311's 'Blockbuster' Performance

Arizona Daily Wildcat Photo courtesy of Capricorn Records Here's a nice file photo of 311 where our live shot would have been if we had our photo pass.

At the 311 concert on Tuesday night, people thronged in the aisles, no one was where they should have been and security was ready for a collective nervous breakdown. Trying to actually get to our specific seats after the start of the set was a task akin to finding the holy grail. Even after we were finally in the right area, it was obvious that if someone forced everyone to sit down at some point, there would have been at least two people in each chair.

It was bad enough that the photo pass we were promised wasn't actually there. The added chaos just made it worse. At least we didn't condemn ourselves to suffer through the opening set from Sugar Ray, who are, of course, one of the biggest blemishes on the face of modern music.

As for the main event, there was something slightly absurd about it. The band was in usual form, never missing a beat, never letting the energy drop. But it was hardly the ideal situation to see an act like 311. The group is renowned for their live shows, for their ability to bring the crowd into the experience, to create a groove. In a venue where the fans are herded in and out like cattle, though, where there's no room to move around and an approach to the stage is impossible, the experience becomes less of an active one and more of a passive one. Almost like watching a video, rather than a live show.

Plus, for some reason, someone felt that a light and special effects extravaganza was necessary to enhance the performance. The stage was bombarded by just about every conceivable visual effect, from recorded video images, like alien heads and drifting clouds, to the white spots of a disco ball, to planetarium-style star-fields and projectors. Which all had the effect of diminishing the group's stage presence. This is 311, not U2.

The set list was to be expected, made up of songs from their last two albums for the first half of the show, then segueing into old-school favorites from their first release, Music, to close it out. The second album, Grassroots, was ignored.

It sort of made sense that they should bypass that album, though, because if 311 ever was a grassroots group, they certainly aren't anymore. While word of mouth may have spread their gospel in the past, now they have alternative radio to do the job. And they don't seem to be fighting it. Drummer Chad Sexton had one of the most elaborate drum kits I have ever seen that night, complete with a gong. I'd say they were taking advantage of success.

Of course, 311 deserve their success. Bandleader Nick Hexum is captivating both on stage and on record, a versatile performer who can seem like Mike D. one minute, and Shaggy (the reggae guy) the next. He sings, he raps, he plays guitar. He's in the groove. And so are the other guys - except maybe for that other "vocalist," S A Martinez. While Hexum is a man of many styles, Martinez is a one-trick pony. Most of the time, he just spewed his usual lyrics, in his usual overstated way, and freaked out like some kind of breakdancing spaz. Putting a tambourine in his hand didn't make him any more of a creative influence. Now would be a good time for the boys in the band to think about getting rid of what has obviously become excess baggage.

I'd love to get to see 311 in a smaller setting again, like I did last year in New York. But for now, this show just convinced me to be firmer in my resolve to stay clear of stadium and arena shows.