. Enlighten me.

The Parenthetical Girls were peculiar and mesmerizing. At times, lead singer Zac Pennington sounds like Brian Molko of Placebo, only a bit softer. Their music makes me think of an old-school circus performance – something from the early days of P.T. Barnum. And the band puts on quite a show.

[Show as slideshow]

Photo Credit: Mark Espowood

Pennington’s theatrical antics initially catch you off guard, but then grow on you to the point where you’re wondering what will happen next. Their song, “The Weight She Fell Under” was particularly good live. At one point, he came off stage with drumsticks and a corded mic, wandering the crowd and beating the drumstick against the walls of the club, as if searching for studs to hang pictures. He knelt down amongst the crowd and drummed on the worn out wooden floor, all the while singing fervently. Meanwhile Rachael Jensen was intent with her small xylophone set, housed in a light blue plastic case. After each song, Pennington said, “Thanks, team” and occasionally, in what seemed to be faux self-deprecation, “we’ll be out of your hair in a few minutes.” Modest. The band members took turns playing various instruments, and at the close of the show, they were all banging on various parts of the drum kit – it was eerily symbolic, somehow, though I can’t place the reason why.

Matt Mays & El Torpedo was a mixed bag. They started off with a couple of alt-rock songs, then sort of transitioned into more of a pop punk feel, and left the crowd with a “d all of the above” number that’s conclusion was superfluous (you know when a band ends a song with repetitious electric guitar chords? This one has ten too many). The band played a solid set, with an impressive performance of “Shining Eyes.” Mays’ vocal solos were raspy and strained – if he toned them down ever so slightly, I think that Tappy Tibbons says it best - “weee’ve got a winner!”

The Evangelicals took the stage after much sound checking – actually, this seemed to be persistent throughout their set. The technical issues destroyed any mood they were trying to create – or maybe it was their fog machine, which reminded me of a seventh grade dance. The purple and green lighting was cool, as was the and wraith-like reverb and vocals. After each song, the band would comment on some problem they were having – feedback, loudness, a buzzing, a potential loose wire. Whether it was a mis-communication between the sound tech and the band, the house equipment, or the bands stuff, I’m not really sure. But it was annoying. And I’m sure this was quite annoying to the band, but whatever issues they were having didn’t seem blatant (read: I couldn’t hear any real problem, except maybe the faintest of buzzing in between songs). The crowd didn’t throw tomatoes, so I’m assuming they didn’t really care about the issue either. The band could have used this opportunity to chat it up with the crowd a bit.

Their music was good, but with all of the stoppage time, it made the problems more memorable than the actual performance. I’d like to see them on a second pass sans the issues.

“Skeleton Man” [mp3]
“The Halloween Song” (from Up All Night EP) [mp3]

And here I was thinking that it was Green Acres. With the launch of their debut, Welcome to Goon Island, out on Mute Records this past Tuesday, XX Teens [Myspace] have dropped something that, I have to say, is pretty boss. If you’re into post punk (and you sure as hell know that we are!), this is the type album that will kick you firmly in your ass and get you up and on your feet*

KEXP’s John Richards went so far as to declare, “XX Teens have to be considered for best album of the year.” Who knows where they will be on my top ten at the end of this calendar year, but I have to say, damn it, I am impressed.

Hear more, grab media and mp3s “after the jump”

“Darlin’” [mp3]

“Born from the great British art school tradition, XX Teens approach is to create the most interesting & expansive music possible with a limited set of tools; an aesthetic that seeps into everything the art school grads do from videos to photos to extra curricular activities such as training dogs to dance.”

Welcome to Goon Island Tracklisting
1. The Way We Were
2. B-54
3. Round
4. Ba (Ba-Ba Ba)
5. Onkawara
6. (Reprise)
7. Only You
8. My Favourite Hat
9. Darlin’
10. Sun Comes Up
11. For Brian Haw

*We really can’t promise ass kicking or motivation. That’s sort of up to you, folks, but this album is exciting!

