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WEEKEND RECAP 7/22/03
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Jim Price
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Joined: 07 Dec 2002
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Location: Altoona, PA

 Post Posted: Monday Aug 18, 2003 
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WEEKEND RECAP 7/22:

FLIGHT 19 @ HERITAGE PLAZA, ALTOONA 7/16/03

Being that Wednesday is always a late night for me at the day job, one thing I had not done yet this summer was to experience any of the free Wednesday evening Summer Concert Series events at Altoona’s Heritage Plaza, sponsored by the Blair County Community Action Agency. But I was determined to check out at least one of the concerts, so I maneuvered my work duties to allow me to catch Flight 19’s show this night.

“The Party Plane” took a festive flight this night, and with good reason. Guitarist Scott Imler and better half Wendy had just became proud new parents days before. As I arrived, the group was freshly underway with their first of two sets, and was doing a spirited version of Lenny Kravitz’ “Dig In.” After Scott fronted the group on a version of Bush’s “Little Things,” Flight 19 broke out the first of several original songs this night, “Migraine.” (The song was written while singer Brian Thomas was enduring one.) The group would introduce at least three other original songs this night, including “Unlock My Heart” and the bluesy “3 of a Kind.” Guitarist John McKelvey fronted the group on The Clash’s “Should I Stay or Should I Go,” and the group also broke out songs from 3 Doors Down, Commodores, Stone Temple Pilots, Van Morrison, the Good Charlotte “Little Things” (after doing the Bush tune of the same title earlier), AC/DC and more. A good-sized crowd of onlookers was on hand to enjoy the free rock’n’roll, spanning toddlers to senior citizens. It was with the latter contingent of the audience in mind that I curiously observed the finale of Flight 19’s show this night, as they stepped up the intensity with versions of White Zombie’s “Thunder Kiss ‘65” and Drowning Pool’s “Bodies,” the latter fronted by the group’s stage assistant, Bob. Fortunately, no coronaries were reported as Brian and the gang thundered out these two nu-metal anthems. A number of onlookers demanded an encore, so Flight 19 added one more tune to finish the night, Violent Femmes’ “Blister In The Sun.”

In all, a fun show, enabling me to hear a few more new Flight 19 originals, and to say I was able to take in at least one of these Wednesday evening concerts this summer.

Flight 19 rocks downtown Altoona on a Wednesday evening.

John McKelvey of Flight 19.

Brian Thomas of Flight 19.

Once again, John McKelvey of Flight 19.

THE WING-OFF CHRONICLES CHAPTER II: BACKDRAFT @ LAKEMONT PARK 7/17/03

After the monsoons that stunted the attendance at the first Lakemont Park Wing-Off the previous week, near-perfect weather conditions this night guaranteed a much bigger turnout for this week’s feature band, Backdraft.

As I arrived in the early going, there was an opening performer at this Wing-Off, acoustic guitarist and singer Ryan Matthews. I didn’t get to see too much of his performance, but Ryan did unplugged current rock favorites, ending his set with Greenday’s “Good Riddance.”

My only complaint about this week's Wing-Off was that in their infinite wisdom, the powers that be didn't put out any picnic benches in front of the stage area.  So at least this week, if you wanted to watch the band while eating wings, you had to sit on the ground.   It didn't hamper my enjoyment of Beerbellies hot wings this night, or my enjoyment of Backdraft as they fired through their eclectic mix of classic rock, blues, Texas swing and more.  In the set-and-a-half I was able to catch this night, Backdraft did tunes from Van Morrison, Tom Petty, Del Shannon, Jimmy Buffett, Dwight Yoakum, Fabulous Thunderbirds, originals and more.  John Stevens joined the group onstage to wail out some harmonica on several tunes.  Other highlights for me included versions of Jonny Lang's "Rack 'Em Up," Fabulous Thunderbirds' "She's Tough," original songs like "Gotta Go" and "Let Me Love You," and more.  With the weather near-perfect and the music, beer and wings all tasting good, the crowd kept growing as the evening progressed. 

Unfortunately, I couldn't stick around to enjoy it.  Due to a previously-scheduled appointment at the day job, I had to leave this Wing Off early.  I later learned that after I left, Trace Baker (Bluesonic) stepped onstage with Backdraft and generated some onstage magic with her powerful and soulful voice.  Oh well, what I saw at this installment of the Wing-Off was good, and I would return in seven days for more.

