Presented by Tweetfort Music and Art: 

Tweefort and CT Indie have teamed up to bring you a full day of music to support Artspace New Haven-Saturday, November 14th, 2009:

The music will start at 3 PM. Headlining the afternoon show will be New York indiepop band The Metric Mile. Also playing will be The Dayzies (Middletown, CT) followed by One Happy Island (Boston), FayRey (New Haven/New York) and The Cavemen Go (New Haven/Boston). Members of the band Boy Genius (New York) will DJ.

The music continues at 8 PM. The Tyler Trudeau Attempt (New Haven) and festival headliner A Sunny Day in Glasgow go on after a pleasant intermission and a period of indiepop spinning and performance art.

Drinks will be provided at the evening event by New Haven’s 116 Crown.

A full day ticket is $8, afternoon only or evening only are $5 each. Both the afternoon and evening shows are All Ages.

Artspace New Haven is located at 50 Orange St., New Haven, CT 06510

Lineup:  (approximate times):

3:00 PM – The Dayzies (Middletown, CT)
3:45 PM – One Happy Island (Boston)
4:30 PM – FayRey (New Haven/New York)
5:15 PM – The Cavemen Go (New Haven/Boston)
6:00 PM – The Metric Mile (New York)
7:00 PM – Intermission
8:00 PM – ArtSpace Underground @ Elm City PopFest begins with DJ and performance art
9:00 PM – The Tyler Trudeau Attempt (New Haven)
10:00 PM – A Sunny Day In Glasgow (Philadelphia)

Info about the bands:
A Sunny Day in Glasgow are a band from Philadelphia that plays dreamy pop music that uses lots of samples, guitars, and melodies. They have just released their sophomore record Ashes Grammar. “Ashes Grammar draws you in by offering outstanding moments in strange contexts; you’ll re-listen to hear specific pieces even though you’re unable to remember exactly when and how they occur. Ashes Grammar often feels like the result of a band who took Martha Reeves and the Vandellas’ “Come and Get These Memories” in the most abstract, art-damaged way possible: nostalgic, jigsaw pop music from a group of writers strong enough to keep you humming and courageous enough to make you guess.” – Pitchfork (8.3 out of 10)

The Tyler Trudeau Attempt is a staple in the New Haven pop and rock music scene. They can be seen playing on stages all over the state of Connecticut singing songs about everyday life and the struggles of living in the city. The Tyler Trudeau Attempt draws influence from Elvis Costello, Billy Bragg, The Ramones, Richard Hell and the Modern Lovers, among others. The New Haven Advocate said the following about The Tyler Trudeau Attempt’s EP, “In My Despair I Took Up Painting”: [In My Despair, I Took Up Painting is] an EP brimming with social satire, gleeful punk music, enough organ for a prog band and Trudeau’s instantly recognizable whine … The TTA looks back to the roots of punk and finds something immensely energetic, often hilarious and always political. On top of that, it’s catchy as hell.

The Metric Mile is a pop band from Brooklyn, NY. According to the band, “The Metric Mile make pop music out of guitars, keyboards, drum machines and anxiety.” They draw influence from bands such as The Field Mice, The Wake, Orchestral Manoeuvres in the Dark and The Magnetic Fields, among others. “The Metric Mile sports a dreamy pop sound and a really endearing delivery. Their devotion to the drum machine adds something interesting to the mix, too. They’ve got a deep love for 80s pop that pours out of every chord and note.” – The Needle Drop, Feb. 18, 2009

The Cavemen Go have made a name for themselves as one of – if not the – premier pop band in New Haven. They consistently stand out from the crowd with great pop songwriting and musicianship. The Cavemen Go fuses the past and the present with influences as varied as the British Invasion and Motown, as well as nods to the poppier end of contemporary indie rock and even shades of country and folk-rock. The New Haven Advocate said about The Cavemen Go’s album “New Lives”: The Cavemen Go, which began as a gown/gown blend of Yale and SCSU students in the early 2000s, have always understood that blue-eyed sensitivity and chord-heavy keyboards are as essential to gritty ’60s-style American garage rock as hair-shaking gyrations, tambourines and “woo-woo”s. Add an alt-country twang at times and this soul-bending band matches early-’70s Kinks for artful, articulate pop cross-pollination.

