Orlando's House of Blues overflowed with an ocean of fans on October 15 when Underoath sold out the venue for the first time in the band's history. Underoath rose from the swamps of Ocala and after playing shows in the area for a decade, they finally had to turn fans away. The show began with an unexpected opener. A radical leftist rapper named P.O.S. took the stage before the barrage of Emo, Screamo, and Metal that was later to come. P.O.S. spat out rhymes from songs like "Half-Cocked Concepts" that started with, "First of all, Fuck Bush/That's all, that's the end of it" while a select few of utterly classy audience members spat back into his face. The violence was taken with stride and P.O.S. finished the song to take a break and give a little monologue on the guaranteed terror America could expect from the wonderful Republican woman running as McCain's Vice President. This riled the audience up enough for fists to start swinging into faces and for security to swoop in. In the end P.O.S. put on a solid performance for a genre that drastically conflicted with the rest of the concert's bill. He let the audience know that he would be at his merchandise table for the rest of the show, talking politics with anyone that was civil enough to hold a conversation. The second act of the night was The Devil Wears Prada, an abrasive Christian metalcore band. The band pulled off the complex song structures and virtuoso musicianship showcased on their studio albums in a live setting but Mike Hranica's throaty vocals were rough to say the least. Though they were better than when I saw them on Warped Tour this summer, I think I can safely say that this band sucks. If you are going to make your voice contrast between the sounds of angels being raped (high-pitched screams) and demons being exorcised (low growling screams), at least be able to pull it off without studio effects. This band needs to drop the meathead front man or cease to exist. A contingency of moshy brosephs departed the floor to pillage the bar as Saosin stumbled on stage to a thunderous cry of joy. The inconsistency between the band's performance and presentation was astounding. The fingers of Saosin's guitarists danced up and down their instruments necks while the bombastic complexities of their drummer filled the air, but something was off. The powerful, cathartic, and catchy tunes sounded spot on. The band's lead singer, Cove Reber, was even blasting out each high note just as their producer Howard Benson had crafted back in the studio. It was clear by the third song where the disorder came from when Cove decided to sing while… laid down, head in hands, on the floor of the stage. The once clean-cut Cove, with a fashion show ready haircut and wardrobe, looked like a bum. The loose jeans, unbuttoned brown and red plaid shirt, long greasy dreadlocks, and scrappy beard combination were certainly a new look. Yet, somehow it was likeable, even beautiful, kind of reminiscent of Jim Morrison, before his death of course. Regardless, the band was at top form and the two new songs they played were a taste of something great to come. I've been told by more people than I can count on my hand that "Underoath suck live!" From all the evidence I have gathered in my studies I have found such claims to be completely false and ridiculous. Maybe hot summers and long tours wear them out, but it just so happened that the events I witnessed recently took place during a home ground show on the kick-off date of the tour. The band was fresh and full of energy. Either Underoath has made massive leaps and bounds as performers or I have spoken with too many idiots in my time. Underoath has unquestionably made steps forward musically. On their latest album, "Lost In The Sound Of Seperation," the band ripped apart the guidelines and stereotypes of modern heavy music and the cookie-cutter elements of screamo. Their combination of technical metal and ambient melodic emotional rock should be the scene's new standard of excellence. Aaron Gillespie was able to drum with all the ferocity of prolific greats like Keith Moon or John Bonham while belting out the highest notes of his career as clean as if he wasn't even behind the kit. Spencer Chamberlin, generally known as "the screamer" and the least musical member of the band, not only sang clean, powerful, and true, but he also played rhythm guitar on a handful of songs. Even Chris Dudely, who has always been confined to keyboards and programming, branched out to alternate percussion. An extra bass, snare, tom, and hi-hat cymbal added epic crescendos to a handful of the live set's highlights. Overall, Underoath was the most enjoyable and exciting band of the night. Switching between chaotically and destructively heavy discordance and beautiful and lush melodic masterpieces, the band left the audience chanting "One more song!" Underoath came back on stage after their full set that spanned the most outstanding tracks of all three of their latest albums and said, "You know what? You've been so good we'll play two songs for you!" If you feel like you missed out, because you most certainly did, Underoath will be closing their American tour back in Florida at Tampa's The Ritz on November 25th.
Stetson Reporter > Entertainment
Underoath & Saosin Sell Out House of Blues
Published: Thursday, October 30, 2008
Updated: Sunday, February 22, 2009
Be the first to comment on this article!