For the past seven years, Derek Rickard has had only one Halloween costume—Glenn Danzig. As vocalist for Bellingham-based Misfits tribute band Horror Business, Rickard howls the lyrics to 30-or-so of the bands classic anthems, like "Hybrid Moments," "Teenagers from Mars," and "She," alongside unusually deep album cuts from Earth A.D. If it's Danzig-era Misfits, chances are Rickard knows it.

Due to schedule conflicts with original members (bassist playing in Shook Ones, guitarist moving to New York), the band has a semi-rotating lineup. This years line up includes long time friends Joe Olmstead (bass), Bobby Yost (guitar) and Lance Graham (drums).

Rickard spoke to the Stranger via phone this past Thursday.

You actually sound a lot like Glenn Danzig. How long did it take to teach yourself to croon like him?

I'm kind of stuck with it. When I started playing guitar about 13 years ago, I played some punk stuff because it was the easiest stuff to learn. The ones that I really latched onto were Misfits songs. They're really basic chords and structure. Those were the first songs I could play. The band I had would play shows and it would be 70 percent Misfits songs and a few songs of our own stuff.

I never dreamed I would sing for this band, but covering all those Misfits songs is just how I started. As I've grown up I've kind of figured out how to sing without destroying my voice. I haven't had to try to sound like Danzig, it just kind of happens. It comes through in Brownes Condition (Rickard's full-time band) too. I don't have a problem with it. My biggest influence from adolescence on has been Glenn Danzig-era Misfits so it makes sense.

Have you guys ever considered furthering your set list to include Michale Graves-era Misfits?

Absolutely not. Well, on my first practice we talked about doing new Misfits stuff. We may have even tried to play "Dig Up Her Bones," but it was like," Uh..…that feels weird. We're not doing this." That's not the Misfits anyways. I really wish they wouldn't have done that.

Is it weird that I would rather see a Misfits tribute band than the Misfits in 2009?

I don't think so. I don't want to see Misfits in 2009. There are some good things that came along with Jerry Only's extreme marketing of Misfits. I wouldn't have such a collection of Misfits songs if it wasn't for Jerry Only doing all the things he does, but he has just gone way too far with it. I didn't mind Michale Graves-era stuff when it came out. American Psycho wasn't even close to original Misfits but I still liked it. Then each album after that got me more bummed. The more I saw with what was going on inside, I started thinking,"This is terrible." I don't really care to see them, I never have. Jerry Only singing is terrible. Project 1950 is one of the worst things I've ever heard. But the thing is, I keep buying this shit. I can't get away from it.

Horror Business plays tonight at the Old Foundry in Bellingham with Black Eyes and Neckties and tomorrow at the Rogue Hero (Bellingham).

Hello all,

As you know, we are in the midst of hard economic times. It is with difficulty that I write to inform you that the recession has required KEXP to reduce staffing in order to maintain economically stability.

Earlier today, we conducted a lay-off including primarily folks who have been supporting our NYC project: Kevin Helfrick, Fred Rains, Tyson Lynn and Jacob Bennett.

Kevin was working part-time as our primary board operator. Fred, Tyson and Jacob were spending a one or two days a week helping with Mo-Glo and Wake Up. Michele Khazak will continue to work on WNYE and KEXP production.

Let me immediately say that each and every one of these individuals has done a /stellar/ job lifting our NYC broadcasts off the ground and creating some of the most innovative music programming in the country's largest city. The reasons for these reductions are purely economical. The economy simply has not been cooperative enough to sustain the current level of operations in NYC.

I encourage you to reach out to Kevin, Fred, Tyson and Jacob and offer your support. I've directed our HR staff to take steps to support them as much as possible in their transitions.

At this time, we have no plans to perform further layoffs. I believe the changes we have made will keep KEXP sustainable into next year and will position us to continue to make progress in regards to our mission. However, as we operate in this down-turned economy, we must remain agile. I will continue to communicate with you if we face compelling reasons to make further cuts.

In addition, I have directed our leaders to reduce non-staffing expense as much as possible. (I very much appreciate efforts people have already been making to stretch dollars and reduce cash expense these past few months. That has helped quite a bit.) From office supplies to equipment to remote broadcasts to travel, we have done a detailed job scouring our operating budget and identifying ways to reduce expense while upholding our core services.

