The Disco Biscuits, The Electric Factory, Philadelphia, PA – 11/28
There’s nothing like adding some Biscuits to the Thanksgiving revelry. And on the evening of Saturday November 28, The Disco Biscuits took the stage for the second night of a two-night run at Philadelphia’s Electric Factory and delivered hearty helpings of both old and new tunes to help the audience get into the holiday spirit.
After a warm up by The Omega Moos, a collaborative project featuring members of The New Deal and Umphrey’s McGee, The Biscuits began their first set with a heavy “Floodlights,” led by Brownstein’s lyrics about a man’s escape from a police chopper. Then, following the third appearance of “Widgets,” the Biscuits kicked into an upbeat version of the instrumental “Papercut” before segueing into a long, raging “I-Man” that effortlessly progressed through the complicated parts of the song’s full composition. As I-Man ended, the high-energy peak slowly transformed into a dark, dirty jam that Brownstein drove into the crescendo of a crowd pleasing “Orch Theme” before Aron Magner’s synthesized vocals sparked a set closing “On Time.”
Following a long break, The Biscuits retook the stage and started off second set with a bang, busting out a big, fat standalone “Crystal Ball.” Barber then led the group into the Weezer-esque “Fish Out of Water,” and while this song is in an awkward introductory period, the jam showed a certain degree of “rage potential,” even if the lyrics are somewhat cheesy.
The Biscuits then bounced into “Spraypaint,” laying the framework for the best jam of the evening. After executing the composed introduction of the song, the group dropped into a 4-on-the-floor jam that slowly picked up steam until Barber began shredding the peak of an inverted “Confrontation.” The set then progressed into “You and I” and the fresh out of the box “Naeba” before the second set concluded with a glorious “Spraypaint” peak.
As The Biscuits wandered back on stage for an encore, Brownstein began talking to the audience about having patience with the new material. He promised to “jam the fuck out of the new songs” and that with a little time, some of the new tunes will turn into the “Basis for a Days” of the next generation. While it’s great to have such open communication between the band and the fans, what made the statement all the more powerful is that The Biscuits really delivered on the promise. While some of the new tunes represented the weaker points of the show, they all featured interesting improvised material, especially “You and I” which had the freshest, most in your face trance jam of the entire night.
And then, as if to thank the audience for their continued support, the group “called an audible” and replaced the original encore choice with a goliath “Mulberry’s Dream.” The tight, precise jam was flawless, and eventually took off into outer space as the group transitioned into the completion of the previous night’s “Munchkin Invasion,” leaving the audience with the promise that while The Biscuits are expanding into new, uncharted territory, the old haymakers aren’t going anywhere.