Live Review: Crowbar, Lo-Pan and Dutchguts in New Jersey, 07.25.19
Posted in Reviews on July 26th, 2019 by JJ Koczan
Teaneck, huh? On a Thursday? Yeah, alright. I’ll waddle down and check that out. One night ahead of starting their tour with Corrosion of Conformity, New Orleans sludgemasters Crowbar and Ohio fuzzy soul-lifters Lo-Pan made a stop at Debonair Music Hall — the former Mexicali Blues — in the suburb of Teaneck, New Jersey, with local modern sludgers Dutchguts opening. It doesn’t feel like a stretch to me to say heavy shows don’t happen every day in North Jersey. And if you’re not up on geography, that’s because right on the other side of that bridge and/or tunnel is New York City, which is where shows do happen every day and are generally guaranteed to draw more people. Seeing a band like Crowbar — or even Lo-Pan, for whom this was their second Jersey show — without having to cross the Hudson River at rush hour? The very least I could do would be to show up. So I did that.
Incidentally and maybe less surprising given their 30-plus-year history, it wasn’t Crowbar‘s first North Jersey show. They played a place called Obsessions in Randolph circa ’93 that’s long since gone, which I remember not because
I was there — I was 12 — but from graffiti on the wall in the tiny room that was their “backstage” area. Whether or not they returned to the area between the two gigs, I couldn’t say.
They’d headline the early night, with Lo-Pan playing the middle of the three slots and Dutchguts kicking off the proceedings at 7:45PM sharp. The Debonair Music Hall at that point could not be accused of being overly populated, but there were several in the crowd who very clearly knew the four-piece, likely from the DIY scene they’ve built up around the Meatlocker basement venue in Montclair — though as I recall, someone in the band was local enough to me to know the bar Hoover’s on Rt. 53 when the subject came up years ago. Their take on sludge is more brash and less metal than Crowbar‘s, and it had clearly been a while since I last saw them. Like the better part of a decade, since I seemed to remember them as kids. Their roots were the same — big Eyehategod influence, some Converge, some other dark hardcore punk, plenty of tonal heft, and so on — but their delivery was 10 years wiser, more experienced and vicious.
Dutchguts will open for Eyehategod in Jersey City in September and that feels about right in terms of fit. Though their most recent outing is a 2017 split with Chained to the Dead (discussed here), they’ve done a fair amount of touring, including last month, and have something of a reputation that precedes them. I thought they were cool. After 10 years though, it might be time to put out an album if you’re ever going to. I’ll admit a 7″-only attitude is pretty punk, but still. A compilation, maybe?
How I found out about this show in the first place was hearing it from the guys in Lo-Pan last month before their set at Maryland Doom Fest 2019 (review here), and frankly, even with Crowbar on top of the bill, I was thinking of it as “the Lo-Pan show” in my head. This site is presenting their upcoming Fall European tour with Steak and Elephant Tree (dates here), and I knew from their Maryland set that they’d be playing mostly if not entirely material from their new album, Subtle (review here), which came out through Aqualamb in May. That indeed 
was the case, and though there was no “Ten Days” this time, having “Everything Burns,” “Law & the Swarm” and “Khan!” in the setlist gave Subtle its due, along with the near-mandatory “Ascension Day,” “Savage Heart” and “Sage.” I’ll be curious to hear how the set changes when they come back through Jersey (further south) with Crowbar and C.O.C. in just about one month.
About that: this was pretty much a warm-up show for them, as well as for Crowbar. The tour with C.O.C. headlining starts in Poughkeepsie at The Chance, and I guess they had occasion to make the show happen — picking up a bus in the Meadowlands, perhaps? — and it was a way to give them a leg-up on getting into the groove of the next month to come. Hey, I’ll take it however it comes, but the first night of a tour is always a specious time to see a band. They’re getting their feet under them. They’re tired from a long day of travel. They’re looking ahead to the weeks to come. They’ve not yet developed every tour’s inevitable thousand-yard-stare, locked-in, almost-traumatized sense of I-live-23-hours-to-play-for-one that they will have, say, after five or so nights of gigs in a row. Lo-Pan held it down, and so did Crowbar, but mostly that means that when they circle back, they’ll be that much more on fire.
Nonetheless, one appreciates seeing bands like this the way one appreciates the breaking of a humid Jersey heatwave. Pro-shop, get-on-stage-and-go professionalism is a marker of who a band are as players and a unit and Crowbar are unmistakable even besides that. Guitarist/vocalist Kirk Windstein thanked the crowd, including specifically a kid up front who couldn’t have been more than 10 if he was that — thereby, one assumes, making a fan for life — and they tore into their set with all the lumbering ferocity one could expect. This was my second time seeing them after catching the earlier leg
of their tour with C.O.C. in Boston (review here), and whether it was that sold-out date or this Thursday night in Teaneck, Crowbar played their show regardless. It was great to see and of course they killed it, opening with “All I Had I Gave” and rolling “Lasting Dose” into “To Build a Mountain” early on.
It was mostly the same set from February, which is fair enough, but with “Conquering” included ahead of “Planets Collide” and “Like Broken Glass,” so I’ll go ahead and mark that a win if you don’t mind. A “pit” broke out of kids having fun during “To Build a Mountain” — that riff’ll do it — and the vibe on the whole was intimate, friendly and l-o-u-d. I wouldn’t have asked for anything more than that, if I’d felt entitled to ask in the first place.
The tour-proper will be a sight to see, with Quaker City Night Hawks and Corrosion of Conformity alongside Crowbar and Lo-Pan. This show, in addition to being my first-not-last time at Debonair Music Hall unless a piano falls on my head between now and the next one, gave me something to look forward to for August, served to remind of the strength of the local NJ underground, and took less than 35 minutes to drive home from when it was over, which was still on the relatively early end. I kind of felt like they were doing me a favor all the way around.
More pics after the jump. Thanks for reading.
well. But the context has changed. As Shepard moves through the chugging eight-minute second cut “Nadir” (premiering below) and the grim psychedelic wash of the centerpiece “On My Way Now,” the personality of Giving Up Feels So Good proves to be not only consumingly dark, but based more than any other Blackwolfgoat release around weighted tonality and resonant low end. “Nadir” — how low can you go? — reminds of Earth or maybe some of Dylan Carlson‘s solo output for its raw here’s-a-guitar-style expression, and though Shepard fleshes out toward the midpoint with a some hard-strummed melody, the mood remains paramount.