Bobby “The Lakemonster” gets grooving to Backdraft early at the Lakemont Park Wing-Off.

Brian Cupples of Backdraft.

Tim Kelly of Backdraft.

John Stevens belts out some harp with Backdraft.

Once again, Brian Cupples of Backdraft.

Phil Harpster of Backdraft.

Once again, Tim Kelly of Backdraft.

BACKSTREET LAW @ CITY LIMITS, ALTOONA 7/17/03

After returning to the day job and logging a long evening there, I wrapped up my Thursday night by taking in the last two sets of Backstreet Law at City Limits.  There seemed to be a few more people here this night than during Backstreet Law's last Thursday visit, and a small crowd of revelers were celebrating in front of the stage as the group fired through a medley of 80's hair band favorites.  The group then broke out their raunchy rap-metal favorite, "Seatbelt," driven hard by Jamie Morral's phat bass sound; and wrapped up their second set of the evening with a version of Cold's "Stupid Girl." 

During the intermission, drummer Choke and guitarist Jeremy Edge informed me that the group was starting to write and record songs for their next album.  They have four songs recorded at this point, and are continuing to write and record material.  The album should come out sometime next year.

Backstreet Law kicked off the nightcap set with Motley Crue's "Girls Girls Girls," and proceed to mix current and classic rock favorites with several original songs.  Highlights included the monstrous original song "For Dead;" Pantera's "Walk;" their playful version of Jimmy Buffett's "Margaritaville," complete with a brief Cannibal Corpse-styled death metal side journey; their Pantera-meets-ZZ Top take on ZZ's "Sharp Dressed Man;" and to close the night, their rowdy anthem "Party In The Parking Lot."  As expected, Backstreet Law was on the money and tight.  They playfully mixed up styles and textures from heavy to funky, never getting too sinister for long and keeping the mood uptempo and tongue-in-cheek.  Backstreet Law provided the ample firepower to get the weekend started on the right foot.

Choke of Backstreet Law.

Goody of Backstreet Law.

Some fans get a big lift out of seeing Backstreet Law…

Goody and Jamie of Backstreet Law rally the stagefront fans.

Once again, Goody of Backstreet Law.

PIVOT @ DOUGHERTY'S "TERRA" TORY, JOHNSTOWN 7/18/03

Things did not go as planned for me this night.  My initial game plan, and the game plan for numerous others in the 'Toona, was to take in the 4th installment of Peter C's Bikini Contest, with Bleech and Hair Force One providing the musical entertainment.  But Mother Nature had other plans.  One well-placed shot of lightning at about 7 PM knocked off power in a good chunk of Altoona, including my day job location and Peter C's.  I awaited the return of power for about three hours at my place of employment, and left the building at 10 PM with power still not restored.   Not sure how widespread the outage was, I headed down the street to Peter C's; but when I saw musicians loading gear into a darkened Peter C's by flashlight, I concluded (correctly) that the Bikini Contest was likely not going to happen.  

Uncertain where power was out elsewhere in the city, or how long it would take yet to be restored, I decided to roadtrip over the mountain to Johnstown and get my first look at Pivot, performing at Dougherty's "Terra" Tory.  Pivot is the new project featuring former Bonedigger/Creep frontman Mark Lux.  And having witnessed Mark's unique style and persona in his previous bands, I was curious to see what he had come up with this time.
 
A good-sized crowd was on hand as I first arrived.  His face painted white, Mark was fronting Pivot on a version of Tool’s “Schism.” Likewise, guitarist Mike and drummer Kirch also donned facepaints this night; and the stage had an interesting set-up, with the drums sitting on the left side of the stage, with metal trashcans protruding from the back wall, each bearing a lit-up letter spelling out “Pivot.” Pivot proceeded nonstop through their set of hard-hitting current rock covers, including songs from Rage, Perfect Circle, Tool, Disturbed, Staind, Toadies, Deftones, System of a Down, Live and more. As expected, Mark was the focal point of the attack, as he erratically moved to and fro about the stage, darting into corners, crouching down on the floor, and seemingly exploring every dimension of his voice as he traversed the course of every song. In between songs, Mark would go off on frequent rants, often going off on tangents about different subjects before launching into the next song. This became a bit excessive in spots, and may well have been a factor in crowd attrition as the night progressed. At one point, after a version of the Toadies’ “Away,” Mark emceed several audience participation stunts where select audience members were invited to do crazy things for prizes and crowd laughs. One fan, nicknamed Ogre, consumed a shot of pure salt (I bet that did wonders for his circulatory system). A female fan had to accept a spanking from Ogre. And another fan consumed a shot of black pepper and had his bare butt spanked by a female fan…cheap thrills for all. Other highlights included Lost Ledny frontman Matt Cherry assisting on vocals during a few songs, and the group’s finale, when they broke out one of their original songs, “Drown.”