“If Roky Erickson had vanished from the face of the earth after The 13th Floor Elevators released their epochal debut single, “You’re Gonna Miss Me,” in early 1966, in all likelihood he’d still be regarded as a legend among garage rock fanatics for his primal vocal wailing and feral harmonica work” - music critic Mark Dermig

Howdy Kids! Welcome back to Outloud. I don’t know if you are sick of it yet, but I have another installment in my “Great Punk (including Proto Punk”) singles. If you are tired of this tangent or love it please drop me a line to let me know, personally, I love walking through the virtual bargin bin and retrieving some great songs that should be on any music fans’ iPod.

This week’s featured installment comes from one of Austin’s greatest rock and roll combos. Before you ask I don’t mean Spoon, The Big Boys or even The Dicks - I am talking about the 13th Floor Elevators.

Long before Gram Parsons started talking about “Cosmic American Music” this brash band led by singer/guitarist Roky Erickson, were out doing it. Their sound mixed the soul of blues, the speed of garage rock and the images, instrumentation and ideals of the psychedelia. Their logo (included above) is one of the coolest and greatest icons in rock and roll. It is trippy, aggressive and raw, which is everything the band was always about - they took shots, smoked pot, dropped acid and rocked!

Although the Elevators were only a band for 3 1/2 years, their impact on rock and Austin’s music scene was huge. Although they put out three great albums (the last one was kind of put together quite quickly), their finest hour was clearly the classic “You’re Gonna Miss Me,” the lead track from their debut album The Psychedelic Sounds of the 13th Floor Elevators. The song was lead by Roky Erickson’s trademark howl, which managed to embody the heartbreak, bitterness, anger and strength that is at the core of the song. Backing up, along with a really great and rich riff, is the chugging electric jug playing of Tommy Hall. Yes, that’s right, I said electric jug. Unlike “useless” band members like Bez from The Happy Mondays or Mickey Finn of T. Rex, Hall’s playing and songwriting was key to the band’s sound. Why don’t you take a look for yourself. Here is a rare clip of the band performing the song live:

“You’re Gonna Miss Me” [mp3]

How great was that? Roky is clearly breathing fire here, no singer of the era could touch him. On top of great singing “You’re Gonna Miss Me”, has one of the best kiss off songs in rock and roll “I gave you the warning but you never heeded it/How can you say you miss my loving when you never needed it?”

Ouch. If you are ever making a mix to kiss that old ex off, there is no question this song should be included. In fact, “You’re Gonna Miss Me”, even made “professional appreciator” Rob Gordon’s list and heads off the great film High Fidelity

The song lifted the band out of obscurity (although they were famous in Austin, in fact, a young Janis Joplin was close to joining them) and put them on tour with The Byrds and many other hard rocking bands of the era. Unfortunately in 1969, Roky Erickson was busted on a pot charge. Rumor had it, the band was unfairly hassled by “the man” do to their outrageous apperance and music in a small town. Fearing a long jail sentence, Roky pleaded insanity and was admitted to a mental institution, forced to undergo electroshock therapy. His disappearance and new mental state (he would later be arrested several times for bizarre crimes, “abducted by aliens”, etc.) signaled the end of the band.

The 13th Floor Elevators unique mix of rock, guitar effects (new things like reverb and distortion), drug use (they often recorded and played live under the influence of LSD) informed not only future psychedelic bands but stoner rock, punk rock, hard rock and indie rock, is immense. Hopefully, this will get you, dear reader, interested in one of the greatest bands of all time.

Buy the records, absorb the influence and rock out.

At the Show host Brendon hangs out with indie rock band !!! (Chk Chk Chk) [Official Site, Myspace], who play their hit songs, “Myth Takes” and “A New Name” as part of the band’s appearance at the annual LA street festival, Sunset Junction. If you’ve never seen them live, here’s your chance to see what all the fuss is about.

Check out the video and mp3s “after the jump”

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“Myth Takes” [mp3]

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“A New Name” [mp3]

Confession time: I think I have a musical fetish. The sight and sound of a black guy playing guitar just does something for me; a quickened pulse, my head nodding, and beads of sweat on my brow. It’s basically a sonic aphrodisiac.

I think I can explain this reaction. My true musical love is punk. There are other forms and style of music that excite me but most of the music that I truly and deeply love can be traced back to punk in someway, whether in sound or in attitude. I love aggressive and loud do-it-yourself guitars playing simple and distorted riffs. I hate wankery and long songs.

