How do songs about poverty, oppression and injustice mix with musically disparate Nerd Rock and Power Pop? Apparently quite well, and if you were lucky enough to snag a ticket to the Weezer and Last Internationale show at The National last Thursday, April 3, you saw an amazing show.
How do songs about poverty, oppression and injustice mix with musically disparate Nerd Rock and Power Pop? Apparently quite well, and if you were lucky enough to snag a ticket to the Weezer and Last Internationale show at The National last Thursday, April 3, you saw an amazing show. The diverse crowd of fans, ages 15 to 50, were there to see Weezer. Having been in the studio in January and February, working on their ninth album with Ric Ocasek (The Cars) back at the helm, and hot off of the second Weezer Cruise, the band is currently on tour along the east coast, and landed in Richmond, VA for a sold-out show.
Most of the millennials came to revel in the nostalgia of their teen years, when Weezer told them it was cool to be intellectual, obsessive and socially impaired. In light of the increased social consciousness of those now-twenty- and thirty-somethings, The Last Internationale was a brilliant choice for an opening band.
The Last Internationale’s founding members, Delila Paz (vocals/bass) and Edgey Pires (guitar) have roots as a guitar-driven, bass-pumping rock/folk/blues duo whose music is raw, emotional, and politically charged. While recording their soon-to-be released new album, executive producer Tom Morello (Rage Against The Machine/Audioslave) recruited drummer Brad Wilk (also from Rage Against The Machine/Audioslave) to sit in on a few songs, and the duo became a trio.
Amidst darkness, drums beats and cymbals, the sounds of yesterday’s unrest echoed inside The National Theater:
“You will not be able to stay home, brother. You will not be able to plug in, turn on, and cop out. You will not be able to lose yourself on skag and skip out for beer during commercials, because the revolution will not be televised…” – Gil Scott-Heron, 1970
With Wilk’s straightforward ferocious beats, accompanied by Pires’ heavy rhythmic guitar and Paz’s deep bass lines, the set opened with “Killing Fields.” Paz, with vocals reminiscent of Pat Benatar’s drive and Joan Baez’s activist fervor, belted out, “Power is power, no matter who’s on top.” The echoing guitar and bass drive this song, and the drums’ crashing effects make you pay attention. This band had the audience from note one. Then, for all of the indigenous people, “Life Liberty and the Pursuit of Indian Blood” came up next on the set list. The audience was now eager to pay attention. Wilk’s drums drive this song, with Paz’s falsetto and whispers pleading for change. “Wake up love, I want some action. Wake up the children they’d make it happen.”
“Fire,” a slow blues tune, had Paz belting a driving melody as Pires’ articulated crisp guitar licks. During the song “We Will Reign,” Paz took up an acoustic guitar as the band’s producer, Joao Brandao, appeared on stage and took up the bass. This song has a great 1960s feel within the refrain. The set continued with “Wanted Man,” and then Paz performed a magnificent cover of Buffy Sainte-Marie’s “Cod’ine.” When speaking to Paz after the show, she seemed surprised the audience knew the song and were singing along. Good job, Richmond!
Finishing the set with “1968” (referring to the 1968 French revolution), The Last Internationale brought the house down as Pires stood on the bass drum and performed a riveting guitar solo. New fan Ashley, 24, likened the band to a combination of Grace Potter and Rage Against The Machine, while her mother could hear, understand, and identify with the political unrest heard in the songs relating to the 1960s and 1970s that are still pertinent today. I am really looking forward to the new album, and to seeing this band again.
Weezer’s self-titled debut, aka “the Blue Album,” turned 20 this year, and you didn’t have to tell the RVA audience. The band that told millennial youth it was cool to not be cool continued to wear geek on their sleeve and eyes, with four out of the five members and half of the audience now wearing horn-rimmed glasses. The audience members were there to indulge in enjoyable recollection of their past youth. Band members Rivers Cuomo (guitar/vocals), Brian Bell (guitar/vocals), Scott Shriner (Bass/Vocals), and Patrick Wilson (drums/vocals) played a set the audience expected to hear, with the most songs played from the aforementioned, critically acclaimed 1994 Weezer album (which remains the bands all-time best seller).
Weezer began the set with “My Name Is Jonas,” and the crowd, knowing every word, shouted the lyrics back at Cuomo. As those who have been to a Weezer show before know, this is the standard set opener for Weezer. Then bass and rhythm guitars pulsated as Cuomo sang in falsetto: “I can’t help my feelings, I go out of my mind; these players come to get me ’cause they like my behind.” “Hash Pipe,” from the band’s second self-titled album, aka “the Green Album,” had the audience dancing and appreciating the irony in the plumage of smoke as the band sang, “I’ve got my hash pipe.” “Perfect Situation,” from Make Believe, was an absolute singalong. When “El Scorcho,” (from Pinkerton) was played, the house lights went up and everyone cheered when Cuomo sang, “I think I’d be good for you and you’d be good for me.” How cool is that?! This was a Weezer love-fest and it was clear that the faithful, dedicated fans were quite happy to be basking in their favorite songs. When “Island In The Sun” (Green Album) was played, beach balls fell from above, and everyone volleyed them back into the air. Then, changing things up a bit, Scott sang “Dope Nose” (Maladroit), much to the fans’ delight.
Cuomo then got serious and told the crowd it was good to be back on the East Coast and out of the studio. “It’s fun to be able to play for you guys instead of four walls,” he said, which led into their new song, “Back To The Shack.” This song gave us a little glimpse into the new album’s direction. The song was well-received by the audience, with several folks saying it reminded them of the “Old Weezer.” “Say It Ain’t So” (Blue Album) had the audience singing the chorus at the first note, which prompted a smile from Scott Shriner. With its upbeat rhythm, “I Want You To,” off of Raditude, gave Rivers a chance to shred on the guitar, and “Pork and Beans,” from the band’s third self-titled, aka “the Red Album,” was the perfect tongue-in-cheek song to fit this audience at this period in their lives. “With a catchy chorus and beat so we can sing along,” Rivers sang. “Maybe if I work with Richmond, we can perfect the art.” Maybe Rivers actually does give a hoot what we think.
By this point, the audience was amped up, and Weezer started right in on “Undone–The Sweater Song” (Blue Album); as the audience sang most of the song, Brian and Rivers jammed out on their guitars. Next up was Pat on vocals and guitar while Rivers played drums, singing “Photograph” off of The Blue Album and a cover of Blur’s “Song 2.” This prompted fist-pumping from the crowd as the band left the stage. The flying hand –W- and cheers brought the band back for an encore of “Memories,” from their most recent album, Hurley. “All the memories; how can we get back there?” sang Rivers, beckoning the fans to go back in time with them. “I want to be there again.” The final song, and an all-time favorite from The Blue Album, “Buddy Holly,” brought the house down. At the end of the song, the band members put down their instruments, picked up drumsticks, and all four members joined Pat on the drums, pounding feverishly into a frenzied climax.
This audience of faithful Weezer fans had a blast. Some thought the 16-song setlist that lasted an hour and 20 minutes was too short, and some fans wanted to hear more seldom-played obscure songs. Much like youth, the good times always seem to end too soon, but with their new album coming out this year, I am sure Weezer will be back.
