No doubt about it, Paramore proved to the nearly packed Verizon Theatre in Grand Prairie Friday night that they can rock with the best of ‘em. They put on a heck of a show, one my Metallica- and Korn-loving fella said he’d gladly pay to watch again.
From high-energy rocking to a slower paced acoustic set which included a cover of Loretta Lynn’s classic “You Ain’t Woman Enough to Take My Man” and back to hard rockin’, Paramore really knows how to keep the crowd on their feet shouting for more.
High-octane, energetic and spot-on Hayley Williams proved her dedication to her fans and love of what she does when she took the stage sick, missing only a few beats when her voice became hoarse. She really knows how to play to an audience. Guess not talking all day, downing Theraflu and a dose of honey tea remedy my granny would have been proud of made a difference. She was all over that stage. If she hadn’t said she was sick, no one would have been the wiser.
The guys in the band were awesome, and if you paid close attention, could tell they were working hard to keep up. Zac Farrow really hammered away on those skins, setting an awesome pace you could feel from your seat but weren’t completely overwhelmed by.
Along with Zac, Josh Farrow helped keep the pace, walking back periodically to make sure Zac didn’t run off and leave them and keeping on track with Williams. He may not be as flashy as Jeremy Davis and guitarist Taylor York, who left no doubt they love what they do, but he definitely kept it together. Davis and York were are nothing if not dynamic, energetically strutting and rocking their portion of the stage. The keyboard guy effects hit just the right mark and did a good job on vocals, too.
From the moment they stepped on stage, Paramore worked the crowd with their hard rock numbers, mostly from their first two albums, “All We Know is Falling” and “Riot”, including “That’s What You Get,” “Emergency,” and “For a Pessimist, I’m Pretty Optimistic.” They slowed it down for “We Are Broken” and “Playing God.”
“Ignorance,” for which the band was recently nominated for MTV’s rock video of the year, was a crowd pleaser, and the whole place was on its feet within the first few notes of “Decode.”
They paused to drag out a sofa to do an acoustic set. The venue was perfect for this more intimate performance. Regardless of the seat, fans had a good view. And just to be sure, there were huge screens to magnify the stage, and a big screen high behind the band where at various times each was magnified.
First, however, Williams and Josh Farrow stepped out to introduce the listeners to a touch of country music, a little bit of home for the Tennessee band. If their version of “You Ain’t Woman Enough to Take My Man” is anything to go by, Paramore could do a country record that’d be well received if they ever get tired of rocking out or if they are just looking for a change of pace. This showed the band’s versatility, which the loyal fans, at first a bit apprehensive about country at a rock show, embraced wholeheartedly before the duo was finished.
(This was just a prelude to the Nov. 9 album release of “Coal Miner’s Daughter: A Tribute to Loretta Lynn.” Paramore will be one of the featured artists on the album honoring Loretta Lynn’s 50th career anniversary. Other well known names “personally chosen by Lynn” include Sheryl Crow, Steve Earle, Faith Hill, Alan Jackson, Kid Rock, Miranda Lambert, Martina McBride, Reba McEntire, Carrie Underwood, Lucinda Williams, Gretchen Wilson and Lee Ann Womack, according to a release on www.paramore.net.)
They really dialed it down on the acoustic set, which included the slower, more mellow “When It Rains,” “Misguided Ghosts” and “Where the Lines Overlap.” Even with the red couch to sit on, Williams couldn’t just sit and sing. The guys were a little more tame, but you could tell these folks really feel the music, are “Born for This.”
After a brief interlude, it was again high-octane, full-out rocking with “Pressure” and “Crush Crush Crush” and other numbers. Teen girls were especially thrilled when they finally performed “Misery Business.”
As the band was introduced, Williams made a point to note the regulars who have followed them along the tour attending several concerts, and thanked them for their continued support as well as those attending their first Paramore concert. Then Williams welcomed all audience members to “this good looking, disfunctional ridiculous family. There’s no getting out,” she joked.
They closed with a sweeter, lighter number, “The Only Exception,” making you believe Hayley knows of heartbreak but has found that rare person to love by the end of the song. Many a couple grabbed their honeys and hugged through the number. Paramore returned for an encore of “Brick by Brick” before finally calling it a night.
Overall, Paramore was energetic, enthusiastic and great at not only getting the audience’s attention, but keeping them involved in the concert. They even pulled one lucky fan, identified as “Leslie” although I can’t be sure of the spelling, on stage to sing with the band. Leslie no doubt is either well versed in Paramore or a concert frequenter, because she was almost able to match Williams move for move through the remainder of the song.
Paramore was definitely worth the crazy fight with Dallas traffic to and from the concert.
Opening act Unfound Glory, or at least the two songs we got to see them perform, was hot. Great act, rocking all the way.
Tegan and Sara, the other opening act, which I was totally unfamiliar with, took some getting used to. At one point, I felt like I was listening to Simon and Garfunkle sing 1980s pop in staccato over a hard core drum beat.
Their switching of guitars was more distracting than entertaining, and seemed to be an issue for the crew as well, as Sara and a crew member were constantly fiddling with the amp cords.
They did eventually get wound up and even I found myself tapping my feet through a few numbers.
|< Prev||Next >|