Dear drunk sluts at this week's The Faint show at the Fillmore: really? When my friend Danielle tells you "Dude, you're so drunk you're embarrassing me," pack your shit up and go the fuck home. I'm trying to dance front-row, man...
I was not alone in sharing this sentiment. The Monday sold-out show was packed skinny-jeans-to-skinny-jeans, and I wasn't about to let some inebriated ho ruin the party by getting all up in my grill. (She then flailed around some more after Dee's comment, slammed herself into a banister I'm sure on accident, and wobbled away from our trio all the while flipping us off. Awesome.)
The Faint were about to release Fasciinatiion the next morning, and it was obvious the Omaha gaggle of electrorock kings were in high spirits and celebration mode. Singer Todd Fink emerged on stage adorned in a fitted white lab coat and extra nerdy lab goggles. If Dr. Frankenstein shopped at H&M, it would look like Fink, who was having one hell of a ball on stage projecting maniacal laughter during song bridges and furiously making sweet synth love to his keyboard on select songs. The use of a stellar laser and light show accompanied with an excellent projection show background only upped Fink's mad scientist vibe.
"Agenda Suicide" was the opener of epic proportions, the bass still slicing through my skin the first time I heard it live: steady, urgent, and kickass. Although the band's main purpose was to showcase the fresh babies they'd just produced, Fink and co did an ace job of weaving those in with the classics we all knew: the superb cover of "Take Me To The Hospital," then "Posed to Death," in which opening heaves of breathy air are blown into the mic with the thoughts of sex implied. Newbie "Get Seduced," older gem "Call Call," and riot-inducer "Drop Kick The Punks" also made appearances, and it was completely refreshing to see that the band sounded tight in all elements of their catalogue, even when it stretches back "to when you saw us [do] this song in a basement," Fink joked at one point.
While Fasciinatiion seemingly is slightly more rock-driven then their previous anthems live, The Faint know that drenched reverb, sexy distortion and harmonious synthesizer is the way into their fans' hearts and pants. They're getting more mature, sure, but it's still damn danceable. I liken their growth in material to the honeymoon period of a relationship versus marriage: while the first part of a courtship is usually the most exciting and the most sex-filled, it's the trick of keeping the sparks alive after tying the knot. Thankfully, The Faint are their own firestarters.