A close and intimate performance with Cherry Glazerr at the Irenic.
Last year, a cold damp night. Drizzling rain, from the cotton grey clouds, gently fell upon me. Scattered across the wet road that glowed from the street signs, were concert-goers. Rain drops slowly slid down the automotives that lined the streets and covered curbs. Sounds of tires gliding through puddles and anticipation accompanied me while walking up to the Irenic. Upon entering I was greeted with a warm “body heat” breeze. A sea of adolescents mingled amongst themselves and eagerly glazed over each band’s respective merch tab.
A thousand words being ushered thickened the air. Silence took hold, Slow Hollows’ walked onto the stage. I admired their laid-back composure and choice of chord progressions. It’s note worthy to mention the drummer’s ability to maintain a clean and steady rhythm. In the midst of the pit’s chaos, jumped guitarist Dylan Thinnes onto the crowd. He triumphantly crowd surfed, signaling the completion of their set.
Cherry Glazerr jumped on stage soon after Slow Hollows. By this time I stood in the middle of the pit. Sweaty arms and the suffocating smell of body odor engulfed me. Despite being in a generally unfavorable environment, a sense of belonging and entrancement came over me. Tastefully distorted guitars gallantly followed by pounding drums elevated the crowd’s euphoria. Along with Cherry Glazerr’s crafty punk songs, their live stage performance was pleasantly refreshing. Clementine Creevy completed the night by covering “Territorial Pissings” from little known Seattle band, Nirvana.
Pep’s Key Tracks:
Slow Hollows – The Art School Kids
Cherry Glazerr – Teenage Girl