I very much appreciate the time, energy, and creativity you contribute to our organization. Your fierce support of our mission is enabling us to continue being such a significant part of people's lives.

If you have any thoughts or questions, please feel very free to swing by.

As usual, a pleasure working with you all.

-Tom

Update: A little background: KEXP moved some operations to NYC, partnering with that city's WNYE, in February of last year, at which time divisive morning show host John Richards began splitting his time between Seattle and NYC. Since then, some have speculated that Richards wasn't too happy either there or here.

Update: A correction: the laid-off staff were working on the station's NYC operations but were based out of Seattle. The post has been amended above.

Little Boots! Meet America.

America! Little Boots.

It's the final night of an all sold-out U.S. tour, which must be a bit flattering considering she's never done one here before and Hands, her Top Five debut, doesn't yet have a domestic release.

San Francisco's The Independent, formerly the Justice League, is almost the perfect size. Like Neumo's without the balcony. Onstage, there are banks of synthesizers and free-standing lights, with a tenorion attached to a microphone stand, flanking the front, squiggling away like HAL at a gay disco.

It starts with "Meddle," the song that made us a fan. Little Boots, a.k.a. Victoria Hesketh, is already smiling, blond hair tied back, decked out in a gold & silver space-gown and a hand-sized stylophone dangling down from her neck, all glamouflage, and she wiggles to the beat, singing, "She's a mixed-up girl, in a mixed-up world" as she presses gizmos and things that sound like pianos.

"Earthquake". Bang!

"Click". Bang!

"Mathematics," "Remedy," "Love Kills".

Bang! Bang! Bang!

The lights go rainbow and we get to hear nearly everything she's ever done.

Little Boots has never been entirely comfortable with an audience. The way she dances, the way she moves her arms — slow, performance-arts style — she comes across both rough and ready-made, like an adolescent version of herself practicing moves in front of an imagined audience, a bedroom popstar, and it's this innocent, unfinished charisma, upended by the most modern chart album of the year, that's reassuring and ridiculously lovely to watch.

Tonight's stage isn't as elaborate as some of her others. We miss the full-on starship triangles and unicorns. But the live experience of the ecstatic spectacle of, say, single "New In Town" or the long-road Giorgio Moroder electro-mirage of "Stuck On Repeat" make up for it in a pinch.

Well done, Victoria.

Pop's geography is lucky to have you.

Have you met Seattle?

"Earthquake [Yes Giantess Remix]"

Photos by belTRON and Arsie Says.

We haven't been in San Francisco in quite a long time, even though we used to live here for ages.

What's new?

1.] A bakery/fish & chips.
2.] A small hut, attached to a liquor store, with a sign that reads "AA Driving School".
3.] The Happy Mondays.

We're at The Regency, which we've never been to before, but it's nice inside. Lots of chandeliers and gold trims. It's a hundred years old. We think shows are somewhat new here. Tonight are The Psychedelic Furs, except let's face it, even though they stand tall with songs like "Love My Way" and Richard Butler, the lead singer, looks like he was having an honestly great time with that characteristic elder-statesmen John Lydon-crossed-with-David-Bowie air and a voice that's always sounded both sad and sarcastic, the band is on the wrong side of the bill.

It's about the Happy Mondays. We're here for the first real U.S. tour in nearly twenty years from the most important Madchester acid-house hedonists of all-time. This is history.

The situation of frontman Shaun Ryder promised a wreck of a show. A lifestyle of rampant alcohol and narcotics, mostly ecstasy and heroin, has left the man shattered and scared. Or, in his own words, just "a scrambled head." Expectations? Low.

It's worse than we feared.

Brother Paul Ryder isn't here. Neither is Bez.

Let's repeat that.

Neither. Is. Bez.

Whoever is on the mixing desk must be goddamn mad about it, too. Tonight's Happy Mondays, no fault of their own, have some of the worst live sound we've ever heard in our lives. Cripes. Despite the handicaps, the band try to lurch out of it, starting with classics like "Kinky Afro," 2007's "Jellybean," and a haggard "Loose Fit," hoping for a semblance of a show but coming up with swamp gas. Ryder is shy, nervous, and barely moving. Worse, he keeps putting his finger in his ear to make sure he's in tune.

Traitor.

Somewhere, though, around a surprise addition of "Reverend Black Grape" by Ryder's spectacular off-shoot Black Grape, the mood spins up. Maybe it's the lyrics, hearing them live for the very first time.

