From The So So Glos website:
So So Glo
1. A post modern narcissist whose devotion to one’s ego surpasses their devotion to any social, political or moral cause. A so so glo is an apathetic, pleasure-seeking individual who always looks his/her best. A so so glo usually lives with a feeling of “impending doom” or a sort of apocalyptic nihilism.
2. The glow that is emitted from a portable electronic information device such as a phone, computer, etc. The glow that reflects from a device onto an individual’s face is often referred to as a “so so glo.”
We’ll return to definition #2 later.
Last night, another CoolDad and I headed up to Hoboken to catch The So So Glos and The Everymen at Maxwell’s. For me, this was one of the most exciting double bills in a while. I’ve been championing The Everymen’s approach for some time now, and I really believe that The So So Glos are poised for a big breakout once their upcoming BLOWOUT comes out next month. Maybe it was because it was Sunday night, but not as many people shared my excitement as I would’ve thought.
Neither my friend nor I had eaten, so we ran out to grab a bite before heading into the show. We arrived during the last song of the set by Dublin’s Kid Karate. They’re a duo — drum and bass — and from the brief snippet I heard last night, it sounded like they play a dance/punk hybrid like LCD Soundsystem with fewer electronic embellishments. They came all the way from Ireland to play for the small Maxwell’s crowd, so I’ll make it a point to check out their music.
The Everymen were up next. Despite frontman Mike V’s experiencing the effects of consuming a possibly less than fresh salad, once the band warmed up, they fired on all cylinders. Vocalist Catherine Herrick has evolved into a true frontwoman; and everything, from new tracks to New Jersey Hardcore cuts to their cover of Springsteen’s “Ain’t Good Enough For You,” was delivered with the same level of abandon as if everyone had been at 100%.
Both sets saw the crowd maintaining a no-man’s land / buffer zone right in front of the stage. This was the second time I’d been to Maxwell’s in a few months. Both times, I’ve been struck by how calm and laid back the crowds have been. Even for Ceremony back in December, while the crowd were obviously attentive and into the performance; they were just so mellow.
The So So Glos came out at around 10:30 and did a set heavy on songs from their upcoming release. The very first thing they did was to get the still surprisingly small crowd to fill in the space in front of the stage. It opened up again a few times; and each time, the band made the same request for us to get closer to one another, even touch. By the time they got to BLOWOUT’s “Wrecking Ball,” they had many people in the crowd twirling and dancing around the floor.
Songs like “Lost Weekend,” “Diss Town,” and “Son of an American” have been around for a while. Add to those some of the new ones I hadn’t heard before, and BLOWOUT is shaping up to be great punk rock record.
Shea Stadium co-founder and Titus Andronicus guitarist, Adam Reich, joined the band for the last few songs. Following a bit of technical difficulty with one of the amps, during which lead-singer Alex Levine displayed some of his stand-up skills, the band closed the show with “Son of an American.”
“Everybody move up front and fill in this space here. Even that guy in the back on his phone! Hey, Guy on His Phone, get up here!”
I turned to see my friend in the back, with the tell-tale so so glo. The Everymen’s Mike V gave him a shove, and just like that he was part of the scrum.
Those of us who made it out on a too-cold-for-spring Sunday night had a great time. There was plenty of room on the floor to move around, and you could get some great views of the band on stage. Following the release of BLOWOUT on April 23rd, though, I think that even that space in front of the stage will be very tightly packed.