Detroit quartet Protomartyr delivered a blistering set of post-punk goodness to Soda Bar. The band performed selections from all three of their albums, which the packed house lapped up like enthusiastic Rottweilers.
Vocalist Joe Casey’s piercing glares from the stage reminded me of looks I’ve seen Johnny Rotten shoot into the audience at Sex Pistols gigs. David Thomas from Pere Ubu comes to mind as well. His stage persona is all intimidation, and it works perfectly with the band’s menacing sound. If Casey defines the band’s persona, drummer Alex Leonard may be its anchor. This guy is a monster on the toms, and he brings a great tribal edge to many of the songs. This, combined with Greg Ahee’s propulsive guitar playing and Scott Davidson’s muscular bass set the stage for the evening.
The group was in the midst of a pretty monstrous round of U.S. dates, and the fruits of relentless touring was on full display. The band was tight, loud, and abrasive. Often the songs segued into one-another with nary a pause, and select, choice vocal-passages could be heard being doubled by audience members as Casey delivered them from the stage. Always a good sign. Choice cuts included “I Stare at Floors,” “The Devil in His Youth,” and “Scum, Rise!”
Detroit quartet Protomartyr delivered a blistering set of post-punk goodness to Soda Bar. The band performed selections from all three of their albums, which the packed house lapped up like enthusiastic Rottweilers.
Vocalist Joe Casey’s piercing glares from the stage reminded me of looks I’ve seen Johnny Rotten shoot into the audience at Sex Pistols gigs. David Thomas from Pere Ubu comes to mind as well. His stage persona is all intimidation, and it works perfectly with the band’s menacing sound. If Casey defines the band’s persona, drummer Alex Leonard may be its anchor. This guy is a monster on the toms, and he brings a great tribal edge to many of the songs. This, combined with Greg Ahee’s propulsive guitar playing and Scott Davidson’s muscular bass set the stage for the evening.
The group was in the midst of a pretty monstrous round of U.S. dates, and the fruits of relentless touring was on full display. The band was tight, loud, and abrasive. Often the songs segued into one-another with nary a pause, and select, choice vocal-passages could be heard being doubled by audience members as Casey delivered them from the stage. Always a good sign. Choice cuts included “I Stare at Floors,” “The Devil in His Youth,” and “Scum, Rise!”