Which leads me to why The Knux [Myspace] excite me. They are two black guys who rap but also play all the instruments on their songs, including the guitar on the punk rap of “Bang Bang”. Why is this development exciting? Because black people tend to do things far better than white people. If The Knux continue in this direction of punk rap, they could do something I may just fall in love with.

Hear me out “after the jump”

It is not particularly correct to say that black people tend to do things better than white people but lets look at the evidence. In the realm of music, Hendrix was better than Clapton, the Bad Brains were superior to Minor Threat, and the only sources of innovation in popular music today seem to come from black artists; indie and rock are too backwards looking to innovate while hip-hop (and TV on the Radio) continues to, at least on it’s fringes, move forward. Don’t even get me started on jazz (Kenny G vs Charlie Parker?). It applies to non-musical worlds too. Tiger Woods will overtake Jack Nicholas just as Hank Aaron overtook Babe Ruth. Who else but Morgan Freeman to narrate anything? In this light Barack Obama should be regarded not an exciting possibility but as the inevitable, a black man entering into a world previously dominated by white men and, with respect to John McCain, doing it far better.

Which brings me back to The Knux. I wish I had more of their catalog to judge them on, to see if this is a fluke or a true development (their debut album doesn’t drop for another month). The Hype Machine turns up several other songs. First single “Cappuccino” is a Star Wars reference away from being a Cool Kids song. “Hard Day’s Night” sounds like something out of the West Coast circa 1994, in mostly a good way.

“Bang Bang” [mp3]
“Cappuccino” [mp3]

But “Bang Bang” is something else. It immediately calls to mind two sources: the first and most obvious is Outkast. “Bang Bang” is in the evolutionary heir to “B.O.B.” The second reference point I find in this song (and this is why I’m excited) is The Clash. One cannot help but be reminded of the glory days of punk when they hear the populist chants and riff that dominates the backing track. Punk and rap developed in close quarters, on the edges of society in New York City in the 1970’s. Their development ran parallel for almost a decade (see Boys, Beastie) but then diverged. What I see in The Knux is the continuation of a trend I’ve been noticing in recent years with the likes of artists such as the Gorillaz, M.I.A., and Santogold; the reconvergence of “punk” and hip hop. Santogold and Diplo’s Top Ranking mix tape is exhibit (Xzibit?) A in this case with its fusion of old school punk samples and Santogold’s urban pop.

Coming back to the topic at hand, “Bang Bang” is a rare creature. It is a major label released song that has major label production but that has not been polished to within an inch of its death. It sounds crisp and clean yet the guitar is raw and full of punch. It makes me want to fight the power, much like a White Riot or a Clash City Rockers does. This sort of simple raw guitar power is almost non-existent in today’s musical world so to find it in a hip hop song excites me. If straight white punk was good, I can only imagine how good the black hip-hop version could be. Or I hope could be. Let us pray that a punk rap does not become what rock-rap was. While I wait and see, I think I’ll just cue up Bang Bang for the 20th time this week and bliss out.

The vocals of Scott Reitherman from Throw Me The Statue [Official Site, MySpace] have an uncanny likeness to John McCrea of Cake. They are more pop and raw than the above-mentioned, and with less horns and more cheer. What’s also nice is that each instrument is distinguishable, yet creates a delightful fuzzy sort of musing state for the listener. This is such the case with their track “About to Walk.”

Don’t be played for the fool; with Throw Me The Statue, you can have your cake and eat it too. And now a bit more on the song in question:

What was Scott thinking? Find the answers “after the jump”

Holly Perry (HP): What’s the story behind “About to Walk?”
Scott Reitherman (SR): “About to Walk” is about the creative process. Trying to lock yourself inside on a night when your friends are out being kids. Trying to get somewhere and generate a breakthrough with your art.

HP: What does “double dreams tend to land big blows” mean?
SR: That line refers to the double stress of making your own recordings and then releasing them on your own record label. Before Secretly Canadian picked us up, my goal was to keep building my own record label Baskerville Hill, and release our stuff through it. And it can go both ways with this, and obviously so many people are doing this these days. But that doesn’t detract from the very humbling nature of that kind of work, which you create for yourself.

