With tensions boiling over, America’s Pub’s Battle could end in mortal combat.

Around Hear 

With tensions boiling over, America’s Pub’s Battle could end in mortal combat.

This week's top selling CD is Now That's What I Call Music! 7, a lazy collection of annoying singles from the likes of Aerosmith, Britney Spears and Jennifer Lopez. Anyone could make this record at home by simply falling asleep with the radio tuned to a "hits" station and the record button pressed on the tape recorder. The fact that people vote with their dollars for this amazingly unnecessary compilation (or for any of this summer's idiotic blockbuster movies) provides proof that when it comes to art, popularity is a poor indicator of quality. However, one local institution continues to suffer with suffrage, allowing mob rule to dictate what bands are deemed worthy instead of, say, hiring a pseudo-celebrity panel of disc jockeys and meteorologists to dispense number ratings. On an international scale, this might result in Backstreet Boys dethroning Radiohead as rock's best band, an inscrutable sign of civilization's impending doom. But in Kansas City, it just means that local bands involved in America's Pub's Battle of the Bands must struggle to pack the place with partisans, campaigning like so many light-rail supporters.

For some groups, it's an uphill climb. Pistolwhip's members are all seventeen years old, meaning that instead of relying on their buddies to make some noise, they've had to rally an older crowd -- parents, uncles, that guy with the tattoo who works at the 7-11 -- anyone who might be interested in 25 minutes' worth of melodic hard rock. Pistolwhip arrived at America's Pub on Wednesday, August 8, with fifteen "older friends" in tow, according to the group's Chad Veach. By contrast, last year's Battle winner (and subsequent one-time Marilyn Manson opening act) Bent commands a veritable army, one that can immediately seize the front lines of a club and impose martial law on fans of opposing acts.

Pistolwhip gamely loaded its slingshot ("We jumped up and started going nuts right away," Veach says) and maintained its intensity through an aerobic workout of build-ups and drop-offs. But the first round of competitions is a graveyard for upstarts -- for example, no sixteenth seed has ever upset a No. 1 in the March Madness tournament -- and Pistolwhip couldn't bludgeon its way past the mighty Bent.

Neither did Phantom Fear, though to hear guitarist Jon Baskind tell it, the contest was close. "It was one of those magical nights," he raves. "The vibe, the energy from the crowd, it was electric." Phantom Fear benefited from perfect attendance, with Baskind reporting that everyone whose presence was requested showed up to cheer. The band rewarded those who turned out with a solid run-through of its well-rehearsed set, but it, too, failed to upset the incumBent. It was the kind of hard-fought skirmish that could have planted the seeds of a bitter rivalry, but Baskind instead opts for gracious, Gore-style concession. "Everyone gave it their all," he cheerily assesses. Baskind has good reason to remain in high spirits, because Phantom Fear won its round of a recent battle in Chicago, overcoming astronomical odds in beating indigenous opponents in a crowd-response-based system. The group competes in those finals on Saturday, September 1, at Champ's Rock Room.

The members of Moaning Lisa, who on Wednesday, August 1, competed for the berth into the finals that Shudderbug eventually claimed, don't have another battle to look forward to, and thus weren't as congenial. "Our show was better, our crowd response was better and our crowd size was bigger," argues vocalist David George. "If the reason we lost is because our people got bored and left by the end of the night when they call out the names of the bands and/or because of a time-limit infraction [Moaning Lisa played for forty minutes], that's screwed. Judge us on our talent and ability."

  • With tensions boiling over, America’s Pub’s Battle could end in mortal combat.

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