Andrew Jackson Jihad are punk rockers to their core, this is evidenced particularly clearly in their live shows as is generally the case for punk bands. and this translates well on their first live album release Live at the Crescent Ballroom. This live record is one and a half hours and takes AJJ through all their best tunes, old favourites and new gems. Including a few tracks that are (as of yet) unreleased. For live audiences this can be a nuisance when they want to hear songs they know and love, but also a special treat to be exposed to new music in such a vibrant way.
Sean Bonette’s a great
songwriter. He’s lyrics are introspective but vastly rely on descriptiveness of
everyday idiosyncrasies and simplicity in a communicatively unique way. His
lyricism can be pretty unflinchingly personal, which is a double-edged sword.
Maybe you don’t WANT to know this much about him! AJJ is at their best,
especially live with tracks like “Heartilation” and “Hate, Rain On Me” thumping
jarring rock songs with their signature quirky quip-esque lyrics and excellent
instrumental crowd control by Ben Gallaty. These are among the highlights of
the concert. Bonette’s quips aren’t always favourable however. Sometimes it
goes a little far. One of the new songs “#armageddon” is a good example of
taking his particular brand of introspection and cynicism towards culture a bit
too…cheesy. Lyrics about hashtags and topic trending are a little too lazy for
the DIY kings of Phoenix Arizona. It’s something that has worked very for AJJ
over the years. Sean’s unconventional lyrics and their musical style is so
unique that it serves them well. Adversely there will always be people who say
there is an element of being wacky for the sake of being wacky. With songs like
“#armageddon” it’s hard to not see that a LITTLE bit. But obviously this claim
is pretty untrue.
Sincerity is definitely present in this recording. Another of
the new recordings “Black Dog” is a very short, but incredibly adorable song
about Sean’s self-loathing and love for Ben Gallaty’s dog. It’s only a minute
long, but one of the most powerful moments on the entire record. The concert is
performed in their hometown at the Crescent Ballroom and they couldn’t have a
better crowd, composed of new fans and diehards the Phoenix area makes for some
of the best concerts, particularly in punk music.
The enormously high energy is
noticeable on the entire record, even during Sean’s acoustic solo songs.
Throughout the record, he rotates between electric and acoustic for various
different performances, a definite disappointment for fans of their older
material that was strictly acoustic. But that particular version of Andrew
Jackson Jihad has been dead for a while; their last two LPs, Can’t Maintain and
Knife Man have primarily featured electric guitar at the forefront of their
instruments. While some of the unique sensitivity of their punky acoustics are
lost with more electric songs, they also get spunkier with more traditional
punk energy. It’s a trade-off, no matter what you do, you’ll leave some fans
upset but it works out very well, for this release anyway.
For Andrew Jackson
Jihad fans that already own and have worn out their copies of the bands LPs
there is enough material here to keep them satisfied. The new track “Kokopelli Face Tattoo” is a catchy-as-fuck number which leads Sean through a number of
bizarre previous lives and a chorus about hatred. It’s classic Andrew Jackson
Jihad. The show’s banter is pretty entertaining as well, one of the elements of
live albums that has always been disparagingly ignored by labels who put them
out. One of the reasons people go to shows is for the experience, and a live
record that keeps all the little things at the beginnings and ends of song IN
the recording, has provided you a closer replica of that same experience.
AJJ’s stage banter is very candid and natural, doesn’t come off as awkward or staged like it does for some bands. This is good, because for a band like AJJ often on the cusp of being try-hard or overly exasperated with their lyrics or music style, would be overly scrutinized for something like this, if it came off unnatural. Good for them. The genre of folk-punk in general is disdained by lots of individuals for its oddity but its massive now. Violent Femmes and The Pogues are looked upon as classics now and groups like Andrew Jackson Jihad and their contemporaries are getting bigger every release. As mentioned previously, it’s the life atmosphere that makes a punk band and with this recording, AJJ has accomplished what a lot of punk bands since the 70s have been unable to do: successfully share the experience of one of their shows with people at home on their turntables.
AJJ’s stage banter is very candid and natural, doesn’t come off as awkward or staged like it does for some bands. This is good, because for a band like AJJ often on the cusp of being try-hard or overly exasperated with their lyrics or music style, would be overly scrutinized for something like this, if it came off unnatural. Good for them. The genre of folk-punk in general is disdained by lots of individuals for its oddity but its massive now. Violent Femmes and The Pogues are looked upon as classics now and groups like Andrew Jackson Jihad and their contemporaries are getting bigger every release. As mentioned previously, it’s the life atmosphere that makes a punk band and with this recording, AJJ has accomplished what a lot of punk bands since the 70s have been unable to do: successfully share the experience of one of their shows with people at home on their turntables.
~Johnny
7.1
