THE MUFFS ROAR BLONDER AND BLONDER AT UNION POOL

The Muffs were instrumental in dismantling the patriarchal hard rock scene of the previous generations. The band birthed a whole new punk sound with pop sensibility, which ushered in the age of riot girrrl and grunge (among others) in the early 90s — before anyone even knew what those genres were or how much they would change everything. By the end of that decade, the trio had sadly disbanded only to reassemble on and off through the mid to late 00s. Then, after lead singer and guitarist Kim Shattuck had a brief and tumultuous turn as Kim Deal’s replacement in the Pixies in 2012/13, they reunited again to release their first LP in a decade, the totally awesome Whoop Dee Doo in 2014. Now they’ve reissued their second and still best album, 1995’s Blonder and Blonder. The threesome kicked off a sonically deafening celebratory U.S. tour in Brooklyn at the relatively tiny Union Pool with a two-night stand of absolutely blazing female-fronted rock power.

Brooklyn’s own power pop quartet extraordinaire The Jeanies opened up the show. They can, at times, have the jangly sound of classic catchy U.S. songsters like Paul Collins and the Beat. At other times have an archetypal UK two-tone boogie like that of the English Beat, which is kind of a hilarious dichotomy. Nonetheless, whether personifying Rick Springfield or The Ramones, they make you want to get up and dance. Another NYC band called Baby Shakes followed, but made it clear they shadowed no other bands, as they rocked a punkier variety of bubblegum power pop. These three rocking ladies deliver infectious catchiness and sisterly love while also dispensing huge helpings of devil horn waving, head-banging, and seriously hot guitar riffing.

The Jeanies

The Jeanies

The Jeanies

The Jeanies

The Jeanies

The Jeanies

The Jeanies

The Jeanies

Baby Shakes

Baby Shakes

Baby Shakes

Baby Shakes

Baby Shakes

Baby Shakes

Baby Shakes

Baby Shakes

Baby Shakes

Baby Shakes

Then it was time for The Muffs to rock, and they left no faces un-melted in the sold-out crowd. Kim Shattuck, bassist Ronnie Barnett, and drummer Roy McDonald all sounded amazing and really carried the deeply humorous and sibling-like performance with remarkable vigor. The setlist was, of course, very Blonder and Blonder heavy with songs like “Sad Tomorrow” and “Ethyl My Love,” as well as playing what seemed to be most (if not all) of the album with other songs from across the years scattered throughout, like “Saying Goodbye” from their first full-length in1993, “All Blue Baby” and “Honeymoon” from 1997’s Happy Birthday to Me, and “Take A Take A Me” from their most recent album. They proved their distinctive sweet pop melodies with roaring, aggressive punk-like vocals and driving rhythms were far from mellowed by age, as they played with the veracity and potty humor of kids half their age, only with twice the roar.

 

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

The Muffs

 

Article: Dean Keim

 

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