There's nothing more sinister,
As ministers in dresses
Gather round some nice black people,
While I deliver this message
Kill the messsssssage!

You do nothing but socialise,
And become a menace
Put on your Reeboks, man,
And go play funky tennisssssss!

No Bez? Really?

Wait! Someone gets around to the boards. The new black female backing vocalist — who appears to have replaced the iconic Rowetta — is stealing the show. And the rest of the band locks on tight, improving with every song, including a new drummer who learned all the songs in six days, until everything peaks with the remix version of "Hallelujah," real mayhem and noise, until, dear lord, that sound. That piano riff.

That "Step On".

One of the most brilliant songs of the 20th century, it's insane tonight, in front of us, all around us, giving you a lump-in-your-throat glimpse, if you squint real hard, of a point in time when a whole generation could be defined by a cross-section of dance and guitar music, both black and white influences, only attitude and a couple of notes, that same piano looping over and over and over.

We don't know how they did it, but they did it.

History saved!

Bez, still at large.

Photo by alternapop.

• Helms Alee

Aw Total Fest, you’re the best. You know how to throw a real party - it's Monday and I'm still spent. The people of Missoula put a lot of work into getting this festival together, and they really do a hell of a job. The vibe of the entire weekend is entirely positive and fun, and the lineup proved to have something to satisfy the tastes of everyone who came. The nights started light with pop and twang, then moved into heavier territory as the evening progressed and alcohol was consumed en masse. There were a lot of Seattle bands I had never seen before that made great impressions, particularly the heavy psychedelia of Wildildlife, the wasteland rock of Atomic Bride, the grimy grind or Filth Mattress, and the stripped down punk of the Blank Its. Despite the drum set falling apart every song, Tacocat was so undeniably fun they started a huge dance pit and crowd surfing - one of the best responses any band got all weekend. Lozen and Helms Alee elicited massive headbanging, especially with their new songs, which sounded amazing. I missed Sandrider’s set, but virtually everyone in the building crammed into the downstairs Palace stage to check them out. Black Elk kept all their clothes on this year, opting to hand out naked men playing cards to all the women in the front row instead of duct-taping their penises to their thighs. As is their want, their set was gnarly and abrasive.

• Black Elk

• Rebreather

There were several great acts from out of town I was introduced to this year as well: Youngstown, Ohio’s Rebreather had some excellent loud doom in the vein of decade-old Isis; Denver’s Git Some (featuring two of the dudes from Planes Mistaken for Stars) played raw, thrashy punk; and the LA/PDX duo Glassell Park 3 used a 6-string banjo and a kick drum made out of a wooden box to wail out some tasty blues garage rock. At the outdoor record swap I got a chance to see Why I Must be Careful up close, and they quickly transfixed everyone around them with seriously technical and bizarre jazz. With so many bands playing it’s hard to catch everything you want to, and I’m sure I missed out on some awesome stuff (specifically Flagstaff’s This Runs on Blood, which I have already been informed I am an idiot for missing).

• Why I Must Be Careful

The only beef I had with the festival was the room sound for a couple of the stages. Unless you were standing close enough to hear the band’s amps directly (which was hard to do a lot of the time), the PA mixes further back in the room sounded like muddy poop more often than not, especially on the second stages both upstairs and down. It’s hard to know if the problem was gear or the guys running it, but it’s something that should probably be addressed. Really though, it’s minor gripe on an otherwise unparalleled music festival. The bands, atmosphere, and energy at Total Fest are completely unique and organic, thanks in no small part to the tireless citizens of Missoula who volunteer countless hours making sure everything runs smoothly. It’s exceptional, and unfortunately all too rare in music festivals these days.

• www.algreenmusic.com

You don’t need Tulalip Resort’s $299 “Romance Stimulus Package” with a suite, champagne, a Lovers goodie bag, etc. to get some “L-O-V-E (Love)” next Thursday night—you just need a couple tickets to Al Green at the Tulalip Amphitheatre. Green’s been causing underwear to descend to ankles with pure, sweet, hot soul since approximately 1967, and you’d be a fool to depart this earth without seeing him live. If you’re so inclined, you can double down afterward with some of Tulalip Casino’s “Exciting Slots Action.”

