On April 17, the Silver Dollar in Toronto teetered on the brink of complete chaos when a fan hopped onstage between Jay Reatard and his band, causing Jay to tear off the line-crosser’s shirt and punch him in the face, sending the man reeling back into the surging crowd, and Jay announcing that the show was over as he walked off stage.
Three nights later, Jay Reatard played a show in Allston, MA, at Harper’s Ferry. I wondered if, in light of the debacle in Toronto, Jay might address the crowd, maybe make mention of the incident, or perhaps warn anyone drunk enough to saunter onstage that they would meet the same fate as the (now undoubtedly quite sore) gentlemen in Toronto.
But I forgot something important: this was a Jay Reatard show, which means April 20 would be no different than April 17 or April 21, right on down the line. The only evidence of a scrum a few nights before was a group of well-positioned security guards standing around the raised stage, wearing all black, arms folded, facial expressions menacing.
And so it went: Jay, bassist Stephen Pope, and drummer Billy Hayes took their places, Jay set the distortion levels on his pedals to “kill,” and launched into “Blood Visions,” the opening track on 2006’s album of the same name. The band would rip through song after song, with Jay stumbling around, periodically spitting, and singing in a much throatier, lower register than he does on record. After one song finished, he’d shout the title of the next song in queue, along with something like “let’s go!” for good measure. The band was loud, tight, and efficient, and they churned through the set list expertly. What you hear on record (the set list was culled from Blood Visions and some of the various 7-inches Jay has been releasing through Matador) is what you hear in concert, except that in a live setting, the aggressive songs turn into something close to belligerent, in the best possible way.
I got the feeling watching them that punk rock had found its new mouthpiece. Of course, most of that sentiment comes from the music itself: there’s no denying that Jay Reatard’s songs – short, powerful, melodic tracks that scream out of Jay’s flying-V like a derailed subway car – bring to mind the Urinals and Buzzcocks while sounding distinctly modern. But it’s in Jay’s stage philosophy that has garnered him heaps of attention and praise from critics and show-goers alike. Take this musing from a video on his MySpace page: “We just like to Blitzkrieg everyone and just play as many songs as we can as fast as possible with no breaks or bullshit. So I think... just the energy level can make out stand out.”
And so the April 20 show at Harper’s Ferry, while stunning, was just like any other Jay Reatard experience, and the events at the Silver Dollar a few nights before did nothing to alter Jay’s game plan. Ultimately I think Jay’s ability to shrug off near disasters is a good thing. After all, don’t we go to punk shows to get “Blitzkrieged” anyway?
