Cryptacize/ The Secret History/ The Faintest Ideas/ Ruby Isle/ The Buddy System/ The Lolligags, PopFest 2008, 40 Watt, 8/15/08

Secret History

by Carrie Dagenhard
08/17/2008

A Popfest newbie, I had only a few preconceived notions about what the night would entail as I entered 40 Watt a few minutes past 8 p.m.

Ready to be slapped in the face by glowing, neon indie pop, I was instead greeted by the soft strumming and delicate vocals of Oakland sweethearts Cryptacize. Those who ventured out before sunset experienced a glorious little appetizer for what would later become a night full of thrashing good times. Pint-sized Nedelle Torrisi stood center stage, arms at her sides, softly crooning into the microphone while bandmates Chris Cohen and Michael Carreira accompanied with guitar and a variety of percussive instruments. Cutesy and tame, the set-up resembled a well-orchestrated children’s talent show.

A cigarette break later, the stage held a group of seven, better known as The Secret History. Faced with two women clad in 60’s-inspired fashion, an electric organ, and five men who would have fit in at any 70’s lounge, I wholeheartedly expected something akin to the B-52’s. What I heard instead was something much more emotional and ironic. With a variety of instruments and vocals, each song told a forlorn tale countered by upbeat keyboard melodies and the onstage dancing of singer Lisa Ronson.

While the set was engaging, I was impressed more so by the flawless collaboration. Curious about the songwriting process, I talked with founding member and former My Favorite singer Michael Grace Jr. “The guys are kind enough to let me write the skeletons,” Grace said. “We workshop them, and the brilliant musicians in this band make everything sound much better than it does when I write it.”

The Faintest Ideas were next on the roster, and I began to feel the upwards of pop energy. The set felt to me as if The Smiths, Joy Division, and Refused were having an orgy somewhere in Sweden involving lots of amphetamines. The four-piece unglued many crowd members from the bar and motion could be detected, even among the wall flowers. By the end of their set, everyone was at least nodding their heads happily while some danced without reserve.

Unbeknownst to me, the buildup of energy was about to reach a crescendo. Ruby Isle exploded on stage in a vibrant display of seemingly unfeasible energy. The catchy hook of the first song, “Hey hey hey that kids okay, he’s just another sucker with bills to pay” branded itself into everyone’s brain for the remainder of the evening. The set cleared the crowd of shoegazers and the floor became an 80’s dance party. Lead vocalist Mark Mallman ran and jumped across the stage and the performance even included a chair and a lion tamer bit. It seemed a constant competition between the band and crowd over who was having more fun.

By the end, I had only one question: Where the hell was this energy coming from? “We look forward all day to playing music,” Mallman said. “You can’t even move in the van, so by the time we get onstage it’s like ‘Hell yeah! Let’s jump around!’”

This band seems to have completed one impossible feat after another. While they grew up together, the members all live in separate states and wrote their debut album largely via email. They played their first show at The Drunken Unicorn, not having seen each other in a year. And with the combination of infectious energy and addictive beats, the stage presence left everyone gasping for breath.

Although Ruby Isle was a hard act to follow, local favorites The Buddy System continued the energy splendidly. A marriage of catchy indie pop and colorful video feed made this performance a visual treat as well. A rendition of Harvey Danger’s 90’s hit “Flagpole Sitta” included the crowed in a karaoke-style sing-a-long and made for a bonding experience between musician and show attendee.

While the video feed provided additional entertainment, it was also a critical part of The Buddy System experience. The band plays spot on with the graphics, much like a pastel, sugar-coated Contraband. “Return to Horse Mountain” was both an epic video and performance and the crowd collectively cheered the characters and booed the villans.

My shift ended with The Lolligags. A unique duo, the performance included thrift store getups and showers of circus peanuts. I felt as though Courtney Love had gone to rehab with Siouxsie and discovered a new addiction of electropop, and the result was displayed on stage before me. The already sweaty crowd continued to dance in unison, stopping only to snatch up the candies falling at their feet. A delicious display of sugary pop and confusion held my attention to the very last.