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From the brilliantly wacky minds of David and Amy Sedaris comes The Book of Liz, the heartwarming and hilarious tale of one Sister Elizabeth Dunderstock of the Squeamish cult -- er, religious community. Liz's delicious cheeseballs (both traditional and smoky) are wildly popular and sustain the existence of the quaint and pious Clusterhaven. However, Liz grows to feel unappreciated among her Squeamish brethern and makes the bold decision to try her luck in the outside world. On her journey, she makes plenty of friends, including Cockney-speaking Ukrainian immigrants (from Ukrainia), who find her a job waiting tables at Plymouth Crock, a family restaurant run entirely by recovering alcoholics. Everyone loves her and things are going great for Liz, until she's offered a promotion to manager on the condition that Liz fix her excessive sweating problem. Of course Liz wants the job, but should that mean compromising who she is? Meanwhile in Clusterhaven, the Squeamish can't seem to duplicate Liz's cheeseball recipe, and the community is suffering as a result. What is Liz's secret cheeseball ingredient? Will Liz stay and take her chances in the real world, or will she reclaim her place in the Squeamish community? Find out for yourself at Chemically Imbalanced Comedy on Friday and Saturday nights, where The Book of Liz will be playing until December 18th.

Much of this comedy calls to mind the short-lived Comedy Central show Strangers with Candy, which starred Amy Sedaris. Ridiculous situations and silly -- but oftentimes very much adult -- humor are characteristics of both and will be sure to have you in stitches. A talented and enthusiastic cast (each who play multiple characters throughout the show) bring the Sedaris' hysteriical words to life, both the subtle comedy ("You really think I'll make an okay waitress?" "Liz, I KNOW you'll make an okay waitress!") and the not-so-subtle ("You're gonna want to take the outer road to Route 420--" "Hehehe, 420." "Hehe, yeah it's funny.") And, despite the cheeseballs, don't expect anything cheesy here; what you get is the original, outrageous comedy of America's most hilarious sibling duo.

The “Hottest Show on Earth” returned to the Chicago area last weekend at the First Midwest Bank Amphitheatre in Tinley Park, with KISS reminding everyone what made them the rock gods that they are. Though the band received strong support from The Envy and The Academy Is, they didn’t need it. Despite the fact that KISS has been rocking the world for over 37 years, Paul Stanley (a.k.a. “The Lover”) and Gene Simmons (a.k.a. “The Demon”) still carried out the showmanship that made them one of the most famous acts in rock and roll history. With newer members Tommy Thayer and Eric Singer taking on the identities of “The Spaceman” and “The Cat”, this full-on rock show gave fans the chance to experience KISS as though they were still in their height of popularity – in fact this show may have been bigger.

From the opening number, “Modern Day Delilah” off their latest release Sonic Boom, when Simmons, Stanley and Thayer were airlifted over the towering drum set and placed at the front of the stage, it seemed as though the band incorporated something in each song that made the crowd think, “Holy Shit”. Whether a flurry of explosions, giant bursts of fire, or segments of the stage rising to propel a band member, nearly each song was a spectacle in its own unusual way. But not to be overshadowed by the incredible stage effects, was, of course, the music. In a set that lasted two hours and ten minutes, KISS included such songs as “Detroit Rock City”, “Love Gun”, “Calling Dr. Love”, “Firehouse”, “Black Diamond” and “Say Yeah”, also from their latest album.

KISS pulled out all the stops. Tommy Thayer shot fireworks from his guitar ala Ace Frehley and Gene Simmons breathed fire. Not long after, blood oozed from Simmons’ mouth during a haunting bass piece just before he was carried over 50 feet high, above the stage lights, to perform “I Love it Loud”.

The band went on with a six-song encore that kicked off with Eric Singer taking on former drummer Peter Criss’ ballad, “Beth”. While Singer stood center stage to sing, the other three members huddled to his right, quietly jamming in the background. KISS followed up with a couple more big hits before “I Was Made for Loving You” in which Paul Stanley glided across the audience on a cable and landed on a small platform with a microphone in order to perform to the people toward the rear of the arena. When Stanley returned to the stage, the band broke into “God Gave Rock ‘n’ Roll to You” as images from vintage KISS were displayed onto the jumbo projection screens. Finally, white confetti shot out from the stage, transforming the arena into a mega snow globe for the duration of the show, as the band jammed out to “Rock and Roll All Night” amidst thunderous explosions and high-flying stage theatrics – including an ascending drum riser.

