Thursday Make Up For Last Time

Considering Thursday's previous disastrous stint in Toronto, I was surprised they were coming back so soon, especially on a bill so jam-packed with talented movers in the punk rock and hardcore scenes.

Los Angeles' Endless Hallway, an ambitious, risk-taking glam-infused post-punk band, were the first to take the stage. The band use their relative youth to reel you in and assault you with an unexpected dose of metal riffing, intensely creative energy and (gasp!) something a little bit different. They even did an impressive cover of Nine Inch Nails' "Last," winning even the hardcore Dillinger fans over.

Next came Florida's Fake Problems, a band whose January release It's Great To Be Alive still ranks high on my list of favourite albums of this year. Tearing into "1234," Fake Problems proved their energetic and contagious drunk-punk translated magnetically to a live setting.

Scruffy voiced frontman Chris Farren offended the crowd with Canadian stereotypes, prompting someone to shout out "You're a fuckin' retard. We don't say 'eh' bitches," and someone else to yell, "Less talk more rock." They should have ended with "Dream Team," but Fake Problems still excited me and they've got the stones to shrug off a few offended fans.

Alright, I'll admit it: Dillinger Escape Plan were always a little bit too carnal for me, but their performance last night blew me away. They opened with "Abe The Cop," they beat on their instruments with intense vigor. It was visceral and unforgiving, the kind of performance that doesn't give you a chance to disagree.

Highlights included when they slowed it down to perform "Setting Fire To Sleeping Giants," a track that found Greg Puciato's vocals calming to a gothic, hushed tones.

The energy in the Mod Club was sticky and sweaty, but despite the fans' pleas for an encore, Dillinger Escape Plan retreated off stage to give room for the headliners.

Unlike last time here, the majority of the crowd stayed to watch post-punk pioneers Thursday tear the heck out of the stage. Their performance wasn't as primal as Dillinger's, but as per always Thursday put their hearts and souls into every note.

Dare I say it, but the entire band seemed happier, providing a sense of intimacy by filling the gaps between songs with banter and stories about why they chose to play the songs they did.

They kicked it off with "For The Workforce, Drowning" and wasted no time embracing old fan favourites "Paris In Flames" and "Understanding In A Car Crash." They didn't move into tracks off this year's Common Existence until later, but the passion they poured into "Resuscitation Of A Dead Man" suggested older material was perhaps merely a diversion.

Thursday have the ability to make their performances mean something both socially and musically, to make you think about controversial subjects like war in a fashion that inspires conversation rather than hate.

They closed with "Signals Over The Air" followed by "Love Has Led Us Astray," a song they rarely play live. One fan in the audience out-sang frontman Geoff Rickly, prompting the mousy blonde singer to not only comment on it, but also address how impressed he was.

Thursday returned for a one-song encore of "Jet Black New Year," disappointing fans that were hoping for and expecting "War All The Time," a track that is easily one of their best.

Eight months ago, I was convinced Thursday were reaching their demise, but it's obvious they still have a thirst and passion for their art and they shared with their fans this night.