Colour Revolt, colourmusic, The Love Capades @ Kilby 09.16

Posted September 21, 2011 in ,

Colour Revolt. Photo: Daniel Sprague

Colour Revolt = Manchester Orchestra + Children Collide + Menomena
colourmusic = The Flaming Lips + Death From Above 1979
The Lovecapades = Dashboard Confessional + We Are Scientists

I love attending shows at Kilby, and I’m always surprised when they’re under attended. This is a totally homegrown, all-ages venue near downtown with lots of national and local talent coming through all of the time. Get the fuck off your couches and go to shows at Kilby, kids! All three bands were great and deserved a lot more presence than they got. I guess it’s your loss. Next time, don’t miss out on any of these great acts.

Utah County act, The Lovecapades, were up first, and judging by the size of the crowd, these guys have quite a local following. The music was solid: straightforward emo rock with the focus almost entirely on the lead singer and his acoustic guitar. Backed up by some electric hooks from a second guitar and a really solid rhythm section, this band could have you singing along in no time. If you’re too hip for songs that are obvious odes to cute girls and teenage heartbreak, then go smoke your cigarettes somewhere else. The songs were tight and the command of the audience and the material were great. Check out more on the band at

A band that I just recently discovered, but was eager to see live, Oklahoma’s colourmusic was up next and proceeded to unpack their equipment which was all colored bright, neon pink. The sound on their albums is huge, layered and distorted, but three guys managed to pull it off. Thunderous drums, crunchy rhythm bass and fuzzed out, screeching guitar all mingle into an incredible wall of noise similar to the Flaming Lips’ early punks-on-acid material. Speaking of the Lips, colourmusic has supported them on numerous occasions after catching the ear of frontman Wayne Coyne. Known for their artistic and themed shows as well as a love of bright colors and some great music videos (“You For Leaving Me” on Youtube has the band slaughtering stuffed animals in a restaurant kitchen to a rock track that would make Queen proud), the trio doesn’t fail to impress. Also similar to the Lips, the live performances tend to eschew some of their poppier moments for pure, freakout noise rock, and they are the better for it. Particular favorites included the wild sing along “Yes” and the primal “Tog.” Seriously, look these guys up and get into them.

The headliner, Mississippi’s Colour Revolt, took the stage and added to the effect of their moody, darkly tense songs by turning off all the lights except the backdrop, so that they were a quintet of dark silhouettes against Kilby’s green roofing material and x-mas light stage rigging. I first heard these guys a few years ago and was impressed by their control of dynamics, which a lot of bands don’t pay much attention to anymore, as well as singer Jesse Coppenbarger’s sultry croon that has just the right amount of gravel to it. The songs are almost never repetitive, and have a way of building from quieter, voice-driven segments to cacophonous drum and guitar slugfests. Unlike the previous band, there is no wall of noise, but carefully metered guitar riffs over backing bass and keys with expressive, super-tight drumming backing up the melody Coppenbarger creates with his voice and songwriting. “8 Years” opened their new album, The Cradle, and was a quick favorite, while songs like “Moses of the South” and “Naked and Red” from their last full length, Plunder, Beg, and Curse were old standards. My favorite part of this band’s style is the palpable tension that each song has to it—no steady grooves, no quiet emotional confessions, just building up and coming down, over and over again, but never indulgent or overly long. Other live favorites included “The Cradle” and “Mona Lisa.” Seriously, if you like American rock and think nobody is doing anything interesting in the genre today, Colour Revolt is proof that you’re dead wrong.

Colour Revolt. Photo: Daniel Sprague