On the plus side, Mark Lux continues to be a charismatic and unpredictable performer who never stays in one place too long and keeps the show interesting. The band behind him was fairly solid and energetic, and appeared to gain more confidence as the night progressed. On the minus side, though, some of Mark’s rants seemed to be long-winded and slowed the show down, and the sound mix was bass heavy and not well balanced. At the very least, Pivot offered an interesting show, and I’ll monitor their progress to see how this latest endeavor of Mark Lux continues to develop.

Mark Lux of Pivot.

Again, Mark Lux of Pivot.

Kirch of Pivot.

Kirch and Woz of Pivot.

Mike of Pivot.

Against a trashcan backdrop, Woz and Mark of Pivot.

”Spanking for Fun and Prizes” during Pivot’s show at Dougherty’s “Terra” Tory.

Once again, Mike of Pivot.

The masked frontman of Pivot, Mark Lux.

FLORD/THREE BROKEN DOLLS @ ALDO’S, ALTOONA 7/19/03

This Saturday night brought me to Aldo’s in Juniata for the double-bill of Flord and Three Broken Dolls.

I hadn’t heard of openers Three Broken Dolls before; from Mount Union, this trio was apparently friends of Flord frontman Butch Woodward, so Butch and Flord granted the group the opening slot this night. Three Broken Dolls did a respectable job on their mostly cover set list, performing songs from Stone Temple Pilots, Seven Mary Three, Bush, 3 Doors Down, Puddle of Mudd and more, plus several original songs such as “Walk and Talk,” “Life’s Too Short” and “Whatever Happened to the American Dream.” This band was mostly solid on their instruments, playing their rock straight-ahead without additional flash or fanfare. The group drew polite applause from the mid-sized Aldo’s audience; and in all, they provided a good start to the evening.

Kevin Price of 3 Broken Dolls.

3 Broken Dolls gets the night started at Aldo’s.

Mike Ross of 3 Broken Dolls.

Flord has been garnering good response since stepping up their presence on regional stages in recent months. Following the release of their self-titled debut album last year, Flord’s earlier performances were darker and moodier, consistent with the bulk of the material on that album. But as the group has been writing newer, more aggressive-flavored song material, recent Flord shows have reflected that increase in overall aggression, and have been winning the group new fans (and selling albums). This night offered a good demonstration of that trend.

After the theme from “The Good, The Bad and The Ugly” sounded to signify their arrival, Flord launched into their first of two sets, showcasing newer and older originals, and a few select heavy-hitting covers. The first set featured CD highlights such as the aggressive “Spine Is Stretched,” “Don’t Doubt Me,” the remorseful “4 Walls” and the defiant “Break Me Down;” the new song “Why You Hate Me;” a heavy-hitting version of the Animals’ chestnut “The House of the Rising Sun;” and White Zombie’s “Thunder Kiss ’65,” which even prompted the night’s first stage diver. The nightcap set featured several more new songs such as “Respect” and “The Next Level;” songs from the CD such as “I Can See What You Wanted,” the confident “Dedication” and the somber “My Pain;” and select covers from Black Sabbath and Pantera.

Even though guitarist Phil Keith badly injured his foot on a nail earlier in the day, the man was still highly mobile, attacking his instrument with ferocity and drilling frequent searing guitar leads through the course of the show. And although Phil was the musician punctured by the nail, it seemed to be singer Butch who displayed the lockjaw, stiffly and fiercely barking out his words of pain, anger and deceit. Butch is rapidly emerging into an effective, intimidating frontman; he convincingly sells his themes of inner anger and rage, making you believe they are real and not contrived. The rhythm battery of drummer Rick Fisher and bassist Tom Yannitelli executed with power and intensity, laying down the ample barrage of rhythm and low end needed to support the Flord attack.