Personally, I am most excited for the return of Oakland’s Drunk Horse, an excellent Wantage band that has been off the road for far too long (their bassist Cyrus has been steadily shredding in Saviours during their hiatus). They played one of the best shows I ever saw in Bellingham a few years ago and earned themselves an almost cult-like appreciation there, but then they dropped off the radar. Their 2005 release In Tongues was stellar, particularly their epic, King Crimsony instrumental “Skydog” (though it’s somewhat atypical of the rest of the more straight-up, hard-boogie riffs on the record).

I’m also excited that there’s a whole mess of bands playing this year that I’ve never heard of. That’s the great thing about a three day festival with a handful of bands you know you like: chances are you’ll probably like the ones you’re introduced to as well. The full lineup can be found at the Total Blog. I suggest you make it your business to head east; Total Fest is not to be missed.

Lightning Bolt
Earthly Delights
(Load)
Street Date: Oct. 13, 2009
Formats: CD, Digital, Double LP

Track List:

01 Sound Guardians
02 Nation of Boar
03 Colossus
04 The Sublime Freak
05 Flooded Chamber
06 Funny Farm
07 Rain on Lake I'm Swimming In
08 S.O.S.
09 Transmissionary

08/15 Providence, RI AS220
08/16 Amherst, MA U Mass Amherst
08/30 Brooklyn, NY 979 Broadway Backyard
08/31 Philadelphia, PA First Unitarian Church
09/05 Los Angeles, CA FYF Fest Presents Save Our State Parks!

Also, I totally thought I'd seen this posted about on Line Out already, but it turns out I was thinking of this. Let's compare:

I will see you next year, suckas.

On Twitter, Mike Skinner writes:

Pomona? Sacramento?

But not Seattle.

I see.

These are the dates that have shown up so far.

Wed 10/14/09 Pomona, CA Glass House
Thu 10/15/09 Los Angeles, CA Club Nokia
Sat 10/17/09 San Francisco, CA Treasure Island Music Festival

Damn you.

Ex-Seattle soul crooner and discomforting funnyman Reggie Watts lends vocals to the forthcoming DFA 12" from Still Going, who were responsible for 2007's unstoppable "Still Going Theme." The a-side of the new 12" is called "Spaghetti Circus," the b-side is called "Untitled Love," and Reggie sings on both. You can hear clips of the tracks at FACT Magazine.

(ht Michaelangelo Matos)

Book your flight now, Kelly O.

Money quote:

There's any level of hyperbole that could be used, but let's just leave it by saying the set was perfect. Close to an hour long set and a 15 minute encore. I mean, really? What could there be to complain about? All hits, no misses, one morbidly obese bouncer on stage falling on his ass (classic!), and only a couple (non-important) errors.

ht: Jeff

Here’s the setlist from that STL gig:
"No Way"
"Sacred Trickster"
"Calming the Snake"
"Stereo Sanctity"
"Walkin Blue"
"Poison Arrow"
"Malibu Gas Station"
"What We Know"
"Antenna"
"Leaky Lifeboat (for Gregory Corso)"
"Hey Joni'
"Anti-Orgasm"
"Massage the History"
"White Cross" (was to be played, apparently, according to official setlist)

Encore One
"The Sprawl"
"'Cross the Breeze"

Encore Two:
"Shadow of a Doubt"
"Death Valley '69"

[P]erhaps the most memorable moment of the day was New York performance artist Ann Liv Young tying the penises of her two male co-performers together, then miking up the 'twang' when she plucked the string—a deft snipe at the male collector mentality of so much contemporary avant sound practice.

Hot on the glamorous space-unicorn future overload disco synth-pop heels of Hands — the 2009 debut to beat — a couple of duets with Philip Oakey, and helicoptering back to Glastonbury just to see Blur, Little Boots is doing an Eddie Murphy and coming to America.

San Francisco?

It's on.

Wait.

It's on.

Mon 09/14/09 Toronto, ON Wrongbar
Wed 09/16/09 New York, NY Bowery Ballroom
Thu 09/17/09 Chicago, IL Empty Bottle
Fri 09/18/09 West Hollywood, CA The Roxy Theatre
Sat 09/19/09 San Francisco, CA The Independent

It's Blur.

Brogues01 writes: "I think alot of people have forgotten how good Blur are. Can anyone name a band from the last 10 years with a similar variety of songs?"

