 Foo Fighters, Weezer rock Erwin Center
With multi-colored confetti lining the floor of the Frank Erwin Center, an elaborate florescent "W" still burning the eyes and a mob of drunken restroom-goers screaming "We Are All on Drugs," it would have been easy to believe that the show last Wednesday night was over when the illustrious members of Weezer held hands and bowed to their ravenous audience.
Yet as Dave Grohl hunched over his guitar, did that slight bounce that oscillates his hair to the rhythm of the drums, smacked his gum and struck the first chord to "In Your Honor," it became clear that no matter how well-matched the two bands were or how great Weezer's performance was, this night belonged to the Foo Fighters.
"In Your Honor," an inspiringing anthem inspired by Grohl's run on the campaign trail with John Kerry, unleashed the esophageal screaming and primal aggression that is found throughout the first disc of their latest release.
Carrying-on from this level of fierceness and aggression, the Foos ran through a series of tracks from 1999's "There is Nothing Left to Lose." "Breakout" and "Stacked Actors" were performed better than ever, particularly the latter, which was extended to allow Grohl to make his way through the crowd to the rear of the stadium, where he induced a massive call and response that launched a bashful improvised solo from drummer Taylor Hawkins.
The Foo Fighters carried this momentum through a majority of their hits, including "Born to Fly," "My Hero," "All My Life" and their latest, "Best of You," while also digging 10 years into the past with "This is a Call." Even the the band's single, "The One," from the largely forgotten "Orange County" soundtrack, ripped with the adrenaline of Queen's "Tie Your Mother Down" behind Grohl's insistent screaming and Hawkins pulse-driven drumming.
Grohl performed a stunning solo-electric version of "Everlong," but it was the closest they would come to the intricate and beautiful slow songs that make up the second disc of their latest album.
Most intriguing about their set list, however, was their recently adopted cover of the John Fogerty classic "Born on the Bayou," which they premiered for the first time less than a week ago on a nationally televised program benefiting the victims of Hurricane Katrina.
The somberness of that song was matched well by the first song of their encore, the Taylor Hawkins led "Cold Day in the Sun."
***** Even the most hardened hipster would have to concede the overwhelming appeal the Foo Fighters-Weezer double billing brought to the Erwin Center Wednesday night. This pairing of '90s darlings offered something for pretty much every type of music fan.
If you were a Gen-Xer approaching 40, this show summoned your inner grunge child. If you're a brother representing your frat with "Anchorman" quotes on your t-shirt, the power chords allowed your Fred Durst-like rock outs to flourish without fear of persecution. And if you were one of the many wearing glasses like Rivers Cuomo, it was great to have Weezer back in Texas for the first time since 2002's Enlightenment Tour.
Even so, the Weezer faithful always approach seeing their every-nerd heroes in front of such a large audience with caution. The band's three 21st century albums have been hits, but will never be as loved as 1994's self-titled "Blue Album" and 1996's "Pinkerton." The fear is that we'll get too much "Beverly Hills" and not nearly enough "Tired of Sex" during the live set.
But as the lights cut off Eric B and Rakim's "Microphone Fiend" as it blasted through the PA system, concerns were quickly set aside as the band casually ripped into "My Name is Jonas," the first track on their first album.
In fact, seven out of the 10 numbers on "Blue" made their way into the set list, giving the seminal '94 release more representatives than any other album.
There was plenty of material covered from 2005's "Make Believe," and for about the first seven songs, Weezer flipped between their latest and the 2001 self-titled "Green Album."
"Pinkerton" was such a commercial flop upon its release that, despite a younger generation growing up adoring its deeply personal qualities, Rivers refused to rock it live until 2002. Unfortunately, only "Why Bother?" and "El Scorcho" were performed, though die-hards took what they could get.
During "Buddy Holly" - a song even the ushers knew - Weezer's signature "W" sign was erected to massive applause. The lights were cut, and when Rivers re-appeared he had relocated to the other side of the arena for an acoustic version of "Island in the Sun." These sorts of gimmicks would continue as an audience member was then selected to play back up guitar on "Undone - The Sweater Song."
Things culminated with an oddly selected "Surf Wax America" to end the show. Confetti sprayed and Weezer, hands held and raised, took the signature glam-rock arena bow.
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