Written and Photographed by: Max Bennett
The Sunday Scaries weren’t a factor at Johnny Brenda’s in Fishtown on July 14, as the second-story venue was loaded with attendees for a show with an eclectic bill.
Sixteen Jackies celebrated the release of their first full-length album “Bangs & Whimpers” that night and brought along synth-punkers Fast Car Slow Car and the more roots-rock-based Mavis the Dog.
Before the show even started, Jackies singer Jody DeMarco was mingling with fans, giving them a touch of the band’s signature glam vibe by adding Sixteen Jackies-branded eye glitter.
While playing live, Fast Car Slow Car employs not one but four keyboards. While one might think, “That’s too many keyboards for a five-piece,” I assure you it is not. The synth tones filled the venue with ethereal auras, but they weren’t to be outdone by the guitar, which came in screaming at times, pushing the boundaries of new wave and punk.
And speaking of punk and new wave, singer Breshon Masrtzall plays the role of frontman well for both genres. At one point, he jumped off the stage onto the floor and was belting lyrics like it was a 2009 DIY basement show in West Philadelphia. This is all after he was delivering lines with the low, intense gravitas that you find in some of the mid-80s new wave acts.
As they powered through their set, Masrtzall stopped to shout out he and his brother Keondre’s mother, who was in attendance. We love to see supportive parents and appreciative kids, don’t we, folks?
Mavis the Dog changed up the tempo a bit, as Fast Car Slow Car ended their set with a high level of energy. The quartet, compared to Fast Car, is much more stripped-down, featuring bass, guitar, keys, and drums. And the influences must be in the realm of classic singer-songwriters, as well as 50s and 60s combos. But as the set progressed, some songs harken to 90s alt-rock hits we Millennials grew up with on the radio.
What stood out was the keyboard and the emulations it was employing. At times, it was a swirling organ and others an eerie theremin, like in old sci-fi flicks you’d catch on “Mystery Science Theater 3000.”
The set felt largely driven by the bass, as the guitar and vocals could have used a bit more in the mix. There were great vocals and exciting guitar parts coming from frontman Scott Olsen, but unfortunately, they were lost due to some volume issues.
Mavis picked up the speed to finish the set, and their closer included some blistering drum work.
Sixteen Jackies hit the stage right at 10 p.m. and came out strong with the lead track from Bangs & Whimpers titled “Trash Night.” And it’s no wonder they chose to open both the show and the album with it: the song is a staccato-driven pop rock powerhouse that sets the stage for what’s to come. It’s inclusions of woodblock hits by drummer Ian Staley really scratch that cowbell itch we’ve all been feeling since the iconic 2000 “Saturday Night Live” sketch.
Next came more new tracks. “You and Your Friends” strays from the frenzied pop that “Trash Night” offers up, coming in as a sort of surf punk track you might hear on a Tony Hawk’s Pro Skater soundtrack. However, the dreamy chorus cuts through the aggressive punk stylings that lead the song.
DeMarco is pure joy on stage and pure joy to watch. His vocal range is one to marvel at, hitting almost whistle-like tones at points. The frontman can also hold his own on guitar, trading riffs at times with Jeremiah Bull and Tim Davis, who took turns on bass and guitar throughout their set.
While playing the song “VHS #1 (a Body),” DeMarco donned an old-school hockey mask, a la Jason Voorhees from the “Friday the 13th” series. The look is perfect for a live rendition of the 2017 track, as it features a droning main riff that creates a sense of unease thanks to the use of a harmonic minor scale.
The band swung back around to its more uplifting sound with another new track, “Mercy.” “Mercy” is a classic rock song driven by cowboy chords and some fiery lead guitar solos.
They jumped back to 2018 to bust out “Little Duke” from the “Mascula” EP. With its persistent thumping bass line, “Little Duke” ramped up the energy in the room, getting the crowd even more on their feet. What’s funny, though, is that the song ends abruptly, giving the audience that feeling when a roller coaster car comes to a screeching halt after getting you amped up with its heart-pounding thrills.
DeMarco gave a shoutout to David Skovron of Drowning Fish Studio, who produced Bangs & Whimpers, and then the band went into “Creature Feature” from their 2018 EP, Hostile Architecture. “Creature” toward the end sounds like it’s going out with a dissonant, cacophonous end. The band went silent, then exploded into the final chorus, which features fuzzy guitar tones and tremolo leads.
DeMarco put down his guitar and modulated his voice with auto-tune, or something similar. And before you might think to yourself, “Auto tune? That couldn’t be good.” I’m here to tell you that it was, indeed, good. The use of the often-maligned voice-shifting technology fit perfectly in the track. If only this writer could remember what track it was.
When Jackies announced they were on their final song of the set, they were met with boos. The band played a bit of “In My Life” by The Beatles, prompting a crowd singalong before heading into the end of the show.
They then ended their show with “One of the Boys,” the final track on Bangs & Whimpers. The song’s closing features a vocal line perfect for live audiences to chant along with. The evening was the perfect way for the Philly glamband to celebrate their first full length. And it brought people out on a Sunday—no small feat.
Sixteen Jackies
Instagram丨 Facebook丨 Bandcamp丨Spotify丨 Soundcloud
Mavis the Dog
Instagram丨Bandcamp丨TikTok丨 Spotify
Fast Car Slow Car