HP: “Shame” and “bliss” are both “bathed in light” - ironic?
SR: Wrapped up in the songwriting process, for me at least, is this element of self-loathing. Maybe that’s overstating it. Editing out the parts you write that are no good inherently comes with the acknowledgment that not everything you do is super brilliant. So the moment when you realize that one idea is poor, and then discard that idea for a better one, is that kind of duality I was talking about.

HP: What do you want listeners to take away from “About to Walk” and/or your new album Moonbeams?
SR: I think that’s up to the listener. I’m just satisfied that people might listen to it in the first place.

HP: What are you currently reading?
SR: The obituaries of David Foster Wallace.

“About To Walk” [mp3]
“About To Walk” (Daytrotter Sessions) [mp3]

Check out the latest video for Throw Me The Statue - “Yucatan Gold“

Tour Dates

10/02/08 Toronto, ON - El Mocambo
10/03/08 Montreal, QC - Le Gymnase
10/06/08 Rochester, NY - Bug Jar
10/08/08 Cleveland, OH - The Spot
10/09/08 Dekalb, IL - House Cafe
10/10/08 Urbana, IL - Red herring
10/11/08 Chicago, IL - Beat Kitchen
10/13/08 Minneapolis, MN - 7th Street Entry
10/27/08 Dublin, Ireland - Whelans w/ Headlights
10/28/08 Glasgow, UK - Captains Rest
10/29/08 Birmingham, UK - Yardbird
10/30/08 London, UK - Luminaire
11/01/08 Berlin, Germany - Bang Bang Club
11/02/08 Koln, Germany - Blue Shell
11/03/08 Hamburg, Germany - Molotow
11/04/08 Rotterdam, NL - Rotown
11/05/08 Amsterdam, NL - Paradiso
11/06/08 Copenhagen, Denmark - Loppen
11/07/08 Malmo, Sweden - KB
11/08/08 Stockholm, Sweden - Debaser

***

We’ve all wondered, and, speculate as we may, we never truly know the meaning, lyrically or musically, behind a song from a band we love. We often have to rely on the occasional liner note explanation, the random mentioning in an interview, or roadie rumors to surface to gain any sort of insight or understanding into the mind of a band.

Well, look no further. Each week a song that was previously featured on one of Radio Exile’s weekly mp3 mixtape is carefully selected, the band contacted, and the meaning delivered to you, the curious fan. It’s just one more way for you to connect with great music.

Get more info “after the jump”

Create a short video inspired by your world of sneakers and you may just be the next winner of Share Your Sole, which could mean a trip to the NBA All-Star Game. Just check out the video below as a guide and give it your best shot. Get your friends to vote for you, because the video receiving the most votes gets a $1,000 Foot Locker Gift Card, and every voter is entered for a chance to win their own $500 Foot Locker gift card.

Submissions shall be accepted 8/15/08 to 11/30/08, and voting runs 12/3/08 to 12/31/08, so get cracking.
Winners will be announced on 1/27/09

I wish I was eligible, but maybe I will find a way to con myself into some free gear…from Lakai, maybe? Yeah, I like Lakai.

Comfortable, affordable, durable. Lakai should want to hook up with me. Call me, Lakai. Or email me, that would work out too.

Why don’t they sell Lakai at Foot Locker? Might be worth looking into, people-from-Foot-Locker, bringing the “cred” back into your establishment. Or maybe not.

See who else you are up against and vote for your favorite video at Foot Locker Unlocked [link]

Darker My Love’s [Official Site, Myspace] sophomore record, 2, bores me. I got it over a month ago and I’ve just now been able to sit through the whole thing in one sitting and even that was only because I strapped myself into a chair and did the auditory equivalent of A Clockwork Orange’s Ludovico Technique. That’s not to say it’s a “bad” record. It might be good for all I know but the record speaks in a musical language, shoegaze, that I do not understand or, for that matter, think is particularly valid. The album’s best moments come when they stop trying to be Loveless and instead work off early Pink Floyd, as on the non-boring “White Composition”.

I’ve always had a hard time with shoegaze and its sub-genres. Maybe it’s because the genre as a whole seems to lack any sort of soul or personal involvement (with the exception of Brian Jonestown Massacre); the music rocks but it does not roll. Or perhaps it’s because I never did a lot of drugs.