From FayRey’s MySpace page: Eclectic in its genre, FayRey is what happens when you combine a love of classic, gritty NY punk rock, with a love for contemporary classical music. Guitars thrash and buzz blending with front woman Lillian Fuchs’ vocal growls and taunts. Bass notes surge and recede around carefully crafted primitive drum grooves, all evoking the glitter and grit of punk rock – until the trademark Fay Rey moment happens of something unexpected. Keyboards and violins slowly weave a melody that rises over the top of the pulsing grind of guitar and bass. Drums drop into a deconstructed shimmer of cymbals and out of it all emerges a haunting vocal line. Fay Rey site Sonic Youth, The Velvet Underground, My Bloody Valentine, The Smiths and Gogol Bordello as influences, among others.

Boston’s One Happy Island are fresh from playing the huge Indietracks festival in England with countless other pop bands. The band draws influence from The Beach Boys, The Lucksmiths, Rose Melberg, Camera Obscura, New Pornographers, Acid House Kings and Squeeze, among many others. From their MySpace: One Happy Island is an indiepop band from Boston with sloppy DIY tendencies. Chief exports include handclaps, ukulele strings, harmonicas, bittersweetly jangley ballads, furiously unfocused kazoo solos and unashamed lo-fi recordings. It is the intention of Shannon, Rebecca, Clint, and Brad to take their songcraft and melodies to new levels of fun, fun, and fun.

Connecticut’s The Dayzies are made up of area music veterans, Steve Bunovsky, Dan Kohler and Mario Cardenas. Bunovsky and Kohler were both formerly of the well-known CT band The Naomi Star. The Dayzies draw influence from the great powerpop bands of the ’70s and ’80s, including Big Star and Badfinger, as well as bands such as The Beatles, Travis and The Beach Boys. From The Dayzies: There was a time not so long ago, before the age of digital downloading and “American Idol,” when popular music actually meant something. It was fun, smart, thought-provoking, uplifting, disturbing or even ugly – it was always relevant. The Dayzies are an original pop/rock band from Connecticut that hopes to help return rock to its former, exalted state. Featuring Steve Bunovsky (vocals/guitar), Mario Cardenas (vocals/drums) and Dan Kohler (vocals/bass), The Dayzies play their own brand of rock and roll that draws deep from the well of classic British and American acts like The Byrds, The Kinks, Cream, Buffalo Springfield and Big Star. If great rock and roll bands never limit themselves to a single genre, count The Dayzies among them – this band is no one-trick pony – and while a diversity of songwriting is evident, they still manage to have a sound all their own.

LINKS:

Artspace: http://www.artspacenh.org/

Tweefort: http://tweefort.com/
CT Indie: http://www.ctindie.com/
Tweefort: Music and Art
tweefort@gmail.com
www.tweefort.com
860-208-1986

Tweefort is a music promotions and art project pairing state and regional bands with touring acts in order to foster a greater appreciation for pop music in the New Haven, Bridgeport and Southern and Central CT areas.

Tweefort was inspired by the indie pop scenes of cities such as Athens, Ga., Seattle, San Francisco, New York and Boston and the annual pop music festivals that take place around the country and world to begin booking shows and soliciting traveling bands to play in Connecticut. Tweefort believes that Connecticut’s location – between New York and Boston and surrounded by college and university campuses – can make the greater New Haven area a destination for touring pop bands.

Tweefort also believes that building a scene begins at home. Tweefort strives to promote Connecticut pop bands by pairing them with touring bands in order to introduce the maximum number of people to new music. Connecticut has a number of great bands playing pop music that would benefit from coming together, promoting each other and playing with touring bands.