KISS’ live show is not just a concert; it’s an experience – an experience that should be had by all rock and roll fans. Should KISS return anytime soon, make a point to catch this amazing show.      

Prior to the start of the show, the audience searches for open seating in the crowded small stadium sized venue surrounding the center stage at Profiles Theatre. “Fifteen” by Taylor Swift is one of the carefully chosen teen-pop songs playing in the background while the crowd gets comfortable. A perfect precursor for Deidre O’Connor’s Jailbait that begins in Claire’s bedroom, quintessentially designed for a modern girl her age, fifteen. A Taylor Swift poster hangs on the wall behind her bed indicating she is far from the days when Barney was her idol.  Her stuffed animal's arm peaks out from underneath a pillow that she hurriedly hid to cover any evidence of her immaturity from her sleepover friend, Emmy. Where Emmy intends to “sleep-over” is yet to be reveled.

Emmy, the popular, experienced, and boy-crazed boy-magnet, is the orchestrator of tonight’s events where her intentions are anything but innocent. Emmy’s much older 30-something friend Mark, who she met the week before at a 21 and over club, have a set-up prepared that was unbeknownst to both Claire and Robert, Mark’s 30 something friend, prior to the club. Regardless, Claire and Robert, the most unlikely of matches both timid and out of their element, meet.

Fast forward to the aftermath. “It’s a pick-up. It’s a dirty drunken night of fucking, followed by no phone call. No contact. No relationship. Nothing”, retorts Robert after Claire’s naive and innocent explanation of the night. Even after the 3:00am cab ride back home to fake-sleeping Emmy who drank a little too much at the club, Claire wears Robert’s sweater like a badge of honor. A right of passage both girls recount on Claire’s brightly colored flower print bed together. “It’s just sex”, Emmy rationalizes, “We all have to do it eventually”.

Another familiar story of today’s neglected youth, with a dash of daddy issues and a dab of too young for adult relations they’re having in the bedroom. A story that, though disturbing and sad, wasn’t the story line that stood out. It is our battle to stay in or get to the ‘in between’ that was riveting.

Eric Burgher, who plays Robert, and Shane Kenyon, who plays Mark, do a fantastic job of portraying the aging man’s quest to stay young enough. Though Mark is the womanizing asshole of the two, he knows what he wants: sex, 20-something girls, and good-times. Robert, the seemingly more mature and future focused one, is, in truth, the most lost and unsure. Both carry baggage of past relationships where fairy-tale endings with 2 kids a dog and a white picket fence were once realistic and welcomed goals. Perhaps it is the bitterness of reality for Mark and the fear of next steps for Robert that drove them to the club that night. But it is the memory of those past relationship mistakes that they wish to erase and the desire to start again at 20-something that blinds them of truths and pairs them with the two innocent and naive 15 year old girls.

O’Connor wrote a script that intertwines characters and connects the struggles that we face both at 15 and at 30: the desire to be wanted, to be cool and more experienced, and most importantly, to believe we can start again with someone new.  An emotional and gripping performance of one devastating example of what can happen when we try to be someone we aren't anymore or aren't ready to be just yet.

Jailbait continues through Oct. 17 at Profiles Theatre, 4147 N. Broadway. For ticket information, click here

Walking into the tiny EP Theatre on South Halsted I was not expecting, nor could I have hoped to see as much as the mad and macabre as I was to see on September 1^st. I was about to witness The Texas Chainsaw Musical. With no AC and dozens of way cooler college kids and hipsters surrounding me, I prepared for what would be, if anything, something to talk about at the water cooler tomorrow.

As someone unfamiliar to musicals and independent theatre, I must say I was pleasantly surprised with my first real experience. Part of the Chicago Fringe Festival, TCM was far from the performances, I’d seen in my small college town, where costumes were ill-fitting, awkward dialogue was in every scene, and an art show headiness flew right over my head. The cast and crew of Texas Chainsaw Musical created a welcomed surprise; full of tension, humor, and the amazing ability to make the audience feels compassion for one of the most notorious serial killers of all time.

The show kicked off with the same tense, John Larroquette narrated monologue as the 1974 original. The tension soon breaks into a rollicking musical number about how hot it is in Texas. Rather appropriate given the small, AC-less EP theatre.

