Without sounding too much the geezer, the first thing I said to friends as The Breeders finished their August 21 set at the Black Cat was how much it reminded me of shows at the old 9:30 Club. The old 9:30 was ratty, clammy, and grimy and had terrible sight lines blocked by cement columns. However, you could sit on the edge of the stage, serenaded by Throwing Muses or the Butthole Surfers. At the old 9:30, a sauced Shane McGowan of the Pogues once fell on me, forcing me to find the strength to shove him back up onstage (mind you, I am 5'2"). I was stared down by the blistering green eyes and granite neck of Black Flag's Henry Rollins from three feet away. And I watched a young Beck Hanson break dance through a throng of sweaty grunge boys. The Breeders' Black Cat show reminded me of what I loved most about shows in the old DC punk scene - an adoring crowd, innovation, and smart authenticity.
It's rare to go to a show in which every song is interesting and worth hearing. Kim Deal's vocals have such an odd and haunting melodicism. They steam off to the ceiling like they'll never resolve - and then her twin Kelley doubles them with equally unusual harmonies. I always loved Kim's (mostly) backing vocals in the Pixies, but you don't realize (or at least I didn't) how much of the Pixies' sound was crafted by Deal until you listen to a lot of Breeders, from her songwriting to the way she carves a pattern with guitar. I'm not denying Frank Black is a genius and that the Pixies have influenced a whole generation of successful bands. I'm just saying Kim Deal should wrest back some of the credit for their sound. Her work in the Breeders is no less noteworthy, great to listen to and watch.
The Breeders' set was so interesting, most songs coming from the old Last Splash days. Most people I spoke to concluded the same thing: it's impossible to note all the influences in their music. Yes, there's some Dick Dale in the guitar work, but they don't do surf. Sometimes it's danceable, but often decidedly not. Some songs are quiet, while others peak with distortion. Sometimes the song structures are abstract, as are the lyrics most of the time. But the band members interplay and build so well that any abstraction is firmly grounded, bouncing about between playful, structured riffs. And nearly all members at one time or another switch instruments - Kim Deal from guitar to drums, Kelley from guitar to violin. And their drummer sets up on the side of the stage, not behind, so everyone can see and hear each other for better communication.
I entered the show knowing and liking a few Breeders songs and came out thoroughly impressed. Go see them wherever and whenever you can!