Calvin Harris writes: "Somebody has to play at the same time as Blur and the Prodigy...and that somebody is — sadly — me."

Erol Alkan writes: "Jesus Christ. 'For Tomorrow' still sends a chill down my spine."

IleneJenette writes: "How fast are they playin'!?"

Emily Eavis writes: "Blur are blowing people's minds."

Bryony Taylor writes: "Graham's wearing the same t-shirt he wore at Alexandra Palace in '94!"

Kit S. writes: "'This Is A Low' is sending a huge swell of emotion through the crowd."

The Guardian's Laura Barton writes: "When Albarn's voice gives way a little in 'Beetlebum', the crowd rushes to catch it. The band looks genuinely delighted as they look out over the flags, over the crowd with its sunburned noses and glitter-smeared faces, and peacock feathers in its hair, and far off to the countryside of Somerset and the floating candles flaring up into the sky. There is a pause as they seem to take in the magnificence of what they have done."

Listen while you can.

Watch while you can.

Jon A. writes: "This is both vintage Blur and somehow new having been missed for so long. Generations singing along together."

Kit S. writes: "It ends with 'The Universal' and tens of thousands of arms held aloft."

Jon A. writes: "A friend of mine said, 'I was so happy all the way.'"

The Guardian's Tim Jonze writes: "Who gave these guys permission to have the time of their lives?"

"Blur are sticking their fingers up to dad-rock by falling in love all over again with the dumb art of playing pop music — and playing it loudly. 'Girls & Boys' literally throbs with sordid energy, 'Song 2' sees the crowd threatening to pogo themselves off the earth's axis, and 'Parklife' turns every man, woman, and anarcho-crustie into a cockney geeza."

"But for all their energy, it's the sad songs that work best: 'To The End', 'The Universal', 'This Is A Low'. Weirder still is the reaction to 'Tender', a song never really rated (at least by me) as a classic, transformed into a joyous hug-a-long that reverberates around the crowd after the first encore and the second encore."

"Blur made sure that the real winner at this year's Glastonbury was pop music."

"And we're all hugging each other."

Full, official live videos from new & unsigned acts, including a new song by Dimbleby & Capper, are up here. Assorted clips will also, bootleg-permitting, continue to stack up in the coming weeks.

But really, everyone's saying the same thing.

Hyde Park? How can it top this?

It really, really, really did happen.

Photos by the BBC.

After a bit of wet start, the sun's come out for Glastonbury.

And you know what that means.

It means Jarvis Cocker was everywhere today, surprise-guesting on multiple stages and showing up to play bass for Spinal Tap during the more-appropriate-than-ever "Big Bottoms".

It means a gang of fans dressed as trolls wandered the grounds and guerilla-hugged the crowds.

And it means people like Dizzee Rascal and Bruce Springsteen were so far the biggest draws of the weekend. In front of a rammed crowd at the Pyramid Stage, Dizzee, in particular, played the massive "Dance Wiv Me" and "Bonkers," but also his best like "Stand Up Tall," "Sirens," and "Pussyole (Old Skool)," all on top of covering M.I.A.'s "Paper Planes," The Ting Tings' "That's Not My Name" — "They call me Wiley!" — and leading the festival to a Michael Jackson medley. BBC writes: "'We lost a legend this week,' he said. 'So I think we should do a little something to remember all the great music he brought us.' Tens of thousands of fans joined in with a chorus of 'Thriller,' and Rascal played snippets of other hits including 'Billie Jean' and 'Another Part Of Me'. Pharrell Williams, The Streets, Lily Allen, and Gabriella Cilmi are among the other artists who have paid tribute."

Donna On The Beach writes: "Just saw on Glastonbury coverage a sign, 'Pretending 2b an aeroplane allowed in this area.'"

Maximo Park writes: "Skream's La Roux remix sent everyone off their trollies! Let's get ravey!!!"

The Guardian writes: "Most overheard conversation at Glastonbury: 'Why would you bring children here? It's tantamount to child abuse.'"

Video clips of loads of acts, including Skream, Benga, Kasabian, Neil Young, Pendulum, Lady GaGa, The Specials, The Wonder Stuff, Bruce Springsteen, N.E.R.D., Sparrow & The Workshop, and Jamie T, are finally trickling out here.

Photos by the BBC & Glastonbury staff.