For any additional information on the Elm City PopFest or to schedule an interview, please email Dan Goodwin at tweefort@gmail.com

CT Indie
ctindiemusic@gmail.com
www.ctindie.com
860-922-5605

CT Indie is first and foremost a web-based news source for indie music happening in Connecticut. The CT Indie blog posts about upcoming shows, interviews, and news. CT Indie also works with Connecticut’s promoters to get the word out about all the excellent local events and helps local and touring artists to secure shows.

To schedule an interview, please email Jason Devin and John Hall at ctindiemusic@gmail.com

1.   CrashCarBurn – “Serenade”

http://www.youtube.com/watch?v=orgDFgcKbBI

2.   Kings of Convenience – “I’d Rather Dance With You”

http://www.youtube.com/watch?v=2iDNMUtw_CQ

3.   Days – “Simple Thing”

http://www.youtube.com/watch?v=SCBSKuzjG1M

4.   The Ruling Class – “Marian Shrine”

http://www.youtube.com/watch?v=w3IEV6P47hU

5.   The Stone Roses – “Made Of Stone”

http://www.youtube.com/watch?v=zgGTQgvCPOU

6.   STUDIO – “West Side”

http://www.youtube.com/watch?v=IqtUDpU5Gyo

7.   Kids In Glass Houses – “Youngblood (Let It Out)”

http://www.youtube.com/watch?v=LML5VLHWgUQ

8.   Save Your Breath – “Not In The Mood For Kiwi”

http://www.youtube.com/watch?v=42EwpjSor1k

9.   Van Atta High – “Birthday Girl”

http://www.youtube.com/watch?v=k_hexxRkr4o

10.   Catch Me If You Can – “The Court Case (Feat. Nick Thompson)”

1.   My Girl Friday – “She Hates To Love Me”

http://www.youtube.com/watch?v=maQ8NgHngks

2.   Danger Is My Middle Name – “Revenge On The Radio”

http://www.youtube.com/watch?v=nMgaoIgM0PU

3.   The Bigger Lights – “Goldmine Valentine”

http://www.youtube.com/watch?v=qRI-43EdrYg

4.   This Century – “No Way Out”

http://www.youtube.com/watch?v=VHoHeNj_Fx4

5.   This Condition – “Red Letter”

http://www.youtube.com/watch?v=Lg06MRadjW4

6.   Set In Color – “Photographs”

http://www.youtube.com/watch?v=MFCP8v00RCU

7.   Big City Lights – “Love Melody”

http://www.youtube.com/watch?v=CUkCrmpKePo

8.   Action Item – “Boy With The Microphone”

http://www.youtube.com/watch?v=zomo6dMxCy0

9.   Amely – “On My Own”

http://www.youtube.com/watch?v=THMPJes2fb4

10.   All Night Dynamite – “Stay Up All Night”

http://www.youtube.com/watch?v=8Y3hetttTqU

Michelle Tapper: A few things have changed since our last interview.  You guys have a manager now.  Were you sought out by Red Light Management or were you trying to be involved with them?

Benjamin Schaefer: Our manager used to be an employee of our lawyer.

Matt Holmen: So our lawyer set us up with him, he thought he was cool.

Ben: He’s focused on touring musicians. He has a bunch of grassroots bands [under his management] like String Cheese Incident and Drive-By Truckers, like bands that just tour a lot and so we thought it would be a good match just because of how we tour and the extent of what we do.

MT: Does that change your hands-on approach to running the band at all?

Matt: Not at all, no.  I mean it’s cool to know that there’s someone else out there who gives a damn about us, because whenever you own your own business, you feel like no one’s on your side. But it’s cool that we have a dude that’s on our team now.

