Review & photos by Rachel Jablonski
Caught in a frenzied whirlwind, the result is massive impact. Clothes torn and dangling, hair flapping wildly, sharp movements, and intense faces forecast the aftermath. But wait, back up. There is calm before the storm, a quiet time just prior to the attack. An alluring gentleness of a soft piano piece resonates just before the heavy and relentless grinding and pounding. At first note, stillness is gone and the thunderous nature rolls in challenging those in its path.
Step up, you think you can handle it, challenges Opiate for the Masses vocalist Ron Underwood in “Step Up,” the opening track of the night. Having come on stage to the soft piece called “Interlude 2” from their recently released album The Spore, the mysterious entity called Opiate for the Masses wastes no time in pummeling. Quickly, the band begins to showcase their energies and talents.
A rock/industrial musical outpouring splashes upon the crowd in Davenport, IA as Opiate for the Masses wholeheartedly performs a wisely selected set. The most active, heavy, quick tempo songs on The Spore, such as “Introduction,” “Clean,” “Heaven,” “The End,” and “Now,” dynamically flood the room and attract audience attention. Many listeners standing toward back of the venue find their way to the stage and cheers follow. Despite much of the crowd being presumably unfamiliar with the band, more than a few audience members sing to every song. The heavy rock n roll aspect of Opiate for the Masses sounds tight. The industrial expressions and vocal samples add an interesting flavor. And the amazingly active stage presence is unprecedented. The well put together sounds of Opiate for the Masses carry over wonderfully from the album to the live setting.
The liveliness of the Opiate for the Masses show is initiated by the crunchy guitars, wild drums, and vocal energies, but is enhanced by the performance of each individual band member. Recently recruited to join the band, drummer Seven Antonopolous proves himself an excellent addition displaying focused antics and difficult styling, which he makes look effortless. Bassist Ryan Head is ferocious on stage with sharp, constant movements. Inapprehensive while playing bass, Ryan dives into the crowd right overtop where I stand. We catch him and push him back up on stage where he continues his frenzied playing. Guitarist and musical mastermind Jim Kaufman is full of energy as well with his dreadlocks flapping furiously to the rhythms. A second guitarist is also on stage. At this point I am unsure as to whether he has been added for touring purposes or to the band lineup period (and whose name I will add once I know it), but this member greatly contributes to the fullness of sound. And then there is vocalist Ron Underwood.
The charisma of Ron Underwood is in his fearless, unfaltering, and full of life stage presentation. Bouncing from one side of the stage to the other, singing fervently, plunging into the crowd, and showing a little skin, the vocalist displays a rather daring performance. By the end of the set in Davenport, Underwood is void of shirt and most of his pants, his clothes torn, sporting simply his black Old Navy underwear.
But clothes are not the only thing missing from the set. Being an opening act, particularly at a small club, the set is unfortunately void of a show perk, lighting effects. The nature of the band’s performance exhibits perfect opportunities for strobes and light presentations to enhance the mood of the music. Lighting to accompany the crunchy guitar rhythms and corresponding drum beats in songs like “Clean” would be extraordinary. Regardless, I will enjoy seeing these perks incorporated into the band’s show as Opiate for the Masses continues down their promising path of success.
See Opiate for the Masses on the Warped Tour this summer.
And if I had my way you would theoretically see Opiate for the Masses on tour with 51 Peg (an independent band from D.C.) and Nine Inch Nails at a venue near you. What a whirlwind that would be!