“Two Ways Out” [mp3]

2 reminds me of a record I bought right before I left for college; the self-titled debut of The Music. At the time I thought I liked it but I now realize I was young and impressionable. I even saw The Music live but my enthusiasm for the band began to fade when I realized the only time I ever listened to the album was when I put it on at night to help me fall asleep. Darker My Love traffic in a similar sort of sleep-inducing-yet-roommate-drowning-out rock. At first you sort of think you like it but when you actually sit down and try to explain why, nothing at all comes to mind.

Maybe it’s just me. Maybe I do not posses some “shoegaze gene”, a biological makeup that predisposes one to love “swirling noise” and “texture”. I may be the only one but if I want texture, I’ll just rub my hand against sandpaper. Give me three chords and some attitude. Give me a great melody and a hook. Give me a beat and some rhymes that make me laugh. Just don’t give me swirling guitars.

Score: 3/5

Yeah, a dancing panda. That’s pretty boss, right?

Also, it appears that Britney Spears has a sex tape…right in time for her new album! Years ago, I would have jumped up and down full of glee, but after her MASSIVE, NASTY breakdown, I am just not feeling her.

Yuck.

I more or less stuck with Weezer. I was infatuated with The Green Album, backslidden during the Pinkerton and Maladroit eras, renewed my faith with Make Believe, and have instantly fallen for The Red Album. And now, fourteen years later I can finally say that I have seen them live.

[Show as slideshow]

Here’s the breakdown:

The Venue

The Tsongas Arena in Lowell is forty minutes north of Boston, so for most local fans, it’s a bit of a commitment to go to a show there. Parking is $10, with your choice of a lot or the garage, both of which you can only access via a rotary. There is also a lightning quick stoplight after your make it around the rotary, which allows approximately two cars through before changing. This results in a tedious departure from all shows.

It is a cash only arena for food and bevies (really, who carries cash anymore?). The arena’s only ATM is located on the outside of where they scan your ticket, so you have to ask permission to use it from the ticket taker, the way you’d ask for a lav pass in high school. I had forgotten this little cash-only fact, and on the night of Weezer, the ATM was out of service. In addition, for this particular show, GA floor seats were cheaper than the actual seating, but you weren’t allowed to go to the floor if you had actual seats, which isn’t normally the case. Not even for the opening act! The staff was friendly, completely unaccommodating, and primarily female.

With all of this negativity, the one reason you want to return to the Tsongas every time (bands aside) is for the $5 fried dough. It’s the real deal. The dough is the size of a frisbee, piping hot, and the powdered sugar and cinnamon condiments were abundant. My friend and I managed to scrounge up $10 – neither of us wanting to share.

Tokyo Police Club

The polite and grinning boys from Toronto took the stage first. The crowd seemed mostly unfamiliar with their music, but some “Ben Folds Clapping” occurred during “Tessellate,” which was reassuring. What is Ben Folds Clapping? It’s when a song includes a brief instance of a clapping-like beat (or actual clapping). It’s only recognizable to a person who has heard the song before. The person in-the-know can flaunt their musical superiority at a live show, by confidently clapping along at this part of the song, while the “others” (read: “posers”) look on and secretly wish they were hip enough to know when the claps were coming. I first experienced this at a Ben Folds show during the song “Zak and Sara,” and was not in-the-know.

There are also subsets that fall under the categorization of BFC, such as throwing your fist in the air or pointing towards the stage during critical junctures of a song (this is typically easier to catch on to if you aren’t a die-hard fan). An example would be throwing your arm to the beat of Weezer’s two pair of guitar chunks, followed by the “Say it ain’t so-oooh-oh-ooooh-oh!” But I digress.

Tokyo were epic. Their sound was happy and loud – similar to Death Cab, but without the transcendental ooze. They played “Juno,” and it’s oh-so catchy line “You and your soapy eyes, called it off so late at night” resonated. I’m not sure what “soapy eyes” are, but I like them. Not literally. “Your English is Good” incited a feeling of camaraderie. Overall, their set was really tight. Their only fault was in not being the second performer – they really deserved that slot. Which brings us to the “Yikes, I didn’t See That Coming” portion of the show.

