Concert Review from Cleveland's Scene Magazine
OUR LADY PEACE, EVE 6, & THIRD EYE BLIND
Nautica Stage

If the number of fans choosing to stand crowded like veal-in-waiting in the lower portion of the Nautica Stage is any indication of the level of anticipation, then the sellout crowd for the triple bill of Third Eye Blind, Our Lady Peace and Eve 6 was primed for the transference of a lot of energy. Turns out they were on to something.

Eve 6 took the stage unannounced and 10 minutes early - when's the last time you've heard of that happening? - and proceeded to blast the songs from their eponymous debut across with a force that the CD sorely lacks.

Songs like "Inside Out," "Showerhead" and "Tongue Tied" sounded like the logical step from groups like the Clash and Richard Hell from New York City's CBGB's in the '70s. That's to say they rocked, said what they had to say with little fanfare and got out of there before they got old.

When bassist/vocalist Max Collins answered a heckler saying, "Why do you hate me?" it was good showmanship for drummer Tony Fagenson to chime in, "I hate you, too!" Clearly the audience didn't, though.

After a refreshingly brief intermission came Canadians Our Lady Peace, who wasted little time launching into "Automatic Flowers" from their newest release, CLUMSY, where the vast majority of their set emanated from. Vocalist Raine Maida is somewhat of an acquired taste, his voice often a mix of whine, growl and grimace, but it does add some distinguishing marks to the band's grunge/industrial sonic onslaught.

Guitarist Mike Turner, in particular, used a variety of pedals, loops and miscellaneous electronic legerdemain to create distorted montages that added a novel element to the songs. This was definitely on display during their hit "Superman's Dead," as he whipped up waves of feedback that thickened the arrangement considerably. The band as a whole performed well, sticking close to the recorded version of every song with no extended riffing, audience raps or other histrionics.

While there wasn't exactly what you'd call a ballad among their set list, the father/son angst of "4 a.m." came closest. Judging from the standing room crowd which continued to wave and bend like a wheat field in a stiff breeze, songs like "Hello Oskar" and "Let You Down" were hitting the sweet spot.

There then followed an extended wait for headliners Third Eye Blind, which served two purposes - allowing not only for the setup of the group's elaborate stage but for the sun to go down in time for the coming light show. In what was probably someone's idea of ironic humor, this intermission was filled with the worst '60s Herb Alpert-style dreck, which only made the wait seem longer. But once Third Eye Blind hit the stage - once again with no introduction - all was forgiven.

The curtain lifted to reveal a multi-level stage replete with a plush recliner which singer Stephan Jenkins retreated to occasionally, as well as an overhead walkway, which was later populated with pretty young things selected from the audience. While not exactly working the crowd - not that any of the bands needed to on this night - Jenkins nonetheless commanded full attention for the whole evening.

For anyone wanting to know whether Third Eye Blind could translate the energy of their debut into the live situation, here was a chance to hear their whole recorded output plus new material like "I Want A New Girlfriend" before repeated touring has them mutated for a change of pace. That already happened with their second single, "How's It Gonna Be," which somehow opened up and belched out a segment of the Who's "Baba O'Riley" in mid-refrain. Other notables were "Losing A Whole Year," "Jumper" and "Graduate," but predictably the largest ovation was reserved for "Semi-Charmed Life," which was introduced as a "filthy, filthy" song.

Third Eye Blind are a study in contrasts: big stage, small show; power-pop music, neurotic themes. That the band appreciated the audience response was evident throughout, but didn't stop Jenkins from calling out the cavemen in the crowd who couldn't keep from letting their fingers do the walking when certain females were being bounced like beachballs over the mosh pit. The bottom line was a show about double the length of their CD, and a sea of ticketholders as tired and happy as the band when the show ended.

~Bill Gibb