Blandburg Nation (where Tom and Phil hail from) were again in the house and in full force, with members quickly vaulting onto the stagefront dancefloor and thrashing about wildly to the more aggressive numbers. The number of stagefront participants steadily grew as the evening progressed; evidence that Flord’s hard and stern presentation was making the connection.

This show offered further proof that Flord is arriving as one of this region’s premiere metal acts; and their name will likely be spoken with more frequency as they continue to spread their volatile music and stage show throughout the region and across the state.

Butch Woodward of Flord.

From a different angle, Butch Woodward of Flord.

Phil Keith of Flord.

Rick Fisher of Flord.

Tom Yannitelli of Flord.

Again, Tom Yannitelli of Flord.

Once again, Rick Fisher of Flord.

Fired-up fans cheer on Flord at Aldo’s.

GEORGE MITCHELL MEMORIAL BENEFIT CONCERT w/OZONE BABIES, 4SAKEN, POPTART MONKEYS, EMILY’S TOYBOX & NEGATIVE SPACE @ SHAKEY’S, HERSHEY 7/20/03

This day I did a roadtrip, journeying to Shakey’s in Hershey to help emcee the George Mitchell Memorial Benefit Concert, featuring the Ozone Babies, 4Saken, Poptart Monkeys, Emily’s Toybox and Negative Space. The event was sponsored by Pennsylvania Musician Magazine and Harrisburg area rock station 105.7 The X.

The obvious lowlight of this concert was the circumstance that made it necessary. George Mitchell, the brother of former Something Fluid drummer and veteran Harrisburg musician Dave “Mitch” Mitchell, made the ultimate sacrifice for his country back in April, when he was killed in action 8 miles outside of Baghdad. George gave his life as part of the effort to enable people in another part of the world to someday enjoy the same freedoms that we here in America often take for granted, including the freedom to listen to the music we choose and attend music events like this. The monies raised (over $1,300 when all was said and done) went to George’s surviving children, Christopher, Bailee and Joshua.

It was encouraging to see a number of folks already inside Shakey’s as the start time for the show approached; including George Mitchell’s father, George Sr., the three children and other family members. This was an all ages show, so the room was divided with railings to separate the over-21 drinking age audience from the under-21 attendees (positioned directly in front of the stage). Although there was some confusion in the early going regarding parents taking their kids into the over 21 area (not permitted), eventually everybody got their signals straight and the all ages set-up worked well.

In a strange twist of irony, the band that was beginning this day’s show was playing their swan song performance. The Ozone Babies were going their separate ways and joining other band projects after this performance. With their primary frontman, Joe, out of action indefinitely with throat problems, the Ozone Babies were fronted by a different singer this day; John, on loan from the band Cell 7. The Ozone Babies made their last stand count, doing a respectable job playing a mix of current and classic rock favorites. The group quickly built a head of steam with Godsmack’s “Awake,” American Hi Fi’s “Flavor of the Weak,” Beastie Boys’ “Fight for Your Right (To Party),” Lit’s “My Own Worst Enemy” and Puddle of Mudd’s “She Hates Me.” The group then dug into the 80’s archives for the Buggles’ “Video Killed The Radio Star,” a surprisingly fresh update of Don Henley’s “The Boys of Summer,” and Joan Jett’s “I Love Rock’n’Roll.” A lady named Tracy then took the stage and fronted the group on a song, before Ozone Babies wrapped up their set – and career – with Staind’s “Mudshovel” and Godsmack’s “Bad Religion.” This was a stronger performance than the previous time I had seen Ozone Babies; John’s guest vocals were clearly an improvement this day. Instrumentally, bassist Barrett, drummer Plen and guitarist Joe were mostly tight and together; and the band’s energy level seemed to be higher as a whole. Although their time on regional stages was limited, Ozone Babies exited with a bang this day, leaving a good vibe and impression to remember them by.

The Ozone Babies kick off their final performance at the George Mitchell Memorial Benefit.

Plen of Ozone Babies.

Cell 7 frontman John takes over the lead mic for Ozone Babies’ final performance.

Barrett of Ozone Babies.

Special guest singer Tracy fronts Ozone Babies.

Once again, guest frontlady Tracy with Ozone Babies.

