Projekt Revolution blends a range of 'Emo' at Tweeter

07.05.2008
For The Inquirer
The remarkable thing about Saturday's Projekt Revolution Tour at the Tweeter Center - beyond the capacity of the bands and crowd to withstand airless swelter for nine hours - is how snugly all the acts fit.

That was accomplished despite the fact that each band showed off a different brand of panicky emotionalism categorized as "Emo."

Blame the fit on everyone putting aside wounded psyches to bliss out under Linkin Park's big rock banner.

As godfathers of Emo's metal-hop division, low-voiced rapper/instrumentalist Mike Shinoda and high-pitched screamers Chester Bennington and Co. made a place for the bruised soul beyond the genre's usual whining. Linkin Park made it majestic, precise and energetic; this in the face of reports to the contrary.
Maybe Linkin Park stepped up its game for the occasion. But the ferocious torment of "Somewhere I Belong" and the angst-driven chug of "What I've Done" were blistering. That Linkin Park maintained controlled chaos during slower songs showed the ensemble's strength. And their few lulls only made the peaks grander.

You'd have to be grand to follow the haughty My Chemical Romance. Everything they did was kinky and slinky.

Their guitars came with raging abandon and raving quavering on anthems big ("I'm Not OK (I Promise)") and not so big. Their flash-pots flamed as did pretty-boy singer Gerard Way, who mixed goofy fruity asides and quick covers of Rihanna's "Umbrella" with his own tune's high nattering vocals. ChemRo was bracingly smashing. But their giddy rocking rush felt a bit forced; fabulous still, but forced all the same.

Pulling up the rear, Taking Back Sunday and its laconically drawling singer Adam Lazzara did an angular pop-core set filled with engaging harmonies and blunt-forceful guitars.

Finland's goth-rocking HIM not only brought forth the day's finest melodrama-heightened melodies and complex chord changes. Deeply gruff singer Ville Valo is the only man alive who could make Chris Isaak's "Wicked Game" spookier than it already sounds. And Placebo found the snotty space between Ziggy Stardust-era glam and post-punk brutality during their fussy, druggy best tunes like "Special K."

By A.D. Amorosi

Philly.com - August 27, 2007


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