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The first cold snap of the season may have kept potential concertgoers from attending Unified Theory's first appearance at The Middle East, a musical hotspot at the convergence of Brookline Street and Massachusetts Avenue (otherwise known as Mark Sandman Square). Whatever the reason, a smattering of diehard music fans enjoyed an impassioned performance of songs from the band's debut album—Unified Theory—in a surprisingly intimate setting. Despite the paltry turnout, the band blazed through a stirring set that showcased their uplifting, kinetic take on the hard rock form, displaying a professionalism that masked any disappointment over circumstances inside the venue. As members of Blind Melon, Christopher Thorn and Brad Smith once played for thousands at the second Woodstock, yet both seemed overjoyed by their new band's sound, as they performed in the basement of a club which holds almost six hundred but failed to house even a quarter of that.
Upon taking the stage, Unified Theory tore into "Cessna" (which also leads off the group's album) with the elfin Thorn presiding over lap steel. Wide-eyed frontman Chris Shinn looked like a kid on Christmas morning, apparently still beaming from the good fortune of landing a gig with two established rock veterans. Multi-colored dreadlocks, painted fingernails, and patchouli stench notwithstanding, the newcomer was impressive all night, balancing his Icarian vocals with rhythm guitar duties. Smith lent his efforts to the sighing vocal riff that weaves its way through this expansive number, while forcefully holding down the bottom end. This dynamic performer proved to be an indispensable cog, supporting each offering with his unrelenting bass lines and melodic backing vocals. At various points throughout the set, Smith could be seen jamming on a groove with one ear placed up against his stack, the rest of his body bobbing in sync. On "Self Medicate," "Fin," and "Keep On," Thorn was a mad alchemist blending overdriven pedal steel, a range of guitar effects, and carnival-like keys into a rich mix that gave the band's sound another dimension. Whether hunched Igor-like over his tiny electric piano, sliding towards near disarray on the lap steel, or bending his guitar's neck to emit strange and unusual tones, he always had an eye on the next level, but kept his experimentation within the boundaries of melody. Journeyman drummer Dave Krusen shared the rhythmic workload with Smith, allowing Shinn and Thorn the freedom to shoot for new dimensions of sound—a freedom that perpetuates the feeling of upward momentum in the music of Unified Theory.
"Wither," a dreamy ballad tinged with melancholy,
was brought to life by the manipulated tones of Thorn's guitar, a unique
rhythm pattern, and an ecstatic chorus. This song, along with an accurate
reading of Pink Floyd's "Breathe" and the gorgeous, meandering encore "Not
Dead," helped flush out Unified Theory's mellower side. Judging from the
sunny visages of those inhabiting the first ten feet of space beyond the
stage, the show was quite a steal. Here were four talented musicians, at
or near the top of their game, basking in the glow of the twelve song-record
they had recently brought to life, all the while completely ensconced in
the joys of performing together as a band. It's true that Unified Theory
resides in a somewhat ignored eddy within the flow of modern music: the
band is not easily categorized on a landscape brimming with heavier rock
outfits, indie artists, and rap-rock hybrids. Nevertheless, try asking
the few who spent a mere eight dollars to see this spirited and utterly
rocking group, up close and personal, if they really cared about all that.