In the summer of 1994, Germán, a good friend, and one of the owners of the legendary TEXACO bar in Barcelona (if you are a veteran reader, you will know which place I am talking about), traveled to Seattle with the intention of soaking it up firsthand, and at the epicenter of everything, of the alternative scene. Upon his return, he brought a lot of material with him, one of the albums was “Diary (1994)” by Sunny Day Real State, and its definition was clear: it was different from what we had been listening to from that scene, especially in the treatment of the melodies. and guitars.
From that moment on, the band became part of my musical diet, and being able to see them performing the entire classic album no less than thirty years later was very emotional. On the other hand, that tour also serves to demonstrate its importance, which, for better or worse, opened the door to genres such as emo rock or post hardcore. Didn’t the first Foo Fighters album sound like them?
The New York show was the second night in a row in that city, the first sold out quickly, and the second nearly did so. Although, except for one of the songs performed in the encore, the repertoire was copied on both dates, that did not mean enjoying a show that conveyed sincerity at all times. They started with “8” piece from his second work as an introduction, and which gave way to performing the debut in full and in the same order, and although the surprise effect is nullified, listening to “Seven” and “In Circles” at once makes the legacy clear. of an era.
The band, in the format of three guitarists, was completely united, applying the two leaders Jeremy Enigk and Dan Hoerner, the necessary tempos at all times, of tense calm or electricity when he played respectively. Likewise, highlight the superlative rhythmic base of Will Goldsmithand that takes interpretations to another level.
The review of the rest of their discography is reduced to performing a triplet of references in the encore, highlighting “Faces in Disguise” from the not sufficiently claimed “The Rising Tide (2000)”, and which was especially enjoyable. To close, they returned to the basic sound of the band with the long development of “Novum Vetus”, and specifically a song from the sessions of the album “How It Feels to Be Something On (1998)”, and which represents the present of the band in terms of recordings.
To finish these lines, a couple of notes to complement the night:
-The drummer, Will Godsmith, was wearing a t-shirt from the album “Wrong (1989)” by No Means No, which transported me to the Garatge room in Barcelona, and reminded me that it was a good time to recover that album, which I recommend it to you too if you have come this far.
-If you attend one of the shows scheduled at the Irving Plaza venue, don’t hesitate to recharge your batteries afterwards at the classic Joe’s Pizza, located a couple of blocks away.
Text: Oscar Fernández Sánchez
Photos: Sonia Eireos Gallarín
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