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Novelty can take you to high places in pop culture, but it won’t keep you there. At some point you’ll need talent and substance to sustain you.
When the band Paramore arrived on the scene in 2005, it had the look of a novelty, thanks to its lead singer, the diminutive Hayley Williams, a 16-year-old mighty mite with a siren voice who combined a cheerleader’s enthusiasm with a biker-chick’s strut and pose.
The band struck a deep, immediate chord with the girls in the Warped Tour crowd, but, as it turned out, there was more to Paramore than what initially met the eye.
Two more albums and four years later, Paramore is selling out 2,000-person rooms like the Uptown Theater, which is what it did Wednesday night. And it is attracting fans of both genders as young as 12 and others well into adulthood. Williams still has a lot to do with that — she has plenty of charisma and flash — but so does the four-man band behind her and the songs it produces.
The performance Wednesday was a make-up show for one postponed in October. Williams apologized for that and then told the crowd she and a few guys in the band weren’t feeling so good again, but they had soldiered on, with the help of medicine.
She didn’t look or act like she was under any weather. The band’s set lasted barely 70 minutes, but they spent that time roaring through 17 songs. Dressed in a white tank top (did that say Morrissey on the front?) and snug blue jeans, Williams (she’s blond on this tour) looked a lot like one of the several hundred young girls in her own crowd, most of whom bounced and danced and sang along to nearly every song, including several off the brand-new album, “Brand New Eyes.”
Paramore takes the emo/punk thing into other places — somewhere in the vicinity of hard rock and progressive rock. The results can be a winning mix of something hard and something sweet, as in “That’s What You Get.” During that one, Williams turned the microphone toward the crowd, which roared back the chorus in unison (including the big “whooah-oh-oh”). She got similar responses to “Emergency,” “Crushcrushcrush” and “Decode.”
She is the band’s face and persona, but the guys who accompany her are its muscle and shine. All are between the ages of 19 and 24; they sound as refined as a band twice its age.
They ended the night with a three-song encore that began with something mid-tempo, “Misguided Ghosts,” and ended with two firestarters: the frenetic “Misery Business” and then “Brick by Boring Brick,” a melodic rock anthem that rides a stick-in-your-head guitar riff sounding like something Tom Petty would write.
By the end of that one, the boys in the band Paper Route, one of the openers, were onstage, joining in on the chaos and high jinks. She was outnumbered by males about 9-to-1 at that point, and she was the smallest person on stage, but Williams still looked like the one in charge.
Paper Route: They are out of Nashville, but their sound is modern alternative rock larded with synthesizers. If you cubby-holed them on your iPod, they’d be in the same section among, say, Coldplay, Elbow and M83 — big songs that sound even bigger and more dynamic live. During “Gutter,” they evoked the sound of ’80s synth bands like Tears for Fears.
The Swellers: They’re from Michigan, and they’ve been around in various forms for about eight years. I caught their last song: 140 bpm power-pop/punk.
@Nyx.CommentBody@