Live Review: The Shell Corporation with Bad Cop / Bad Cop, The Bombpops, Murderland, & Squarecrow (March 6, 2015, The Redwood Bar & Grill, Los Angeles, CA)


We were blessed with 80-degree weather on Friday afternoon in Los Angeles. Fortunately, the scintillating conditions carried over into the evening hours. By 9pm, the punks began to congregate at downtown L.A.’s finest pirate-themed watering hole, The Redwood Bar & Grill, anxiously awaiting a stacked lineup of emerging talent.

First up was Squarecrow, a three-piece, straightforward power-pop / pop-punk band out of San Diego. At this point, people were still filing into the venue, and others were huddled around the back bar, conversing with one another, and securing their first round of drinks. As is the case with most openers, there wasn’t much of a reception. Generally speaking, I think they could have benefited from another guitar player. It would have really rounded out their sound. The trio ended abruptly with “Wayside,” which is actually a pretty catchy song. It’s featured on their self-released EP, B-Sides (2013).

RIYL: Banquets, American Hi-Fi, Jimmy Eat World

Next up was Murderland, a horror punk quintet from L.A. I had never heard of these guys, but I was thoroughly impressed with their performance. The riffs reminded me of Strung Out. The energy exuded by lead vocalist “Mike Murder” was reminiscent of Jim Lindberg (of Pennywise). As they moved through their 30-minute set, they delivered an authentic rendition of a genre defined by the Misfits, Samhain, and Blitzkid. Hey, it’s pretty cool when a band can attach an addictive melody to songs like “Hacksaw Romance,” “Die Screaming,” and “Fetus Eaters.” And of course, the second band of the night always has the best on-stage banter, or so they claimed. Indeed, Murderland might be on to something here.

Murderland at The Redwood Bar and Grill in Los Angeles, CA (March 6, 2015)


Find Murderland on Spotify

RIYL: Misfits, Samhain, Blitzkid, Calabrese, AFI (Black Sails to Art of Drowning era)

After a quick sound check, The Bombpops graced us with their presence. Instantly, Jen Razavi and Poli Van Dam (who share the vocal duties) launched their trademark “call-and-response” format, and assured the crowd that – yes, girls can rock out, too (and quite effectively, I might add). The duo layers their songs with sweet “oohs” and “ahhs,” while simultaneously shredding on guitar. Paired with bassist Neil Wayne and drummer Josh Lewis, the pop-punk quartet wasted little time, delivering an array of crowd-pleasing anthems, such as “Outta Hand,” “Like I Care,” and “Grocery Store.” They played a handful of new songs that I didn’t recognize, and strategically placed the radio-ready “Can O’ Worms” (via the 2014 self-released 7”, Can Of Worms) towards the end of the set. Hailing from Oceanside, CA, The Bombpops have since relocated to the L.A. basin, and are primed for a serious run. Stay tuned, folks.

The Bombpops

The Bombpops

RIYL: The Queers, Teen Idols, Screeching Weasel, Descendents

The estrogen level was cranked up even further when Bad Cop / Bad Cop hit the stage. Stacey Dee (lead vocals / guitar), Jennie Cotterill (vocals / guitar), Rinh Re (bass/vocals), and Myra Gallarza (drums) provided the audience with an engaging set, peppered with an assortment of wonderfully catchy songs. Their execution was spot on, resulting in a very tight performance. In between the witty on-stage banter, the girls played highly contagious cuts like “Rodeo” and “My Life,” both derived from the Boss Lady EP (2014, Fat Wreck Chords). They also played a ton of new songs, which are slated to appear on a “new record,” which is due out “later this year” on Fat Wreck Chords.

Bad Cop / Bad Cop

Bad Cop / Bad Cop

RIYL: Enemy You, Good Riddance, Love Equals Death

Finally, it was time for The Shell Corporation. Unfortunately, the crowd had thinned out a bit by the time they took the stage. Lead singer Jan Drees wondered if they were actually the “headliner” or if they just had “the privilege to play last.” It’s a shame that more people didn’t stick around, because these dudes rock. Period. Regardless, Drees spent most of the set pacing back and forth between the stage and the audience, gesturing the crowd in a Greg Graffin-type fashion. Drees, Curtiss Lopez (guitar / vocals), Sean Moore (bass / vocals), and Jake Margolis (drums) were precisely on target. They ripped through a handful of songs (“The Death of Us,” “Maguire’s Plea,” “Appetite for Distraction,” “Trust Us”) from their latest release, Mandrake (2014, Paper and Plastick Records / Solidarity Recordings). Towards the end of the set, Drees vented some frustration with the world at large, sensing that “nobody is listening,” and “nothing ever changes,” and furthermore, this was his time to “bitch about the fact that nobody’s listening.” I couldn’t agree more.