Ben: Nothing has changed day to day; it’s just that he’s kind of like a grandfather type figure.  You can bounce ideas off him and make sure that what you’re doing isn’t fundamentally flawed, I guess, but day to day we still book our own shows and promote ourselves. Everything is still the same as far as our business goes, but then there’s like a character who can oversee it who isn’t on the road which is really helpful for us because it can very easily get skewed when you’re doing the same thing every single day.  He just kind of helps refocus us on what is important.

Matt: Which right now, is writing new songs. That’s our new focus, so over Christmas we’re going to spend a lot of time at home writing and recording stuff because we haven’t done that in awhile. And it’s kind of important for a band to have music [laughs], but it’s so hard to forget because we’re so engrossed in the business.

Ben: So easy to forget.

Matt: Yeah.

MT: Do you feel like you’ve been putting too much emphasis on touring rather than writing music?

Matt: It’s sort of an either-or for us because being on the road isn’t that conducive to writing for our style. So, I don’t know. It’s like both things are important and it’s almost a catch 22. That’s how everything in the music industry feels; you need to have this thing before you do the other thing but in order to do that thing, you have to have this other thing.

Ben: In the current music industry it’s absolutely essential if you want to get anywhere especially as an independent band: you have to be touring.  You know, we’ve pretty much been on the road for two plus years and we are now at the point where a focus on music is essential to get to the next step.

Matt: To answer your question, no, but if we continue to just focus on touring and ignore the need to create new music, then yeah that would be too much, but for right now, we’re very happy with what we’ve done in the past couple years.

MT: Going back to the management, do you guys foresee a point where you won’t want to or be able to handle being as hands on as you have been with the band? Do you foresee a point where you need help booking, etc.?

Matt: Oh yeah, it’s definitely getting out of control. It’s too hard, it’s impossible to dedicate enough energy to all aspects of the band at the gear we’re running on right now. We’re constantly like, staying up traveling until four or five in the morning and getting up at like seven to give lectures to high schools while Ben is booking shows or Adam’s advancing shows and I’m promoting them.  All the while I’m still worrying about how we’re going to take the next step and start making music, so yeah; it’d be great to just worry about being a musician.  It just takes a little longer to get there.

MT: Last time, John Paul said he felt that We The Living is very close to being the band you set out to be.  Do you feel like you’re continuing to make steady progress in that direction?

Matt: Yeah, definitely.

MT: I heard a rumor over the summer that We The Living was supposed to be on the New Moon soundtrack. Is there any truth to that?

Matt: Isn’t that an awesome rumor?! No.

Ben: Unless we’re the secret track on the soundtrack or the credits.
Matt: And we didn’t get [even] paid.  But that’s funny right?  That Youtube account was really quite convincing, except it only had like one video.  So I was like, “clearly this is a hoax, but it’s still very entertaining.”

Following their successful summer tour, the men of Blink-182 are giving back to the people who helped them achieve an incredible comeback. In September, the band donated $100,000 of the proceeds from their show in Phoenix, AZ to the Joseph M. Still Burn Center in Augusta, GA and the Grossman Burn Center in Sherman Oaks, CA.

Both facilities cared for Blink-182 drummer Travis Barker after the plane crash in 2008 that left him and the late DJ A.M. with severe burns, and four others dead. According to a press release, the band hopes that their donation will “help these burn centers continue their life saving work.”

10 days later, when the band was in Atlanta, Barker paid a visit to the burn center. He met with patients, signed autographs, and said a big “thank you” to his doctors. He later posted to his Twitter account: “Just leaving the JMS burn center here in GA. Amazing talented people over there, angels are what I like to call them. Wouldn’t be here today if it wasn’t for them. Glad I was able to go by and say thank you. I’ll never forget them or what they did for me.”