As the story continues we meet an eclectic cast of characters about to meet their demise. Most notably Amanda Hardesty as Sally, Adam Rosowicz as her wheel chair bound brother Franklin, and Guy Schingoethe as the chainsaw wielding Leatherface himself. The cast as a whole does a great job of creating believable tension when needed and delivering perfectly timed comic relief right when the audience needs it.

As the musical progresses, and more and more hot, young teens meet their inevitable fate; Leatherface puts down his chainsaw and shows his compassionate side. He croons the audience in a Phantom of The Operaesque way, making us feel incredibly sorry for the monster that just hung a busty teen on a meat hook.

The play ends in a finale that has to be seen to believe. Imagine the whole creepy Hewitt clan, rocking out in a live band all while torturing and attempting to murder the still screaming “final girl” Sally. With Grandpa on the drums, the Hitchhiker shredding guitar, Dad/The Cook plucking bass, and ol’ Leatherface himself playing ‘lectric keys, it’s unlike any jam band you’ve ever seen. I will never be able to watch the infamous Grandpa hammer scene from the 1974 movie without thinking of a thunderous drum solo. Thanks.

Overall TCM was a great way to kick-start a very early Halloween celebration. With many standout moments, including Franklin’s goopy gushing kill scene, Sally’s never ending screaming, Franklin’s hilarious and heartfelt, “I Wish I wasn’t in a wheelchair number,” and a finale that was truly epic. I won’t spoil it, but the way the Hitchhiker meets his demise, may be the funniest part of the entire production.

Hopefully The Texas Chainsaw Musical finds another venue and audience closer to Halloween. It’s a show that has just the right amount of scares and humor to enjoy during those harvest weeks. But until then I highly recommend finding more shows out there like this. It’s a welcomed surprise to the non-stop crappy remakes and handi-cam horror flicks that flood the Cineplex’s in October. Plus it’s not every day you get sprayed with chainsaw goo.

www.chicagofringe.com

http://www.nmtchicago.org/

For those who are not yet familiar with Katie Todd, you’re really missing out a very creative and intelligent songwriter, not to mention a highly entertaining and live show. Catchy songs, thoughtful lyrics and unique vocals coupled with an amazing band are the keys to success for any act and Katie Todd has them all. Over the weekend, fans were able to catch the band at the third annual Chickago Social in Andersonville, along with a handful of other performers including Sean Wiggins, Reyna Larson and international DJ, Lisa Pittman. The Pride event attracted Katie Todd loyals, the curious, music lovers in the gay community and anyone else in search of good musical performances.

Alone, Katie Todd quietly took the stage to open the show, headed to her keyboard and went into “This Time”, the full band joining her at just the right moment as the song began to hit its stride and take off. As the set continued, trumpet player, Steve Wright, an integral component to the overall Katie Todd sound, was able to showcase his skills, complimenting each song with just the right touch of horned flair, as well as delivering flowing backing vocals. Katie Todd’s cutesy but powerful vocals gracefully streamed over the band’s melodic instrumentation from each song to the next, perhaps most notably on favorites “Leave” and “Love Love Love You”.

Guitarist Ted Kezios is another reason the band gels so well. Ranging from subtle picking to aggressive rhythms, Kezios also displayed his signature sound in a handful of solos that had the crowd buzzing, especially in the band’s very original version of The Doors’ “People are Strange” where he flat out sizzled.

Despite playing with a relatively new rhythm section, Katie Todd pulled off a fantastic show without any hitches, leaving the crowd with yet another memorable performance that will certainly add to her large contingent of followers. For more information on Katie Todd’s music and upcoming shows, visit www.katietodd.com.  

The Neo-Futurists are at it again with the thought-provoking, baffling, irreverent, confuddling new play “Daredevil’s Hamlet.” In true Neo-Futurist form this play offers more than their clever title initially implies.

Written by Neo-Futurist Ryan Walters, the play explores the work of Hamlet, led by the charming male members of the of the Neo-Futurist company including Walters himself, John Pierson, Anthony Courser, Jay Torrence, Brennan Buhl and even “the Intern-Trevor!” The play is a compilation of small scenes following the basic storyline of Hamlet, combining the acrobatic antics of ‘Daredevils!,’ the 2005 Neo-futurist play, all the while exploring the major themes of Hamlet: revenge, identity, masculinity, love, family, and death. “Daredevil’s Hamlet” is like a steady stream of consciousness; simultaneously flowing together while at the same time not having any rhyme or reason to the order of things.

