Now in its seventh year, TraniWreck, the brainchild of Aliza Shapiro (aka Heywood Wakefield) combines many facets of LBGT culture and entertainment for an experience that is ribald, kitschy, and just plain fun. In their own words, ”TraniWreck is the legendary, award-winning, cabaret variety show featuring genderbending irreverence: Drag, Burlesque, Aerials and Performance Art. Since 2004, TraniWreck has been the home of brilliantly revealing costumes, inconceivably long nails, facial hair of astronomic proportions, gold lamé, debauchery and more attitude than a $13 cocktail” – and that’s 100% accurate. TraniWreck’s “TraniWrock” event at Club Oberon alternated between freewheeling cabaret, stand-up comedy, campy skits, and daring aerial maneuvering – the show was packed with excitement! The evening also included Teenbeat’s Cotton Candy (label honcho and ex-Unrest founder Mark Robinson, and ex-Blast Off Country Style singer Evelyn Hurley) to provide some mutated jingles to cover costume changeovers.
Once the parade of glitter, latex, fishnet and lycra was over, it was time for the return of Come. For those not in the know, Come was an amazingly powerful band during their reign in the ’90s, and for my money, hands-down the best Boston band I’ve ever heard! They did a two-date world tour last year (a warmup gig at TT’s the week before Matador’s 21st ‘Lost Weekend‘ anniversary blowout in Vegas), and tonight would be the first of another two-parter (they played in Brooklyn on Saturday, along with Eleventh Dream Day). The bristling, spiky, blues-soaked dual guitar attack of Thalia Zedek and Chris Brokaw remained intact, and original rhythm section Sean O’Brien and Arthur Johnson just crackled with power and precision. I can’t really think of another band that can meld two distinct guitar sounds so well; certainly they are up there in the pantheon of greats like Television, Thin White Rope, and The Church (though sounding wildly different from any of those).
Sticking with early material, (aside from the scintillating “Cimmaron” when Michael David Curry joined in with violin,) the set list didn’t vary too much from last year’s show, except that it was a bit shorter. While I would have loved to hear even more of their second record, the sublimely brooding “German Song” and “String” were played, with the latter featuring the kind of guitar work that should be held up as an example nonpareil in regards to a two-guitar attack. Breathtaking stuff indeed, and the venue was filled with people gasping at their luck to hear it once again. I don’t expect to see Come play again in the near future, but I’m extremely grateful that I was able to see them again at the height of their prodigious powers not just once but thrice.
DISCLAIMER: Depending on your place of employment, these pictures might be considered to be Not Safe For Work. If you’re worried about it, just wait until you get home to check them out… but make sure to give them a look because this spectacle is not to be missed!
Thanks to Tim Bugbee for the amazing photos, and the review as well! See more of his work at Tinnitus Photography!
TraniWreck is produced by Truth Serum Productions. You can catch their next show on May 19th, see their website for details!