Bassist Mark Hoppus is also doing some good. On October 19, 2009, he published an article on the Huffington Post about Ali Vatter, a member of the catering crew that worked on the summer tour. Two months into the tour, Vatter had to get an emergency appendix-removal surgery, and later had trouble paying the bills because she was uninsured.  Hoppus wrote, “My initial reaction was disbelief. Why would you not have insurance? Especially while on tour? Turns out I was asking the wrong question. The real question is: Why are you unable to get insurance?”

Vatter told him she had been trying to get it for years, but that she could not because of pre-existing conditions, or was just denied. Her bills amounted to $48,000 so she set up a website asking for donations: www.thealivattermatter.blogspot.com. Hoppus has agreed to personally match every dollar donated until her bills are paid.

All that has ever been asked of Blink-182 is music, but they are giving even more. They show that a scandal is not necessary to keep people talking; they’re keeping their name in the headlines by paying it forward.

On Oct. 13, 2009 AFI and Gallows rocked the Webster Theater in Hartford in support of AFI’s new release Crash Love. Gallows opened the night with a surprisingly impressive set, and singer Frank Carter jumped into the crowd after the first song and played the majority of the set from the pit. The songs they played included “In the Belly of a Shark,” “Leeches,” and “Gold Dust.” Before AFI took the stage, a concertgoer pulled the fire alarm, which prompted many fans to make jokes. After 45 minutes in the cold and rain fans stampeded back inside to wait for AFI’s set. When AFI took the stage it was evident that their fans take AFI’s music very seriously. Nearly every person in the crowd knew all the lyrics to each song in the set.

All four members of the band were energetic, engaged the crowd, and encouraged fan participation. Although singer Davey Havok jumped into the crowd during “The Leaving Song Part II” it was still no comparison to his usual crowd walking when AFI plays “God Called In Sick Today.”

AFI’s set list consisted mainly of songs off their past three albums, but old school fans received two special treats when the band played “Don’t Make Me Ill” from Answer That and Stay Fashionable, their debut album and “On The Arrow,” a bonus track from Decemberunderground.

Despite the slight annoyance of the fire alarm, the show was an amazing experience. AFI certainly didn’t lose any of their ferocity with Crash Love and the Gallows are quite possibly one of the most memorable opening bands I have ever seen.

For more info, news, updates, and touring information, check out http://www.afireinside.net/

The Shells have had quite a busy season this year. The folk trio from New York City, recently nominated for MTV’s “Best Breakout Act”, are preparing for their full-length album debut entitled “Written Roads”. The CD will be out on October 8th. To prepare for the upcoming release The Shells talked to The Charger Bulletin’s PULP MAGAZINE about their growing success.

PULP: So where are you all from originally?
The Shells: (Melanie) Well I am originally from Buffalo, New York.
(Jessie) I’m Jessie, and I’m from Nashville Tennessee.
(Carrie) Well, I’m from a lot of different places but I’ll say that I’m from Colorado.

PULP: And what was it that brought all of you to where you are now?
The Shells (Carrie): Well, I originally came out here to go to school for musical theatre school: acting, dancing, and singing, and I think the other girls are pretty much the same story.
(Melanie): I went to school upstate and then moved to New York for auditions for Broadway.
(Jessie): I went to school at Rutgers and I moved into the city to pursue music and I saw an ad on craigslist that someone was looking for a third member for a female trio. At the time I was singing in a capella group at college so I was immediately interested and auditioned and four years later…
(Melanie): We were in a band before Jessie. We were doing some work with the harmonies between the two of us and a band, and it was not really working, as far as being mainstream or something that was right for us, so we wanted to change. We knew that it wasn’t as truthful as something coming from us, from our own minds, so we started our own thing with Jess.

PULP: Where do you live in New York and where do you like to hang out?
The Shells (Jessie): Melanie would definitely say the east side; I used to live in New York, and would have to agree with her that it’s the best neighborhood in Manhattan. I live on the Upper East Side, which isn’t bad, and Carrie lives in Astoria. We play gigs in a lot of different places and have spent a lot of time throughout the city. The world is our stage.
PULP: So what are you looking forward to and looking to happen after the album drops in a week?
The Shells: We would like to start touring a little bit; a lot of people say we belong in the south so we want to start traveling in that direction. We’ll be in Nashville in November.  Right now we are very focused on New York, but we just have to branch out a little bit.  We’re also looking into distributing our music: the industry is moving forwards when it comes to commercializing our music.

