
The Sundelles will be at Spike Hill on opening night of the Northside Festival (photo by twi-ny/mdr)
Multiple venues
Thursday, June 24
Admission: free – $19, badges $50
Northside Festival Thursday Schedule
The opening night of the Northside Festival features some ninety bands playing eighteen venues, so we’ve filtered through the madness to single out five shows that we think stand out from the crowd.
The Sundelles, Spike Hill, 8:00: Brooklyn trio opened last weekend’s Crest Fest with a solid set of semi-psychedelic indie pop (also Friday at 9:00 at Public Assembly).
The New Deal, Brooklyn Bowl, 9:00: Canadian threesome play funky electronica that Ray Parker would be proud of.
These United States, Music Hall of Williamsburg, 9:45: Jesse Elliott’s quirky voice leads the way through intelligent indie alt-country from DC.
Au Revoir Simone, Warsaw, 11:00: Keyboardists Heather D’Angelo, Erika Foster, and Annie Hart offer delightful pop minimalism on infectious ditties.
Mr. Dream, Coco 66, 12 midnight: Brooklyn trio melds techno, Brit pop, and power chords while offering up knick knacks, knuckle sandwiches, and other fancy things.





In 2004, Billie Joe Armstrong, Tré Cool, and Mike Dirnt, better known as Green Day, released AMERICAN IDIOT, considered by many to be one of the best records of the first decade of the twenty-first century. An unblinking examination of life during the post-9/11 Bush era, AMERICAN IDIOT unleashed a breathtaking suite of songs that held nothing back. Green Day has now collaborated with Tony Award–winning director Michael Mayer (SPRING AWAKENING), Tony Award– and Pulitzer Prize–winning composer and orchestrator Tom Kitt (NEXT TO NORMAL) and Olivier Award–winning choreographer Steven Hoggett (BLACK WATCH) — to bring AMERICAN IDIOT to the stage. Whereas the album borrowed generously from Mott the Hoople, the Alarm, the Sex Pistols, the Rolling Stones, and even Bryan Adams, the Broadway musical borrows just as generously from HAIR, ROCK OF AGES, WEST SIDE STORY, and TOMMY. The show follows Johnny (John Gallagher Jr.), Will (Michael Esper), and Tunny (Stark Sands) as they try to break out of their hellish suburban existence only to discover that the world is an unkind, uncaring place. While Johnny falls in with drug-dealing demon St. Jimmy (Tony Vincent) in the big city and Will gets sent to Iraq, Tunny remains home in the mind-numbing suburbs with his pregnant girlfriend, Heather (Mary Faber), with happiness to be found nowhere. Green Day successfully worked with the actors and musicians to make sure the songs did not become overly Broadway-fied, which is a prime reason why this rock opera is so enjoyable. Hoggett’s choreography is energetic and, at times, inventive and thrilling, and Christine Jones’s Tony-winning multimedia set design is appropriately grungy, but the production feels long even at a mere ninety minutes, and it doesn’t really add much to what Green Day has already said on record. The book, written by Armstrong and Mayer, is riddled with clichés, and several new songs fall flat. Still, the staging is wonderful, featuring inventive uses of a bed, hospital gurneys, and a fire escape, and songs such as the title track, the “Jesus of Suburbia” suite, “21 Guns,” and “Whatsername” sound great, even in a Broadway theater.