Each player takes a scene or a theme from Hamlet and interprets it in their own unique way. One of the more charming and funny stories was Brennan Buhl, dressed in swimming trunks and wearing water wings, coming center stage to talk about a childhood memory involving some other boys with him in a kiddie pool where “wild time” vs. “calm time” were rules to follow. Brennan’s aunt would have equal time shared between these two times, 3 minutes each with “calm time,” designating everyone sit still, and “wild time,” letting the boys splash Brennan with no mercy. When his aunt ceases calling the different times to go into the house, his brothers “wild time” reigns and poor Brennan is left to fend for himself, with no relief in sight. During the play audience members actually get water guns to squirt Brennan while screaming “wild time” in order to recreate this childhood scene. This story, while seemingly random, equated to a central theme in Hamlet: justice and fairness. When rules are established and come down, what is a man to do? Does one rebel or follow the masses? What is fair and just and who decides this? And lastly, what happens when authority leaves and cooler heads don’t prevail?

Anthony Courser’s interpretation of masculinity called into play his favorite childhood character, Robin Hood. “Why would any child choose to be Hamlet, he didn’t even have a bow, or an action figure!” Anthony fires arrows using a Nerf gun in his makeshift cardboard archery armor to delve into the perception of masculinity in his mind versus that of Shakespeare.

Another Hamletisque theme, and a resurgent theme in today’s world, “Bromance” is explored when Jon Pierson, aided by Ryan Walters, describes a tender and intimate moonlit night with a male friend, staring out at the night’s sky and being within inches of one another, feeling a deep love and connection but not being in love. Can two men love one another without being in love as Horatio and Hamlet did? Is this experience still felt today?

These are just some of the interpretations provided by the fantastic cast of Daredevil’s Hamlet. There is no doubt, this play might leave you stumped for a quite a bit while you are watching it, but that is half the fun of visiting the Neo-Futurarium. This is the thinking man’s Hamlet, if Hamlet were to have been written with the philosophical jackass cast. Like the character of Hamlet, the players allow themselves to show their vulnerability, their faults and their frailties, and it’s because of this that Daredevil’s Hamlet is a success. It questions the crucial themes from the play; if your uncle killed your father, would you avenge him? Can two men share a deep plutonic love for one another without having to fear ridicule?

There’s nothing wrong in this state of Denmark, so make your way over to Ashland and Foster and see this charming play.

Daredevils’ Hamlet” runs through September 25, 2010 at The Neo-Futurarium at 5153 N. Ashland in Chicago. For more information or to purchase tickets, please visit www.NeoFuturists.org.

*Above photo - Jay Torrence, John Pierson, Trevor Dawkins, Ryan Walters,
Anthony Courser, Brennan Buhl; Ryan Walters performing "To be or not to Be" soliloquy from Hamlet

"The Bad Boys from Boston” returned to Chicago with a flair and command that could only be associated with Aerosmith. This time taking stage at the Fist Midwest Bank Amphitheatre in Tinley Park, singer Steven Tyler and company delivered a thorough set of classics opening the show with “Same Old Song and Dance” immediately followed with “Train Kept A-Rollin’” and “Love in an Elevator”. The large set included three large projection screens – one on each side and one above the stage, overhead panels to enhance the band’s light show that were lowered and raised, and a catwalk that protruded out into the crowd about 30 or so rows from center stage.

The band’s musical performance was pinpoint precise, with guitarist Joe Perry effortlessly nailing each lick and solo, while Tyler, dressed in classic Aerosmith frontman attire, danced around like a thirty-year-old and utilized his vocal range to perfection. The show included staple elements from the repertoire of rock and roll essentials such as a booming drum solo in which Joey Kramer pounded the skins with his hands in a thumping symphony of blistering beats. Perry also dueled his Guitar Hero counterpart (appearing overhead on screen) ultimately defeating him thanks to masterful fingerwork in a series of tasty progressions.

In addition, the band found themselves defending a crowd member at one point. Tyler reprimanded house security after they pinned down a woman who merely ran up to toss a pink boa onto the stage when the band went into the song, “Pink”. “Leave the woman alone,” shouted the famous singer before continuing with, “Security must not get laid around here.”

