“Lyrics about earth power over ska parts… ah... the late 90’s,” frontman Erik Petersen mused to himself from the stage. It was the Kettle Rebellion’s first show in 12 years, their sixth or seventh ever performance, and, in all likelihood, their last. But, despite the band’s limited lifespan at the Fire in Philadelphia on October 11, 2014, by the crowd’s reaction, you’d have thought that the band had been touring consistently for the last decade.

By now, the story has been told and told over. After the breakup of Philly rapscallion-punks the Orphans, Petersen formed a new band with John Foy on bass and Doc Kulp on drums with the intent of merging Old World charm with new world Raw Power. But after a mere six shows and recording a debut LP, some jackass stole the band’s masters, preventing them from actually releasing the album. Frustrated, the band broke up.

Later on, Petersen would form Mischief Brew and bring along some of the old Kettle Rebellion tunes for the ride. Eventually, Doc Kulp would join as the band’s guitarist. Meanwhile, John Foy moved to New York and became notable film recording artist.

But, following the unearthing of forgotten Kettle Rebellion masters, the band, just this year, was finally able to release the long lost self-titled album. To celebrate this momentous occasion, they played a one-time-only show.

Despite that these songs were over a decade old, and despite that Petersen made nostalgic references to Wolf Cycles and forgotten venues throughout the night, the show didn’t feel like a history lesson. Rather, it seemed like the unveiling of a long lost band that no one knew about but were all of a suddenly, really excited to see.

The band opened with a slamming version of “Seeking the brave.” Live, it became apparent at just how different Mischief Brew is from Kettle Rebellion. Wavering between four to six members, Mischief Brew is a massive, powerful unit hat relies on powerful songs and even moreso, an unpredictable swinging rhythm. Mischief Brew rises and falls through their set, gaining momentum until eruption and then settling back down. really, its probably their core strength.

By contrast, Kettle Rebellion is a power-trio in the classic sense. Indebted to the early crust/anarcho punk chargers, Kulp lashed the band forward at a rapid, sprinting pace. Energized by the pulsating energy, Petersen and Foy both vibrated with energy, poging or buzzing around the stage, ripping out the band’s muscular, but intricate lines as fast as they could. Similarly, while Mischief Brew’s instruments often form into a clanging, shifting mass, the three-piece Kettle Rebellion played more off contrast and interaction, than they did in coagulation.

The band played the entirety of the sole Kettle Rebellion LP as well as a few tracks that were not quite Kettle rebellion tunes and not quite Mischief Brew tunes found on the Boling Breakfast early demo cassette. Petersen himself was electrified. Namely, on “The master is a drunkard,” his eyes flared open and he literally screeched “The master is a bastard!” like his skeleton was about to jump through his own skin. John Foy played the part of the anchor. Throughout the night, he alternated between radiating up-and-down, nearly hitting his head on a low ceiling and setting down, spreading his legs, and blasting out the rumbling backing track which gives the band their anarcho-punk aftertaste.

Fittingly, near the end of the set the band played a Subhumans cover… a very special cover. Technically, Kettle Rebellion reunited a few months ago at the Subhumans show where they played two songs together. So, at the fire, to pay tribute to the reunion as well as their influence, they played the entirety of the Subhumans prog-punk classic “Cradle to the grave”… al 17 minutes worth. Simply put, it was wild.

It would probably be unfair to hope for Kettle Rebellion to be reborn because frankly, its progeny, Mischief Brew, is doing its very best work to date. But, what a way to rise from the dead for a single day.

The show opened with newer Philly punks, the Westboro Baptist Choir. Fronted by a manic frontwoman, the band smashed out minute long hardcore bangers that verged on the avant-garde while their frontwoman squawked, screamed, yelled, and shimmied around the stage. It was frantic and weird and I expect good things from this group in the future.

Just before Kettle Rebellion, Godammnit played a short, but well received set. Fronted by Creep records owner Arik Victor (who also recorded the Kettle Rebellion LP), the band kicked out about two handfuls of gruff melodic punk. While the tunes were introspective, focusing on whisky and personal growth, the band wisely keeps their tunes moving along with a bit of fire in their bellies. The audience enjoyed the set quite a bit and seemed disappointed that the set ended. Basically, this band was made for the org.

Random Notes:

-I was driving my mom’s car (don’t ask) which is a Buick Rendezvous- a more “mom van” you could not possibly find. Pulling up in front of the venue, I basically received the 12 most disgusted looks I have ever received from a group of young punks.

-CELEBRITY FASHION WATCH: World famous, mononymic photographer YONI was spotted in a classic Ramones style leather jacket. Between each photo-snap, he uttered to himself phrases like “C’est manifique…” and “J’aime beaucoup…” Record mogul, Fistolo CEO Denise V had her hair tied back in tiny ponytail, showing off her crimson locks as well as tastefully implementing a hairstyle for the fall. It said, “the summer is gone, but the autumn has a certain whimsy.” Yours Truly had on the classic Cro-Mags nuclear explosion shirt. Age of Quarrel never goes out of style.

-Setlist:
Seeking The Brave
Victory Dance Of The Outlanders
Away With Purity
Doomsday Evening
One Stone Cast
Barratry Call
The Master Is A Drunkard
The Stone Worker
A Liquor Never Brewed
Storming The Sandcastles
From The Cradle To The Grave (Subhumans cover)
Weapons