After a short intermission, 4Saken launched into their set. This was the first full set I had witnessed from this group, and I came away impressed. The group came out the opening gate with guns a-blazing, as they embarked on a torrid set of hard-hitting current rock, select 80’s covers and originals. The group kicked off with a Korn double-shot, and then introduced a hard-edged original of their own, “Disillusion.” The group kept a tight pace as they slammed through versions of Dead Or Alive’s “You Spin Me,” Tool’s “Stinkfist,” Deftones’ “My Own Summer (Shove It);” a freewheeling 80’s medley that fused together tunes from Poison, Vanilla Ice, Frankie Goes to Hollywood, Tears for Fears, Danzig and more; and another otiginal tune to finish their set, “Run.” 4Saken was on the attack during their whole set, delivering constant stage movement and nonstop energy. Singer Joey Hampton (brother of Poptart Monkeys drummer Rob Hampton) blended equal parts melody and aggression in his voice, and took his game to the stagefront crowd throughout the set. Guitarist Kent Rienford, guitarist/keyboardist Taylor Austin, bassist Aaron Austin and drummer Jim Earnest played it full-tilt and intense from the first note onward. My first look at 4Saken proved to be an exciting one, and I expect to see this band quickly rise through the ranks of the regional music scene as word of their blistering show spreads.

4Saken, tearing up onstage at the George Mitchell Memorial Benefit.

Joey Hampton of 4Saken.

Kent Rienford of 4Saken.

Aaron Austin of 4Saken.

Taylor Austin of 4Saken.

Dave Mitchell addressed the audience before Poptart Monkeys’ set to thank everyone for the support, and to remember his late brother and the sacrifice he made. Then the Poptart Monkeys provided the strongest set of the afternoon, both musically and sentimentally. This was my second look at new Poptarts frontman Tyson Clark, who is quickly emerging as a fun, go-for-broke performer who does whatever it takes to break the ice with the crowd and ignite the party. This day, Tyson set the tone for Poptart Monkey craziness early on by pouring a draft beer on his head. Tyson’s performance style reminded me a little bit of Funny Money/former Kix frontman Steve Whiteman (which turned out not to be coincidental, as I was later informed that Tyson was a former student of Steve, who teaches voice lessons). Opening with the original rocker “She Likes Girlz,” the Poptart Monkeys fired off a crisp set showcasing new and old originals, plus a few select current rock covers. Both new songs, “7:30” and “Hooked,” sounded strong and contemporary; and familiar Poptart favorites like “Porno Queen” and “La De Da” went over well with the crowd as well. The big highlight of the Poptart Monkeys’ set, though, took place midway through; when Dave Mitchell, George Mitchell’s children and a few of their young cousins, joined the band onstage to help sing and play drums on a version of Blink 182’s “All The Small Things.” The kids gleefully helped Rob Hampton play drums through a few more songs, bringing smiles to all of the Shakey’s crowd. Poptart Monkeys’ set was freewheeling fun that loosened the mood and set the stage for the crazy antics of the afternoon’s next band, Emily’s Toybox.

James Balogach of Poptart Monkeys.

Rob Hampton of Poptart Monkeys.

Tyson Clark of Poptart Monkeys.

Once again, James Balogach of Poptart Monkeys.

The Poptart Monkeys ignite the party at Shakey’s during the George Mitchell Memorial Benefit.

Chris Kurtz of Poptart Monkeys.

Several young fans join Tyson Clark and the Poptart Monkeys onstage.

George Mitchell’s brother, Dave “Mitch” Mitchell, joins the Poptart Monkeys onstage.

Rob Hampton gets some help keeping the beat onstage.

Celebrating after a fun set, Rob Hampton and Tyson Clark of Poptart Monkeys.

A Poptart sandwich; James of Poptart Monkeys is sandwiched between yours truly and Pennsylvania Musician editor Robin Noll.

