While Trans Am doesn't exactly play the dance-punk, nü-wave or neo-post-punk that's popular these days, there is punk in there, and there's dance music as well. On their return to their former hometown, the crowd at the Black Cat seemed anxious to move -- to a groove rather than a thrash. That's always seemed to be the more popular side of Trans Am, so when the band opened with Conspiracy of the Gods off the latest record, "Sex Change," it was almost as if the guys were saying, "We're gonna rock ... just so you remember we can."
Drummer Sebastian Thompson started things off by casting aside his shirt to reveal the trademark audacious gold rope around his neck. He's been sporting this bling -- an apparent homage to '80s rap artists -- since long before "bling" reached the vernacular. On "Conspiracy," Trans Am was a power rock trio. The song, an instrumental, is a fast-moving, heavy-hitting adrenaline rush. A little bit of synth came along at the end to give it that more familiar Trans Am sound.
The synth and drum loops were more prevalent in the second song, and the superfans started to get their dance on, but it was Nathan Means' bass groove that proved to be the centerpiece of the song. His electronic vocals -- the band's signature -- made their first appearance on the next song, which led off an unfortunate medley. The song parts left wanting for more, and there was plenty of room for the songs in their entirety in this set.
The band alternated -- and sometimes mixed -- the electronic dance music with the hard rock throughout the set. The best of the latter was the doom punk of "Shining Path," another song off the new album and the song that best showed off Phil Manley's ability to churn out muscular guitar riffs. Proggy synthesizer flourishes hearkened Rush and the like, the late '70s music the trio lampoons so well. "Shining Path" outro'd in a wall of sound with guitars, synth and drums blending together. The superfans may disagree, but Trans Am is at its best when it's rocking out. The krautrock-inspired dance songs are good but generally uninspired. There are exceptions, though, and the quirky, exciting "Tesco v. Sainsbury's" was one. The classic "Television Eyes," off the seminal Trans Am album "Futureworld," followed. It's a more loyal kind of krautrock, with the electronic vocals and synthesizer combining for a "Tron the Musical" effect.
Trans Am rode out on the same hot rod they rode in on, closing the set with another adrenaline-filled rocker. As soon as they left the stage, fans began calling out for "White Rhino," and shortly, the band would be back to oblige. On 2004's "Liberation," the song sounded like it would fit in well on "Futureworld" or other early Trans Am albums but came off like an uninspired retread. The live performance is stunning, though, earning its apparent fan-favorite status.
The crowd was somewhat of a disappointment though, considering the band abandoned D.C. after "Liberation." A bigger turnout for the homecoming was expected. But those in attendance were energetic and adrenalized.
Trans Am's influence on the D.C. music scene was apparent in opener Zombi's set. That band owes a debt to Trans Am, though Zombi is a quieter, mellower version. Beats and proggy synth dominates the duo's sound, which was sort of a musical fluffer for the experimentation, volume and jubilance of the headliner.
