In the time that followed those events, I tried and failed to see the band on multiple occasions. The band had just recently changed their name from Topanga, put out a music video that would begin a shocking dominance in that format, and weren’t anywhere close to breaking through stateside (that would come well over a year later).
The fourth article that ever ran on Heartbreaking Bravery - and the very first album review - centered on PUP’s self-titled record, immediately after it was released in Canada. Even with all of the additional Rock God 101 bells and whistles, Rozwell Kid never inspired active boredom and wound up being a very strong connecting bridge between the spiked-punch rush of Charly Bliss and the no-holds-barred chaos that PUP was about to set off. At times, the physicality of the theatrics largely overshadowed the band’s music, which veered from Guitar Hero-aping classic rock stompers to numbers that felt more indebted to a surprisingly unexplored space between late-era Replacements and early-era Weezer. While the constant mugging, windmills, rock poses, and general mugging from the band’s bassist and lead guitarist could be slightly off-putting at times, the other half of the band kept things relatively grounded to create a weirdly compelling contrast effect.Įvery bit of the band’s theatrical gimmickry was balanced out, at one point or the other, by something that felt more genuine than showy from one of the band’s less complacent members. Playing in the wake of such an explosive act can be a daunting task but Rozwell Kid seemed more than up to the challenge (and have had a long history playing intimidating bills) and they stuck to their formula: conjure up some propulsion by blending recognizable recent influences with over-the-top stage theatrics that go back a little further, all the while maintaining ear-shattering volume. After yet another set that was constantly on the crest of perfection, the question no longer rests with whether or not the band will have their breakout moment, the question is when that moment will come. On the contrary, those delays seem to have set something off in the band that makes them even more eager to obliterate the slowly-forming expectations surrounding their eventual debut. The band’s been sitting on a collection of songs for well over a year that’s more than enough to constitute a great album (an album that they hope to have out sometime in the relatively near future) so to see them confidently surging ahead with even more material is a great sign that the various delays in release haven’t left them deterred. A handful of recognizable favorites were brought out into the set - including recent single “ Ruby” - but the real power was derived from a trio of brand-new tunes. No one’s overshadowed and everyone seems like they’re continuously out to prove something that they couldn’t accomplish with just a music-related degree (something that’s been acquired by all four members).
Guitarist/vocalist Eva Hendricks is (understandably) the focal point of their live show, operating as a bundle of joyous squeals that can’t be contained for longer than a few seconds at a time.Īll of the band feeds off of her example and put their heart into the kind of showmanship that clearly underlines that they have a legitimate love for playing music. They’re an extremely dynamic act making exceptionally well-crafted basement pop that comes with a serious bite, despite the immediate sugary high that it so frequently induces. Over the past several years, the band’s been meticulously tweaking their stage show and seeing their dedication paying a steadily increasing number of dividends. One of the most unavoidable factors in ensuring that heavy focus was their overpowering strength as a live act. Ever since the band topped this site’s list for EP’s in 2014 with their best-of-decade contender, Soft Serve, they’ve been covered and endorsed relentlessly in these pages. The three and a half hour drive out to catch the show had been a foregone conclusion since its announcement and a large part of that decision had been the involvement of Charly Bliss, who opened the show. Entry played host to a powerful bill that included three bands who have earned coverage on this site: Charly Bliss, Rozwell Kid, and PUP. Last Friday night, Minneapolis’ famed 7th St.
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