The Rocket Bar is a peculiar concert venue. Hidden in the
desolate space between Midtown and the Washington Avenue loft
district, the Rocket Bar plays host to many of the small indie rock
bands criss-crossing the country right now. Upon entering, one has
to navigate around the oblong-shaped bar to reach the stairs for
the standing area that surrounds the three-foot high stage on three
sides. From the front, the stage looks like the top of some Mount
Olympus of horn-rimmed wearing hipster, sipping imported beers and
talking about fashion and communism.

Last Tuesday, The Rocket Bar hosted indie rock royalty Ted
Leo/Pharmacists, along with Paris Texas and Electrelane. First up
on the stage was Paris Texas, and did they ever start the show off
with a bang. From the first screech of the guitar, this
Madison-based quartet had the walls reverberating. Vocalist Scott
Sherpe did his best Howlin’ Pelle Almqvist/Mick Jagger, contorting
his face and dancing around the stage in nervous fits. The music
fit this act with its sharp riffs and driving rhythm section.

The next up was the all-girl group Electrelane. Mixing elements
of early-’80s keyboard experimentation and clouds of guitar
distortion, the band hypnotized the crowd in some kind of
other-world state. However, the band did move away from avant-garde
on some occasions, playing more garage rock.

It wasn’t until after 11 p.m. that Leo finally got to the stage.
Thanks to Johnny Law, Leo had to play an abbreviated set to avoid
underage curfew laws in St. Louis. In this shortened time, though,
he managed to pack quite a wallop.

Perhaps the most amazing part of the set was how much sound and
music Leo produced with this backing rhythm section. Using all
sorts of pedals and electronics, Leo made his guitar seem symphonic
in its size and grandeur. Still, it wasn’t so powerful to
overshadow Leo’s vocals. It is strange watching Leo sing; as much
as he looks like he is expelling rather than singing, the vocals
are still sharp enough to understand each lyric. Even in concert,
the words are just as important as the music for Leo.

The highlight of the set came at the end, when Leo put down the
guitar temporarily for “The Ballad of the Sin Eater.” He danced and
convulsed around the short stage, now freed from the burden of his
guitar and amp cord. It was a moment of catharsis for both the band
and the crowd. The fun had to end, though, as the band reached and
slightly exceeded the 12:30 a.m. curfew for those under 18. I don’t
think anyone wanted to leave, least of all Leo and his band.