Michael Jackson has put a dark cloud over the Glastonbury Festival, but everything buzzes on.

Today, The Guardian writes: "There are alot of drag queens at The Guardian lounge. They're making wellies work for them."

And: "[Lady GaGa] has just donned a contraption that shoots sparks from her breasts. You don't get that at Fleet Foxes."

Meanwhile, BBC 6 Music writes: "Glad to see Terry Hall hasn't given in to the smilers of the world."

The Rakes, "Have you heard the good news about Jacko?"

Elsewhere, impossibly, The Streets crop-circles his face in the fields.

Photos by Mike Skinner, Tony Kinlan, Glastonbury staff, & Anthony Devlin.

This year's Glastonbury Festival just started and we're forced to once again wish we were globe-trotting super-spy playboy pop billionaires to be able to join everyone.

The largest music festival in the world, going on for nearly forty years, Glastonbury is both family-run and traditionally non-corporate — charities are the usual sole sponsors — but preposterously eclectic as well, with 200,000 people, dozens of distinct areas, more stages than you can list, and an every-genre line-up as long as the equator. All of it runs 24 hours a day for four days.

This year's bands are more interesting than usual. Romanticizing aside.

Hook our veins up to at least (yes!) Lilly Allen, Skream, Madness, Altern-8, Erol Alkan, The Japanese Popstars, Caspa, MPHO, The Streets, Ray Davies, East 17, Tinchy Stryder, Chase & Status, Josh Wink, Dimbleby & Capper, Ladyhawke, Prodigy, Jarvis Cocker, Roots Manuva, Tindersticks, Timo Maas, Benga, Q-Tip, The Wonder Stuff, Robyn Hitchcock, Jamie T, Stanton Warriors, Wonky Pop, Dizzee Rascal, The Specials, Kasabian, Little Boots, and, of course, Blur.

Look at the many hundreds of names.

Bad news?

Unlike other years, the round-the-clock, commercial-free coverage snubs anyone from outside the U.K. Clever and questionably legal proxies can sort you out. But you'll likely have easier luck listening to the live radio-stream and stirring up the patience to poke around for video clips.

Damn.

We wish were there.

Let's pretend.

Coffee County authorities say a cleaning crew found the body of a white man in his 20s in a tent on Tuesday. Authorities said the man was last seen alive about 3 p.m. Monday.

Sheriff Steve Graves says there were no signs of trauma to the body. Police are trying to determine his identity. They think he may have been from Alabama.

(via The Daily Swarm)

Organizers of Tokara The Sun & Moon Festival have booked a Russian ferry and hired the Boredoms, along with New York’s Gang Gang Dance and Japan’s Goma, to play a show during the next Saros 136 eclipse, which will take place July 22. The spectacle is subtitled, “The Lucy in the Sky With Diamond Ring Tour.”

July’s eclipse will be extraordinarily long — the totality of the eclipse, the point at which the moon is fully obscuring the sun, will reach 6 minutes, 39 seconds. According to NASA, the umbra of the eclipse will cut a path straight across China and the South Pacific, with the best viewpoint off the southern coast of Japan, at 24.2 degrees N, 144.1 degrees E, when the sun is 86 degrees overhead.

O’Donnell also has a new album titled Hellbodies, an easy-going gem on Ggnzla Records (ed. of 200). It’s a literate, melodically sophisticated collection of drama-major rock that leaves no doubt why Parks would be interested in lending a helping hand to the suave Bainbridge Island singer-songwriter.

After five minutes of directionless strumming and arbitrary snare hits, Nathan dodged the evening's first bottle and decided to wind the aimless tune to an abrupt close. Then, rubbing his hands against his face, he declared in annoyed resignation, "All right, hi everybody, we're Wavves," and launched into an off-key version of "Summer Goth."

Okay, sounds like a regular Wavves set so far, right?

But things declined quickly from there, as between songs, Nathan began ineptly mocking the crowd ("Ooooooh, I'm on ecstasy!"), going off at length about his preference for California over Spain, and eventually telling them the festival was "one of the coolest things we've been part of in a while," dripping with sarcasm. Finally, fed up with Nathan's petulant behavior, Ryan ran out from behind his drumkit and poured a full cup of beer over Nathan's head. The act would be met with their most enthusiastic applause of the evening.

Oh, that's good stuff.