So many bands, so little time.

Question—why were there four acts on stage last night? Presumably, bands playing a small venue like the Ogden Theatre are searching for a wider following, so why limit exposure so much? Opening act, Neon, though serviceable, was noticeably less polished than its three companion “Aussie Tour” bands, The Living End, Jet, and The Vines, and consumed about 45 minutes of stage time (singing and set change). Three established acts would have been plenty, and each would have had more time to play. Limited performance time may also have contributed to the lack of banter and other interaction between the evening’s performers and audience, lending, at times, a perfunctory air to the show.

The Living End, a trio, followed Neon, and was the most spirited and colorful (literally) of the bands. During the 40-minute set, the band kept to straightforward rockabilly and rock ‘n’ roll, taking time to plug current single, “Who’s Gonna Save Us?” Mop-headed Chris Cheney, looking like a stockier version of a young Paul McCartney, dispensed some rousing guitar-picking. Frenetic Scott Owen used his black-and-white checkered upright bass to pound out driving rhythms. The instrument also functioned as a stage prop—here a partner in a farcical minuet, there a platform for a precarious balancing act.

Jet, the band getting the most ongoing airplay of the three, appeared next, and like The Living End, played a 40-minute set. Band members gave good effort, though they did indeed appear fatigued, something they had noted in an earlier-in-the-week newspaper interview. The group opened with current single, “Cold Hard Bitch,” from the Get Born CD. Get Born showcases several numbers that show a softer, gentler Jet, but the band covered only one, “Look What You’ve Done.” The group stayed mostly to the fast and furious, ripping out songs, “Last Chance,” “Roll Over D.J.,” “Get What You Need,” Get Me Outta Here,” “That’s Alright Mama (covering Elvis Presley), and the ubiquitous “Are You Gonna Be My Girl?” Jet doesn’t do anything fancy—they may, in fact, be considered a kind of guilty pleasure. The crowd was left wanting more.

The Vines appearance, with quirky lead singer, Craig Nicholls, was much anticipated. The band finally hit the stage at 10:50 p.m., launching into “Ride,” the current radio single and video release. All seemed normal, though Nicholls couldn’t stop fussing with his earpieces. The group mixed spectacularly propulsive songs like “Animal Machine,” and “TV Pro” with sweetly haunting ballads like “Winning Days,” and “Autumn Shade II.” “Outtathaway,” “Mary Jane,” and “She’s Got Something to Say to Me” were also in the mix.

Though Nicholls assured Denver listeners several times that he appreciated them, he soon used “technical difficulties” as an excuse to unravel. Temperamental artists (or immature brats, whichever view you prefer) can be interesting to watch, though stage antics rarely enhance the quality of the musical experience. Nicholls, known for his bizarre behavior, threw things on stage, communed silently with his guitar, sprawled supine on the stage floor and kicked over a drum stand as he and the band made a hasty retreat to the wings after about 40 minutes. Huh? The audience was left wondering whether this was a planned exit, final retreat, or merely a timeout to punish (or reward?) bad behavior.

As the audience stirred somewhat uneasily, and began calling for the band to return, The Vines quickly reappeared for an encore, closing their set with two hard-driving songs, radio hit “Get Free,” and “F**k the World.” Nicholls punctuated the end of the performance with another kick of the drum set and a smashed guitar.

The Vines are a talented group, sometimes Nirvana-ish, sometimes Beatlesque, sometimes plaintive, sometimes rollicking good fun. Too bad the message isn’t just left to the music.

Mountain West Music 2004