House of Blues and Long Island Invade Lansdowne (1 of 2)

Author's Note: First of all, don’t worry, I don’t plan on doing all of my reviews three months after the show. Additionally, I must admit that I doubt I will often review shows in such depth. However, this particular piece seemed like a fitting and necessary kick-off to this blog for a few reasons. First of all, it touches lightly on many of the issues I plan to get into further, so if you find any of this article interesting, keep checking back. There will be more. Second, on a more personal note, Avalon and Axis were music venues that had a very special place in my heart, and I suspect there are a lot of concertgoers in Boston who feel the same way. This is my way of saying goodbye to those venues. Third, House of Blues is now the big rock venue in Boston, pulling in close to ten times the number of acts the historic Orpheum Theater gets each year, despite the comparable capacity. Be it better or worse than its neighbors and predecessors, House of Blues is here to stay. This is my way of saying hello to it.

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Part I: A Short History


The House of Blues across the street from Fenway Park is a relatively new rock club. In 2007, two of the city’s leading concert venues, Avalon and Axis, were torn down to make way for the new Boston franchise of the national chain.

As a concertgoer who spent countless hours at Avalon, it was hard for me to welcome the new venue. After all, House of Blues was responsible for the loss of two of the most intimate rock venues in Boston, as both Avalon and Axis had a knack for booking artists who would rarely play such small venues. So, when House of Blues officially opened its doors on February 21, 2009, I was in no hurry to rush inside. I had no intention of boycotting the venue, but I certainly wasn’t going to a show until I found a really good reason.

Nearly nine months later, that reason presented itself. At first glance, the bill seemed a bit curious. Headlining were Brand New, veterans of the pop-punk genre who shook the scene in 2006 with the release of their third album, The Devil and God Are Raging Inside Me, a record rich in precise, layered instrumental work and brooding, contemplative lyrics---a risky departure which likely alienated as many fans as it brought in. Next on the bill was the post-hardcore powerhouse, Glassjaw, a band which has not released an album since their highly celebrated Worship and Tribute in 2002. Since then, lineup changes, side projects and a lack of information have led many fans to believe the band to be defunct, a rumor more would be inclined to believe if not for the rare handful of performances and interviews Glassjaw has given in the past six years. The support slot was filled by Crime In Stereo, a punk band who formed a few years later than either of the other acts, and are currently signed to Boston’s own Bridge 9 records.

For a tour, such a diverse lineup can be risky. Often, groups that tour together are paired up based on their similarities; a way to ensure that none of the acts alienate fans of the others. This is particularly important lately, considering the economy’s effect on concert ticket sales. This tour, however, did not follow standard procedure, yet managed to sell out House of Blues two nights in a row, on November 17 and 18, 2009. So how was this lineup chosen? Marketing genius? An online poll? Corporate sponsorship? No, the answer is much simpler---they all grew up together. All three bands were coming out of Long Island’s music scene at the tail end of the 90’s, and some members had known each other much longer than that.