The Dwarves

Live in Philadelphia (2014)

John Gentile

“We ‘re a very politically correct group,” Dwarves frontman Blag Dahlia said. Then, he added, “This song is called ‘Sluts of the USA.’” The band then ripped into the new track as the packed floor of Philadelphia’s Kung Fu necktie went wild. At first inspection, the statement might seem like a glib slice. But, as with most of their songs, the Dwarves showed that there is much more to meet the ear on November 26, 2014.

As is their wont, the band played their set in a Ramones style- blasting out song after song with little or no breaks in between. As the band blasted through their nearly hour long set, it became apparent at just how many hits the band has. But more than that, it became apparent at how much construction is in these tunes. While many Dwarves songs clock in at about two minutes, because the songs so much musicality and unique dna, the songs all felt like wildly different tracks even though they were all played at maximum speed and velocity. In fact, really, it seems that Dwarves tunes are written in traditional rock style first, and then dirtied up via volume and aggression.

In fact, the set was so packed with tunes, only two new songs were in the set. The aforementioned “Sluts of the USA” was kicked out like it was “Do you wanna dance.” The harder, meaner track, “Get up and get high” was shifted into overdrive as a rampaging hardcore numbers. The new tunes fit right in with the “Classics,” so it would be nice to hear more of them in the modern set list.

For the entire show, the stage was a mess of jumbled bodies. People bounced of each other and were forcefully shifted around. One guy was actually running around the circle pit with football shoulder pads on. Tables and chairs were broken. Despite the berserk energy, it wasn’t one of agitation or anger. Really, it was more like excited, enthusiastic dancing, with each person gaining the kinetic energy of the person that bumped into him or her.

Dahlia was in a state of constant motion, stage diving, jumping back and forth, and really, sounding the best he ever has. Dahlia’s voice has a hint of that tough-guy, New York punk edge. But, tied in with that is the sort of tenor found in the classic crooners like Dion and Frankie Valli.

In fact, in that fluctuation, the band sort of revealed their gambit. Forever “shocking” flare, there’s a degree of thought and tactics below. Take “Sluts of the USA,” for example. On its surface, the tune bends sock-hop jumping into a randy statement about sex. But, if you inspect the song’s actual lyrics, the band never applies a gender to the titular sluts. That is, if you assume the sluts are of one sex, it sort of shows how the listener reacts to the music, as opposed to what the music is actually saying. The song might be ribald, but because it doesn’t actually apply the tag to any particular group, and even moreso, doesn’t pass judgment on the so-called “Sluts” and in fact, actually praises them, in some ways, The Dwarves are politically correct. I’m not sure who is messing with who, on this one. Either way, this band kicks ass live.