Included in Aerosmith’s fun-filled set were favorites “Livin’ on the Edge”, “What it Takes”, “Rag Doll”, “Sweet Emotion”, “Cryin’” and a superb rendition of the Beatles’ “Come Together”. The band also integrated a couple more obscure numbers before finally ending the show with a bang, performing encores “Dream On” and “Walk this Way”.  

Charlie Sheen is infamous for having call girls ring his bell. But, it was a real shocker to have seen Scorpion's rocker, James Kottak, smooching a blonde bombshell that, sadly, turned into a blow up doll (which, he was surprised by as well!)
 
It was a planned and previously videotaped gag the Scorpions ran for fans during their show at Chicagoland's Rosemont Theatre. And, that wasn't the only surprise the 80's rockers had in their bag of tricks.
 
I was taken aback by the thought of the massive amount of money that must have been spent for the endlessly enthralling high-tech stage design and lights with the drummer's set erected at least 20 feet high. There were generously sized screens behind the band playing good-humored skits and footage of their audiences back in the 80s from their first to last song performed.
 
I didn't imagine the Scorpions would execute a clearly well rehearsed production, either. Given the mastered performers each of the members of the Scorpion's were, and with so much staged, even a person with ADHD was likely to stay engaged.
 
The nearly senior citizens actually had pep from start to finish, too, proving they wouldn't be needing any canes, walkers or hip replacements anytime soon. Nor did the 40-ish aged fans display any problems with memory since most of them sang all the lyrics, and correctly, when the lead singer, Klaus Meine, extended the microphone out above the crowd.
 
Plus, the frequent interaction the German rockers had with the audience and the power, control and hold they had over them would have made sicko, Hitler, proud.
 
The sound was loud and clear with vocals and instruments rocked absent of a single glitch. I see now why the Scorpions have been reported as The World's #1 German Rock Band (www.the-scorpions.com 2010.)
 
Furthermore, they played all their biggest hits from the 80s plus some songs from their new album "Sting In The Tail," which were like totally awesome! As a matter of fact, "Sting In The Tail" turned gold a couple of months ago (www.the-scorpions.com 2010.)
 
Also, there were a wide array of lit lighters held by fans that would have probably made me have many thoughts of darting for the fire escape route, if I would have seen anyone in the crowd with highly ratted, hairsprayed and flammable hairstyles.
 
Yet, I was still disappointed to not have gotten a peep of any male fans at least stuffed in spandex with their eyes painted like cats and raccoons. However, I saw a few frauleins suited in head-to-toe-all-black-leather and they had their manes feathered.
 
My 30-year-old, buddy, who went with me to see the band was expecting a show gobbed with "cheesiness." He cut the word out of his vocabulary when describing the Scorpions after they played their first few songs, though. And, while his eye lids were completely rolled back into their sockets he said "This is a really good concert!"

Something I hate to hear is that the Scorpions will be ending their 35-year-old career (www.the-scorpions.com 2010.)
 
However, you can still see the Scorpion's "Sting And Blackout World Tour," if you missed them perform in the U.S. in other continents or if you just have to get more! (www.the-scorpions.com 2010.)
 
Lastly, I want to give the Scorpions a big hand for providing a show that was nothing less than grand.

For those in need of a good dose of metal, the “Rockstar Energy Drink Uproar Festival” held at the First Midwest Bank Amphitheatre in Tinley Park, hosted enough heavy, brain-crunching music to please even the most dedicated and hardcore of fans. Held on two stages, it was metal mayhem for nearly an entire day from openers New Medicine to its power-packed finish with Avenged Sevenfold and Chicago’s own, Disturbed.

The second stage, or the Jagermeister Stage, had bands New Medicine, Hail The Villain and Airbourne set the tone for the festival with HELLYEAH rounding out the action with a loud and furious set before sending fans to the Rockstar Main Stage.

Kicking things off on the main stage was Halestorm, followed by Stone Sour, featuring Slipknot frontman Corey Taylor. Packing in as much music as possible in their 45 minute set, Stone Sour opened with “Mission Statement” then went into an inspired performance of “Reborn” before squeezing in seven more songs and ending with their death blow, “30/30 – 150”.

As good as all the bands performed, it was Avenged Sevenfold that stole the show. Sharing the top billing with Disturbed, the tour opted to put the latter in the final slot, though either could be justified in handling the marquis finale spot – and that is not a knock on Disturbed, who also kicked major ass.

