Concrete Blonde Gets Down to Business at the Whisky

Fans of L.A.’s Concrete Blonde might like to think that the only thing standing between the band and international acclaim has been the business troubles that have prevented it from releasing a follow-up to the dynamic debut LP of two years ago. Saturday’s show at a packed Whisky, the second of a two-night stint at the Hollywood club, did nothing to dispel that notion.

The 75-minute set was dominated by new material--tough and touching tales of being lost in Hollywood without a compass that at least matched those from the debut. The biggest change for the band is the addition of bassist Alan Bloch. The move--though apparently eliminating some of the near-chaotic edge the band once had--has freed former bassist Johnette Napolitano to be more expressive as a singer (despite a cold-ravaged voice Saturday) and performer.

The best reference point for Napolitano’s range and charisma remains Chrissie Hynde, with the band’s music straddling the line between powerful hard rock and intelligent alternative pop, emphasizing the smart and commercial properties of both. And there was certainly nothing Saturday to indicate that the business hassles (reportedly nearing settlement) have diminished the band’s quality or appeal.

Taken together, the two opening acts portrayed almost as thorough a picture of contemporary Hollywood rock as the headliner does. Flesh and Blood, which offered L.A. street-metal with a good dose of Iggy Pop/Jim Morrison influence, could develop into a hard-rock contender. A bit more interesting was Apache Dancers, a trio that made intriguing neo-Hollywood hillbilly folk with a twist: singer Bernadette Colomine’s French accent and occasional French lyrics.