Dinosaur Jr. review: Playing it loud at the Fillmore in Silver Spring, Maryland

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From an observer’s perspective, Dinosaur Jr. seems an unconventional choice for a rock band given their history. In the late ’80s, during their ascension to fame via college radio, the trio were known to detest each other. Bassist Lou Barlow, after being abruptly dismissed by his fellow bandmates in 1989, referred to leader J Mascis and drummer Murph as “arrogant swine.

In his dilemma, Murph found himself struggling to choose between the two other Dinosaurs he was most inclined to rough up severely. Meanwhile, Mascis, known for his stern demeanor, assertively took control until Dinosaur Jr. transformed from a band into his personal solo endeavor.

Murph wrestled with the choice of which two Dinosaur companions he wanted to give a sound beating. Throughout this period, Mascis, a strict and unyielding figure, gradually assumed control until Dinosaur Jr. morphed from a group into Mascis’s solo venture.

Fortunately for music enthusiasts, the three musicians put aside their disagreements twenty years ago. Since then, they have been creating new tunes and performing live concerts. Now recognized as rock royalty, they remain a somewhat exclusive act but large enough to fill venues like the Fillmore in Silver Spring, MD, which they did on Sunday evening. They are still among the world’s loudest bands.

Dinosaur Jr., Snail Mail, and Easy Action play the Fillmore

Dinosaur Jr. was an unusual band not only due to their personality conflicts, but also because of the diverse musical preferences, particularly those of Mascis. His tastes ranged widely, blending the powerful hard rock sounds of bands like Deep Purple and Black Sabbath with the somewhat whiny early ’70s singer-songwriter proto emo style.

As a gamer, diving headfirst into the rhythm of my game’s soundtrack, I found myself immersed in melodies that mirrored the depths of despair. But then, just when it felt like I was about to drown in sorrow, those melodies transformed into powerful anthems, with the volume cranked up to max. Some folks tried to compare this sound to Neil Young, but Mascis didn’t seem too keen on that. Still, I couldn’t shake off the similarities; it was like hearing echoes from a distant, soulful guitar.

However, as suggested by Barlow, Mascis might be seen more like a precursor or herald for Nirvana, similar to John the Baptist. Although Mascis emerged earlier, it was Kurt Cobain who ultimately led the revolution to its conclusion.

Fortunately, unlike Nirvana, Mascis and Dinosaur Jr. had another opportunity to shine, and they are utilizing it fully. Last Sunday, they guided fans through their four-decade long musical expedition with an unadorned, 80-minute performance.

To begin, they chose one of their earliest tracks – “Severed Lips,” off their debut album Dinosaur, initially published by Homestead in 1985. This song has been a frequent starting point for them since the early stages, but it holds more weight now.

At a modest concert in 1988, the band was performing “Severed Lips” when Barlow, fed up with Mascis’ dominant behavior, sat on his amp and produced a loud, screeching feedback, disrupting the song. This action sparked a confrontation, causing both Mascis and Murph to exit the stage angrily.

Happily, on Sunday, they made it through the song with no such issues.

Instead of “They followed up with,” you could say “They continued with” or “They moved on to.” So the sentence becomes: They continued with “In a Jar,” a fantastic rocker from their second album, the legendary “You’re Living All Over Me,” which was a peak of ’80s indie rock.

Subsequently, to emphasize that their internal disputes were truly behind them, they began playing “Garden,” a track from their latest album released in 2021 titled “Sweep It Into Space“. Notably, this isn’t just a recent tune; it is a composition by Lou Barlow.

Since 1989, Barlow has penned over a million songs, primarily with his low-fi counterpart Sebadoh. During his time with Dinosaur, he often felt outshone by Mascis. This was partly because of Mascis’ distant and frosty personality, as well as the immense respect Barlow had for his bandmate.

Initially, Barlow, who was instrumental in the formation of Deep Wound (which later evolved into Dinosaur), invited Mascis to play drums. However, their relationship with Mascis was complex, characterized by both love and hatred. Over time, Mascis transitioned to playing guitar, took on the roles of primary vocalist and songwriter, while Barlow stepped back willingly, content to support the band.

The tune titled “Garden” is quite appealing, as Barlow’s simpler melody harmonizes well with its powerful chorus. However, what truly makes listening to it live captivating is the moment when Barlow himself takes the stage to introduce it.

Mascis seldom speaks during performances, even though he’s responsible for singing most of the songs and playing the guitar. Instead, he stands still, his slender frame with silvering hair, clad in a black t-shirt and cap, delivering song after song and blazing through guitar solos without interruption. Unlike him, his bassist often engages the audience, showing a more outgoing, almost humorous demeanor.

It seems that once, according to what was heard, Mascis spoke directly to the audience. Following the performance of “Pieces” from the 2009 album “Farm“, he expressed his gratitude by saying, “Alright. Thank you very much.

That’s a verbose as J Mascis is likely to get.

On “Mountain Man” from their debut album, Lou also took a turn as a lead vocalist, followed by another powerful solo finish. This performance complemented Mascis’ iconic riffs in tracks like “Grab It,” “Little Fury Things,” and notably the extended jam in “Gargoyle.” The latter not only began the main set but concluded it as well.

If you care to analyze, the selection of “Gargoyle” as the final song speaks volumes about J Mascis. As they built up to it, the band played some of their most popular college station hits like “Feel the Pain,” “Mountain Man,” and arguably their finest single, “Freak Scene.

In terms of quality, ‘Freak Scene’ held its own against what Nirvana or Meat Puppets were producing at that moment. It hailed from their album Bug, which served as a sequel to You’re Living All Over Me. At this point, tensions were escalating into deep rifts. The song largely encapsulated the extraordinary bond between Mascis and Barlow, and it concluded with a strikingly moving verse…

Occasionally, I may not excite you.
At times, I might feel like I could drive you crazy.
But please, don’t let me make mistakes, okay?
Because when I require support, it’s always you.

Back in 1989, that lyric resonated deeply. Fast forward to 2025, it can still stir emotions, bringing tears to my eyes, not his (J Mascis), but those of us who admire him and his music. It would have been a poignant ending for the main set, but true to form, Mascis opted to prioritize the music over personal sentiments. Thus, the three-minute guitar virtuosity of “Gargoyle” served as the perfect finale instead.

The group came back for an additional three-song performance, featuring just two covers from their set. Initially, they offered a psychedelic interpretation of “Just Like Heaven” by The Cure. Later, John Brannon joined them for a lively rendition of “T.V. Eye,” originally performed by the Stooges.

Brannon, who kicked off the concert with his intense band Easy Action, offers a glimpse into the annals of rock music. Prior to this, his group Negative Approach was a pioneering hardcore punk act from Detroit in the ’80s, significantly inspired by Michigan’s legendary rockers, the Stooges.

It’s evident that Brannon really enjoyed performing one of their well-known songs. Compared to his performance with Easy Action where he mostly scowled while Ron Sakowski played heavy bass lines, Brannon was noticeably more lively as a guest vocalist.

From opening act to main performer, Maryland native Lindsey Jordan (dubbed “local hero” by Barlow) showcased her band Snail Mail during a powerful 40-minute performance. The setlist included tracks from her first two albums, along with a couple of impressive new songs – “Dead End” and “Nowhere.

In simpler terms, Snail Mail’s music is more melodious than Easy Action’s, and when combined, they evoke a unique, unexpected brilliance similar to Dinosaur Jr. This might be the best blend of whiny emotional tunes and deafening guitar performances you can expect to hear.

If yet get a chance to catch them, you should. Just be sure to bring ear plugs.

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2025-07-21 17:00