Avenged Sevenfold’s set began with a man falling to his death, noose around his neck, where he remained hanging front center stage throughout their opening track “Nightmare” from their newest album, which carries the same name. The band immediately kept the adrenalin pumping in the crowd as they went into a charged presentation of “Critical Acclaim” that had Sevenfold’s energetic singer M. Shadows leading the arena with repeated fists in the air and chants – a show of strong command as the eager fans followed his every direction in unison. Shadows, whose vocals were spot on, then acknowledge the newbies in the crowd with the apropos “Welcome to the Family” while guitarists Sinister Gates continued to blaze away, wowing the most snobby of guitar critics.

At some point in Sevenfold’s set, Shadows also made mention of the band’s former drummer, James Sullivan, otherwise known as “The Rev”, who had passed away last December of 2009. M. Shadows told the crowd how much he misses his best friend of eighteen years while a jumbo image of Sullivan appeared on the backdrop of the stage where it remained for the next few songs. Shadows later acknowledged, and thanked, drummer Mike Portnoy – an inspiration of Sullivan’s - for filling in and helping the band move forward. Avenged Sevenfold’s set also included “Afterlife” and “Unholy Confessions” before ending on a high note with “Almost Easy”. From beginning to end, the band gelled incredibly well with Zachy Vengeance accompanying Gates with intricate guitar harmonies and bassist Johnny Christ and Portnoy providing a thunderous rhythm section, infusing each song with that precise punch that Sevenfold is known for. Once again, Avenged Sevenfold has proven that their live show just keeps getting better and better.

By the time Disturbed took to the stage, the fans were already more than satisfied with what the Rockstar Energy Drink Uproar Festival had to offer, just making the finale performance that much more enjoyable. Opening with “Voices”, frontman David Draiman led the charge of heavily-driven songs amidst a startling light show and pyrotechnics. The band went on to play such songs as “Meaning of Life”, Stricken”, “Fire”, their Genesis cover, “Land of Confusion”, along with a few songs from the new release, Asylum, and finally closed out with the hard-hitting “Down with the Sickness”, making it a very memorable homecoming.

*Avenged Sevonfold pictured (top) and Disturbed 

8/20/2010 at the Metro

The last night of what seems to have been a bit of a bonding tour, Kevin Read from the Freelance Whales got up crowd interaction (lyrics and timing for a sing a long participation) with The Arkells, and played along with Tokyo Police Club, and then Greg Alsop of Tokyo Police Club came and played drums with Freelance Whales, you could feel the bond of the bands.

Freelance Whales hit the stage and I’m delighted with how many seem to know them. They seem to have gathered a following during the Lolla visit, just so you know they will actually be back late November/early December. They also recorded some songs with Marty Lennartz, who is the host of The Big Beat on WXRT 93.1 fm, Mondays at 10 p.m., this Monday 8/23 they will be on the program, if you don’t know them you should become familiar before they come back for their headlining tour. They are a group of multitalented, multi-instrumentalists, which keep the variety going on stage as they play a game of music instrument duck goose. They hit all the sweet notes (erratic, eccentric, irrelevant as they seem) but you don’t even realize all the effort that is required to make such a tranquil harmony of noises, cause really they make it look easy. They played most of ‘Weathervanes’, a highlight of the set included them being joined on stage by Greg Aslop , and adding even more to ‘generator ^2nd floor’. Really who am I kidding though, the way they are able to experiment even more with the songs as they wander, but wander together as a band, and keep the sound’s going that take you on a unique experience with them.

Tokyo Police Club enters the dark stage area, to an under current that resounds for the length of their stage time. They seem to ride this electricity for the performance, they even have a light show with them, and I think they have actually figured out mind control through keyboards, that’s just my guess though. They made people that had not moved for the entire show bob their heads, or people that were unfamiliar with the music feel familiar with it. They seem to have crowd interaction down to a science as they keep the crowd singing, clapping, and swaying the whole show and into the 2 song encore that ended this U.S. tour with a Weezer cover and ‘Your English is Good’.

Overall I would have to give this show an outstanding rating. When I arrived pre-doors at 7:45 the reader board said there was still tickets available, but watching the crowd fill in by band I would say that it was a sold out show by the time Tokyo Police Club was setting up for the performance. It was nice to experience such a harmonizing show.