Angels & Airwaves

AVA’s albums are anthemic – there’s no getting around that. Their soundscapes often sound similar, usually having a dramatic build up. This is all well and good, but then throw Tom DeLonge into the mix. We all know Tom can rock out. I’ve seen it first hand on multiple occasions. The Tom DeLonge I’ve seen perform never frolicked around the stage, sort of wanting to be Brandon Flowers, but coming off as more of an interpretive dancer. At one point there were lights strapped to his hands, and he twirled them around psychedelically (sadly, I forgot my glow stick).

Each song blended into one another, and Tom soared between the strategically placed gridded levels on the stage, one slanted and facing the crowd. It is on this particular step that he liked to crouch like a pouncing cat. At the end of each song he was very solemn, sometimes meaningfully grabbing his heart, and other times stretching his arms out wide, golden lights glowing behind him, implying that he is some sort of musical messiah. The vocals weren’t very clear either. Between the lights, the music and the “performance” it was too much. This display was comical and disheartening… and also a little creepy.

Weezer

Weezer took the stage wearing matching white jumpsuits. In typical diva fashion, they changed into red jogging suits, and once more into what looked like blue soccer unis. They were quite versatile, each taking their turn at the mic, producing incredible harmonies and playing various instruments throughout the set.

Highlights from the show included having Tom DeLonge back on stage to perform “The Sweater Song” with Rivers Cuomo – Tom’s punk pitch vocals were a great match for this one. He completely redeemed himself from the prior above-mentioned display. Weezer pulled off a cover of Oasis – an awesome surprise, though it looked like some of the kiddies didn’t know “Morning Glory” – the flailing arms in the air more or less ceased during this one. Sigh.

Cuomo introduced “My Name is Jonas” by saying, “Alright, help me out with this one,” and then diving into the finger picking intro. It was charged, the lights behind the band bursting in yellows and blues in time with the guitar riffs - the best three and a half minutes of the show. It was great to hear several Blue Album selections.

They played mostly hits, having enough albums to do so, along with selections from The Red Album. At the end of the show, a record player was brought on stage and The Red Album vinyl was set to “Heart Songs.” Great tune. The crowd immediately started singing along, wondering if the band was going to return to the stage. At the very part of the song when they reference Nirvana’s Nevermind, a member of Weezer (I’m not sure which one – I’m guessing Cuomo) came out on stage, kicked over the record player, grabbed a guitar, and launched into a cover of “Sliver.” Clever, Weezer, very clever.

They also had a group of thirty or so musically inclined fans come on stage for the first encore, with their instruments to play “Beverly Hills” and “Island in the Sun,” as a part of the band’s promotional “hootenanny” bit. This was an entertaining success. My friend pointed out, “There’s thirty or so people up there – most of them go to Berklee (College of Music) – so this is probably the best performance that Weezer is going to get on this tour.”

The performing aesthetics were idiosyncratic. Cuomo wriggled around stage and occasionally bounced off of a mini trampoline. His mannerisms were captivating and quirky. He “rapped” and motioned like he was a prizefighter. The bands nerdy stage presence was contagious. Their body movements were jerky and their facial expressions goofy. You couldn’t help but smile or laugh at the comments, such as “…Well, that’s okay – we’re still the coolest band in the world… (pause)… yeah, I said it!” and “This is the first stop on our tour, so even though we are playing other shows, this one will remain dear to us… because it was the FIRST one.” Cute. Also, a member of the hootenanny brought a didgeridoo as his instrument to play, and Cuomo said, “Give us a little something.” The kid obliged, and Cuomo replied with, “That.. that is exactly what this show was missing.” A showman, for sure.

The bottom line is that Weezer brings joy to the eyes, ears and hearts of all geek rock lovers worldwide. See them.

Weezer Set List
01. Dope Nose
02. Hash Pipe
03. Dreamin’
04. Undone (The Sweater Song)
05. Automatic
06. Say it Ain’t So
07. Susanne
08. Troublemaker
09. King
10. My Name is Jonas
11. Pink Triangle
12. Pork and Beans
13. Keep Fishin’
14. Perfect Situation
15. El Scorcho
16. Greatest Man
17. Morning Glory (Oasis cover)

Encore 1
18. Island in the Sun
19. Beverly Hills

Encore 2
20. Heart Songs vinyl into Sliver (Nirvana cover)
21. Buddy Holly