PULP: How was it working with Ryan Williams?
The Shells: Well, we met Ryan through a girl who is our violinist; we just really wanted to work with a producer who got our vibe and really liked our music. You know when we all got down there to record our vocals, we had tears in our eyes just from excitement to hear what he had done with our stuff, and our songs became artwork. We were immensely proud and are very thankful to Ryan for all that he did on this album, not only artistically but also as an instrumentalist. He is enormously talented.

PULP: How does your show change from the studio to on stage?
The Shells: As far as our show we have a full band: drums, bass, keys, violin, and two guitars. And I would say we benefit from our live band being a little bit different from what’s on the album because it keeps it interesting, it challenges us, and it’s really cool to be able to be a band where you have this rocking album and then be able to strip it all down and do a show where it could be just us and guitars. We really know ourselves well, so our live shows can range anywhere from acoustic to a full on band.

PULP: How is your relationship with your band: are these guys you hire and who come and go, or are they now an essential part of The Shells? How long have you been together and how did you find them?
The Shells: It’s so funny; you’re asking us all these questions we have been talking about lately. It’s just evolving now. I would say our band is definitely our friends, our guitarist Cameron Mitchell has become a good friend of ours; he really enjoys our music. Unfortunately, this is New York City, and you can get paid as a musician here, so lately we have been talking about how we want to make our band a little bit more ours. So we have a lot of guitarists and other people and it can be frustrating because we did start acoustic, and people sometimes see us as The Shells, three girls but we want to be seen as The Shells “the band”. Slowly were all becoming a part of it, so it’s just right now more making a proposal to them saying “ do you want to be a part of it like we are?’’ We don’t know what’s going to happen, but hopefully they believe in us and want to be in it for the long run.

PULP: Are there any favorite songs that you like to perform?
The Shells (Melanie): “Wrong From the Start” is my favorite personally because it was the first song that we wrote and arranged together and the first song that we were like, “holy crap we can do this with just us”. We could all relate to it and understand it even if it was someone else’s story.
(Carrie):  I would say as far as covers we have come a long way, we used to have two and now we have like eighty.  We’re all big fans of classic rock, we like to do that classic rootsy type of feel because that’s who we are. We do “The Weight” by The Band, and I think every time we play that people really like it.
Editor’s note: This  interview is continued online…

