February 8, 2020 at X-Ray Arcade in Cudahy, Wisconsin: Bar bands aren’t supposed to be this good. Original tunes and musicianship on such a high level that you can’t walk away from the stage — for a beer, for the bathroom, or to follow-up on a meaningful glance from a stranger. So good that you start taking notes.
OK, that last part is just me. But I did take notes Saturday night at the X-Ray Arcade in Cudahy, Wis., where two of the Midwest’s best groups shared the bill: Conniption and the Lords of the Trident.
Conniption’s principal vocalist and upbeat focal point is Michael Brigham. He is also one heck of a guitarist. Brigham plays lead on his classic Flying-V model, shifting to solid rhythm patterns when bandmate Bill House begins his own scorching solos. Brigham and House often take simultaneous leads on extended tunes, playing off each other’s ideas with an interplay that comes from 12 years of musical association. House’s shredding has earned him numerous guitar awards for lightning runs and clearly articulated lines, but both of Conniption’s guitarists are first rate.
The rhythm section consists of Andy Martin’s precision drumming and Chad Novell’s six-string bass. Novell has only recently joined Conniption but is already an integral member of this tight quartet. The band has released three albums featuring original tunes such as “Self-Destruct,” “Kamikaze,” and “Becoming the Beast.” Their recordings are all good; Conniption’s live performances are stellar.
Opening the night was the Lords of the Trident. Medieval weaponry, microphones in flames, band members bedecked in armor and knightly leather — this was a show! What kept their set from gimmickry was an immediate realization that beneath the costumes and props were five very talented musicians. Like Conniption, Lords of the Trident have two excellent guitarists. The Lords also have a multi-octave vocalist in Fang VonWrathenstein who can (and sometimes does) sing opera. Fang serves as front-man while leading both band and audience through a maze of visual and musical cues.
I hesitate to give away their stage theatrics, since this is a band you need to go see in person. What can be stressed is that the Lords of the Trident’s brand of metal fits the group’s Arthurian premise, summed-up in their name. Songs like “Death Dealer,” “Reapers,” and Metal at Sea” all demonstrate instrumental and vocal strength. “Master of Speed” aptly describes the technique and abilities of guitarist Baron Taurean Helleshaar.
The planned sets by both groups were outstanding. They came prepared to blow the audience away with a specific program of original songs, and each was successful. But what I have learned during my years of going to live shows is to watch closely during the unplanned parts of a night. Brief spans of downtime can give insights about a band’s make-up.
This was true when Conniption experienced an uncooperative amplifier. As the crew and bassist Novell worked to solve the problem, Bill House began a quiet rendition of Jimi Hendrix’s blues, “Red House.” Brigham joined on second guitar and drummer Martin fell-in behind them. This tune broke off and Brigham began the chords to “All Along the Watchtower,” which soon gave way to House’s finger-style work on “Bouree.” The amp was fixed and the real performance began, but this mini-set of instrumentals showed both musical influences and band camaraderie.
Lords of the Trident also showed their musical background: When the sound check required additional adjustment, guitarist Helleshaar unexpectedly played through the changes to “The Girl from Ipanema.” Most impressive to me was that Helleshaar not only knew the tune but he knew how to play it — the feel of this samba was perfect.
He would soon blow the room apart with metal riffs, but here was an unrehearsed instance of this guitarist’s versatility. When the sound man wanted him to play louder, Helleshaar fiercely began the opening of Led Zeppelin’s “Heartbreaker.” Sure sounded like Jimmy Page to me.
In both instances, these bands were filling time, but in doing so, they were saying worlds about their musical backgrounds and depth of conviction.
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