RIYL: Bad Religion, Goldfinger, Banner Pilot, Red City Radio

The Shell Corporation

The Shell Corporation

As I exited the venue, I noticed the temperature had significantly dropped, probably into the low 60s. But I didn’t need a jacket. The community, the camaraderie, the comic relief, and the tunes ringing in my ears provided a nice blanket. Yeah, shows like this keep you warm for a long time.


Brand New



Actually, they’re not brand new. They’ve been around since 2000. Based out of Long Island, New York, they formed during the post-hardcore/pop punk explosion in the late 90s/early 2000s. But, understand, they are not a pop punk band. They are so much more. Each album (they have four) presents a brand new style. And, yes, it’s meant to be ironic.

Sure, I knew about Brand New during high school and college. But I lived in California. I was busy listening to the Fat Wreck/Epitaph sound coming out of SF and LA. You know, bands like NOFX, Strung Out, Bad Religion, Rancid, Lagwagon, and Pennywise. I didn’t live in the Tri-State area – that is, New York, New Jersey, and Pennsylvania. Sure, I dug Midtown, The Starting Line, The Movielife, and Senses Fail. Meanwhile, Taking Back Sunday’s Tell All Your Friends (2002, Victory Records) was and forever will be a masterpiece about unrequited love. Hell, Jesse Lacey was a founding member of Taking Back Sunday circa 1999, but an internal feud led him to form his own band. I look back, and I remember when “The Quiet Things That No One Ever Knows” hit the airwaves during my senior year in high school. But other than that, I never really got into Brand New.

Then I lived in New York City for two years.

It’s funny how music has the power to create genre-specific, geographic “bubbles.” One might call them “scenes.” Think of the Mersey Beat in Liverpool in the early 60s, the San Francisco sound in the late 60s/early 70s (i.e. Jefferson Airplane, Grateful Dead), or the LA sound during the same time period (i.e. The Doors). Meanwhile, you got punk rock in New York City in the late 70s spawned by The Ramones, grunge based in Seattle in the early 90s (i.e. Nirvana, Pearl Jam, Soundgarden), and gangsta rap (i.e. N.W.A, 2pac, Dr. Dre, Snoop Dogg) in Los Angeles around the same time. You get the point. Where’s the next music/cultural explosion? Are we experiencing one now and not even aware?

At any rate, let me run you through Brand New’s discography.


Your Favorite Weapon (2001, Triple Crown)

Your Favorite Weapon (2001, Triple Crown) is fast-paced, melodic, and very reminiscent of early Blink-182. It brushes on heartbreak, teenage angst, the thrill of exploration, and the joys of being young.

“Jude Law And A Semester Abroad” 


Deja Entendu (2003, Triple Crown/Razor & Tie)

Deja Entendu (in French, “already heard”) addresses some more serious topics. The record features mix of soft-spoken and harsh vocals, coupled with soaring melodies and complex instrumentation. It’s brilliant. It was 2003, and I think it sounds a lot like The Used (a contemporary band at the time), but it stands the test of time.

“The Quiet Things That No One Ever Knows”


The Devil and God Are Raging Inside Me (2006, Interscope)

My introduction to Brand New was by way of The Devil And God Are Raging Inside Me (2006, Interscope). I was really confused. Then I went back to the early material and gradually put things together. It’s my favorite record by far. Lots of different styles going on here. But if you’re just getting into Brand New, don’t start here. You won’t get it.

“The Archer’s Bows Have Broken”


Daisy (2009, Interscope)

Their most recent effort is Daisy (2009, Interscope). This record is intense. It takes a lot of patience. Again, don’t start with this one. It’s like when someone walks into a movie halfway through and wants to know the plot lines thus far. Very rough at the edges, but still some good standouts tracks like “Vices,” “At The Bottom,” “Gasoline,” and “Bought A Bride.”


I’ve never seen them live. I want to. Really badly. It’s something that I need to do, so I can tell my grandkids, “Yes, I saw Brand New in concert.” Like Baby Boomers tell their grandkids about The Beatles, The Stones, Springsteen, Dylan, and their experiences sliding in the mud at Woodstock.