Up until this point, as an all ages family event, the bands had done their best to keep this show clean and control any swearing to a bare minimum. But for Emily’s Toybox, I knew this was going to be a stiff challenge. Would they keep a handle on their craziness, or would the wheels come off and Emily’s Toybox be…Emily’s Toybox? At least in the early going, the group kept it clean, opening with a ‘family-friendly’ version of “Your Girlfriend Is Ugly.” The group quickly brought comic relief as they prepared to do “Dear,” with lead nutcase Mike Wise, guitarist Todd Sensenich and bassman Leon Karpovich imitating the audience’s befuddled “deer-in-the-headlights” look before launching into the song. Toybox originals like “Acapella” and “Angels Falling” mixed with regularly-scheduled highjinks such as the ‘70’s,’ ‘Charlie’s Angels’ and ‘Backstreet Boys’ poses (Mike advised the younger members of the audience to turn away before the latter pose). Alas, Emily’s Toybox couldn’t control themselves any longer, and beginning with “Die,” the swearing and raunch factor began to work its way in. The group did clean up “Bionic” (how one’s FEET would end up smelling like Chapstick is anyone’s guess), and led the audience on a rowdy shout-along version of “Back of the Bus.” But when the group got to “Road Rage,” Emily’s Toybox had lost its battle with self-censorship, and Mike Wise let it all fly during his midsong rant about Granny in the passing lane; it was again hilarious! The group proceeded with “So F**kin’ Cool,” before ending their set on a more serious note – dedicating a version of Black Sabbath’s “War Pigs” in memory of George Mitchell. (Altoona fans may note, Mike Wise introduced the song by recalling how he had seen Shattered China kick ass on a version of “War Pigs” years ago. I wasn’t expecting to hear a Shattered China reference at a Harrisburg area concert, too cool!) This set was typical Emily’s Toybox madness, with the group’s adrenaline rush originals blending with comic relief and chicanery to keep the audience attentive and happily rowdy. The beauty of Emily’s Toybox continues to be the group’s knack for spontaneity, and especially Mike Wise’s ability to – as any good comedian does – read the audience and ad-lib as he goes along. While a few parents rushed kids out the door as the raunch factor increased, most of the onlookers stayed and naughty smiles and snickers emerged as Emily’s Toybox executed their brand of madness on the stage.

The lead nutcase of Emily’s Toybox, Mike Wise.

Oh Deer! Todd, Mike and Leon of Emily’s Toybox seem to be stunned by the headlights…or the quiet crowd.

Emily’s Toybox ignites the insanity at Shakey’s.

Striking their best Charlie’s Angels poses, Emily’s Toybox.

Wade Corbin of Emily’s Toybox.

Todd Sensenich of Emily’s Toybox.

Emily’s Toybox rocks the crowd at Shakey’s.

Say Emily's!

Say Toybox!

One of 105.7 The X’s best-known air personalities, Jen Shade, joined me onstage to toss T-shirts (she tossed X shirts, I tossed PA Musician shirts) to the audience, and help introduce the day’s final band, Negative Space. One of the most talked-about bands in the eastern half of the state, Negative Space played a tight, powerful set that blended new and old original material, including a number of songs from their CD From All Thoughts Everywhere. This was my first time witnessing this band since they changed drummers; new hammer Justin Neighbour appeared to be just the right fit for Negative Space, tirelessly slamming out high-velocity beats to fuel the group’s melody-based brand of pop/punk. The group did favorites from the CD such as the hits “Ready,” “Dirty” and “Anthem” (which closed their set), and introduced several new songs (the only title I caught was “Changes”). Negative Space’s set was very energetic and nearly nonstop, and this band was constant movement as they darted about onstage; especially frontman Josh Nice, who brought his presentation to the front of the stage constantly and took it to the stagefront fans. Musically, current-day Negative Space’s style is consistent with what is currently dominating the radio airwaves; high-octane pop-punk rock of the Blink 182/Lit/Good Charlotte/American Hi-Fi variety. While not far removed from that base sound and style, Negative Space offers their own slant on it, and the group seems to develop more onstage personality with each show. As this group continues to further define their own sound and niche; their profile on regional stages should continue to grow, as well as the attention paid to them by the national music industry. For this day, Negative Space delivered a strong, tight, powerful, energetic and consistent set that nicely slammed the lid on the day’s proceedings.

Negative Space serves up the nightcap set at Shakey's.

Josh of Negative Space.

Justin Neighbour of Negative Space.

Rick Lienhard of Negative Space.

Mark of Negative Space.

Stu of Negative Space.

Again, Justin Neighbour of Negative Space.

It was a very good day. Over $1,300 was raised for George Mitchell’s surviving children, and the Shakey’s audience got to witness spirited sets from several of the region’s most exciting bands. Keith Hummel did an exemplary job on the sound board, giving each band ample power and balance. The audience was large and well-behaved, and Shakey’s and their staff and management deserve a big thanks for supplying the venue to make this event possible.
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