1.   A Great Big Pile of Leaves – “Drought of Snow”

2.   Kinch – “Carolina Cannonball”

http://www.youtube.com/watch?v=OGsTlF7r8Hg

3.   A Paper Tugboat – “Garage Rock”

4.   Camera Obscura – “James”

http://www.youtube.com/watch?v=B7XRVF2bcms

5.   Grizzly Bear – “Two Weeks”

http://www.youtube.com/watch?v=tjecYugTbIQ

6.   Beach House – “Apple Orchard”

http://www.youtube.com/watch?v=hdzWlqTwhJY

7.   Ponytail – “Beg Waves”

http://www.youtube.com/watch?v=beZ5F_GO-Mg

8.   Celebration – “Evergreen”

http://www.youtube.com/watch?v=oTkBZ93z3P0

9.   Belle & Sebastian – “Sleep The Clock Around”

http://www.youtube.com/watch?v=qUpG6TPTyGY

10.  God Help The Girl – “Come Monday Night”

http://www.youtube.com/watch?v=XxmrKav8gUM

The Shona people of Zimbabwe have many secrets and many great traditions. Perhaps their greatest in the musical sense is the mbira, which is thought to be originated around a thousand years ago in the region of Africa now known as Zimbabwe, first played by the Zezuru tribe. This remarkable instrument hailing from the southeast African state is part of the idiophone family of instruments, as classified by the Hornbostel- Sachs system.  It is known as a plucked idiophone, because it is played primarily with the thumbs as well as the index finger on the right hand. At first blush it is a rather ridiculous looking instrument. It is comprised of 12 to 28 metallic keys, each of different length to omit a different frequency or pitch. The mbira is often times played inside a hollow gourd or bowl for the purpose of resonance, thus amplifying the surprisingly quiet instrument for public appearances. Mbira dzavadzimu, the official name of the national instrument of Zimbabwe, is roughly translated as “the voice of the ancestors”, and rightfully so because of the longstanding history and kinship the people have shared with the instrument.

The predominant music of the region, known as mbira music, is traditionally played by more than one mbira performer. It is typically composed of several players using polyrhythm, a technique in which several different rhythms are played at the same time.  An interesting way of explaining polyrhythm to those not so musically inclined is as follows: imagine a very tall father walking with his short son. They both take their first step at the same time; however the son must take more steps to stay with his father, so their steps don’t match but relative to each other the two are constant and at the end of the walk they end at the same time. Many different manifestations of this instrument have been invented by hundreds of different societies around the world, including the kalimba.

For more information about the mbira, visit www.mbira.org where a great deal of history can be found, as well as mbira retailers.To hear some interesting performances, follow the links below. Keep your ears open, you’re bound to hear something you’ll like.

Most of today’s college students never got the chance to enjoy the Beatles in their heyday, but the University of New Haven had some visitors on Saturday, Sept. 19, 2009 who are giving this generation a taste of Beatlemania. Three acts of live music, eclectic costume changes, and animated actors comprise the stage show that is aptly titled Beatlemania Again. For two and a half hours, four passionate men play a tribute to one of the most legendary bands of all time, and remind everyone just how unique the Beatles truly were.

Act I began with “When I Saw Her Standing There.” The band was dressed to imitate the early Beatles: sharp suits and bowl cuts. Despite being significantly older than their respective personas, the men played their characters well. Two, in particular, were right on-point. Paul McCartney felt all-around genuine in his accent, in his words, and in his personality. Also, Ringo Starr was played exactly as you see him in videos: his head bobbing to one side and with a big, goofy smile on his face.

The band played the best of the Beatles; “I Want to Hold Your Hand,” “Please Please Me,” and “Eight Days a Week,” to name a few. There were no mistakes, just a crowd happy to be hearing these timeless songs live. Before playing “In My Life,” John Lennon told the crowd that the song was for those who couldn’t be there, including Patrick Swayze, Mary Travers, and the locally beloved Annie Le.

Intermission came and went, and Beatlemania Again continued in chronological order, opening Act II with “Sgt. Pepper’s Lonely Hearts Club Band.” The costumes were identical to the original band’s colorful, satin, military outfits from the Sgt. Pepper album cover. “Help,” “Eleanor Rigby,” and “Lucy in the Sky With Diamonds” were all played as bright lights flashed across the stage to resemble the psychedelic period.

Suddenly, everyone but Lennon jumped off of the stage. He picked up an electric guitar, and played a stripped-down version of “Strawberry Fields Forever.” The crowd exploded with excitement and sang along. George Harrison came back to play “Here Comes the Sun,” on acoustic guitar. His performance was outstanding, and the crowd sang along, again, while he whispered, “It’s all right.”

The entire band returned to the stage for their final and best act. Each man was dressed differently, and John Lennon was in his signature white suit. Here they were at the end of the era, but playing the songs that the crowd seemed to enjoy the most. Students danced along to “Revolution” and “Come Together,” and chanted the “na na na na’s” to “Hey Jude.” After a standing ovation, the encore was “Twist and Shout.” The crowd was doing just that, and danced their way out after stopping to say hello to the band.