The music geeks and the industry folks always say, “Eh, Brand New – they’re not that great live.” Yet, Brand New are notorious for making it nearly impossible for fans to gain admission to their shows.

Check out this Tumblr.

“Oh, it hurts to be this good.”

Lucky me, they just announced a string of west coast dates on Wednesday. They are playing August 28 at The Fox Theater in Oakland. Apparently, though, I was a little late to the party. By the time I saw the Facebook post, the exclusive pre-sale through their fan club website had expired. So I think, “Okay, no problem. I’ll snag a pair, maybe three or four tickets on Thursday at noon when they go live on Ticketmaster. But I gotta be quick. Because these babies are gonna go FAST!”

Granted, they are not U2 or Green Day. Sure, they’ll play big music festivals, such as Riot Fest or Boston Calling. But, they don’t play arenas or stadiums. They want to play mid-size venues across the country (~2,500 – 3,000 capacity) – think Irving Plaza in New York City, The Wiltern in Los Angeles, or The Fox in Oakland. They want to cater to the fans in their niche.

They’ve got old fans and (relatively) new ones (like me). They’re past the point in their career where they will have a hit song on the radio. But it doesn’t matter. Word still spreads amongst human beings. Growth is organic. It is not forced.

Ticketmaster is aware of the power of Brand New. The same goes for the promoters, the venues, and the ticket scalpers.

So, Thursday morning is upon us. Die-hard fans stare at their computer screens, ready to go at 11:55am, constantly refreshing the webpage, ready to purchase when the clock strikes 12. I should have been paying more attention at noon. Unfortunately, I had a dentist appointment at 11:30am. I got home at 12:15pm, and it was too late. Yeah, I tried the Ticketmaster mobile app, too, but no luck. It sold out. Or did it?

Currently, there are over 300 tickets available on StubHub (see the screenshot below). Are you kidding me?! There are probably hundreds more on other secondary ticket sites. On StubHub, the cheapest ticket is around $80. The most expensive ticket is $999. Look, no sane person would sell a concert ticket for $999, and no one is crazy enough to buy a ticket for $999. So, inevitably, there are going to be some empty seats at The Fox. And that’s a shame because Brand New are a rare find in today’s rock music scene.

Brand New -- StubHub

Do we blame Ticketmaster’s poor user design? Was it simply an Internet traffic jam? Did the so-called “bots” scoop up multiple tickets and place them on the secondary market? Was I really that late to the party? Did they really sell 2,800 tickets in 15 minutes? Was it an inside job? Did promoters and/or Brand New’s management buy tickets and place them on the secondary market? We’ll never know for sure. What we do know is that every Brand New show is in high demand, so the market economy dictates the price of the ticket.

As a music fan, it’s frustrating. This isn’t the first time this has happened, and it won’t be the last. Who knows how much longer these guys are going to be around? After all, they’ve been playing for nearly 15 years.

The real fans simply want access. The rest of the parties – venues, promoters, and scalpers – want to make as much money as possible. And, frankly, it sucks.

Bottom line, Brand New are successful because they keep their audience engaged. The level of anticipation is palpable. They tell a new story through each album. I have a feeling that their live show is pretty awesome, too.

I’ll be at The Fox on August 28, somehow, someway. I’m going to plunk down money for this. This is what life is all about. The experiences. The prices will fluctuate over the next five months. I guarantee it. People’s plans will change. Real fans that cannot make it will sell their tickets at face value. Trades will be executed. Who knows, maybe a second show will be added to meet the overwhelming demand.

In a world where transferable, physical tickets exist, a concert like this will never really sell out. Access is attainable; it’s simply a matter of assigning a proper value to the ticket. Lately, the trend of non-transferable tickets has taken shape. Companies like Ticketfly, Eventbrite, HoldMyTicket, and In Ticketing partner with local venues to establish will-call-only tickets, thereby eliminating the threat of the secondary market.

It probably wouldn’t fit their niche, but if Brand New had instead booked a two-night run at Slim’s (where In Ticketing is a vendor), would I have had a better chance of scoring tickets? Which method will dominate the next 10-15 years? Can the two ticketing options co-exist? Is it healthy for the live music industry as a whole?

Who knows, maybe the naysayers are right. Maybe Brand New are awful live. But, they sure are great salesmen.