Headstash

STS9 Confirms 2012 Axe the Cables At California Winery

The livetronica quintet will "Axe The Cables" once again.

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STS9 Announces Red Rocks Great Cycle Spectacle

Although STS9 has no plans for an official tour in 2012, they are holding a select number of “Great Cycle Spectacle” shows in celebration of the end of the Great Mayan Cycle. These select shows wouldn’t be complete for Tribe without an appearance at Red Rocks Amphitheater.

STS9 has announced that they will hold a single-night “Spectacle” at Red Rocks on June 16 in Morrison, Colorado. Tickets go on sale exclusively through the STS9 Store on Friday, March 9 and drop for the general public on Saturday, March 10.

Other “Great Cycle Spectacles” will be happening for two nights in Oakland, April 20 and 21 and New Orleans on April 27. If you can’t make it to these Spectacles, you will have to get your Tribe fix at one of the other festivals they are appearing at this summer – Nocturnal Wonderland, The Hangout, their own Re:Generation Festival or Electric Forest. Check out all the latest festival news, announcements, and analysis in the 2012 Headstash Festival Guide.

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Source: STS9

STS9 Announces Evening of "Sector 9" in NOLA

It's been an exciting week for fans of STS9, particularly those of us in the South. Coming on the heels of their recent announcement that they would headline Nocturnal Wonderland in Texas, the boys announced earlier today that the night before their Nocturnal performance, on Friday, April 27, they would be returning to the Big Easy for a special night of "Sector 9."

If you follow STS9 at all, you're probably changing your pants right about now. The last time STS9 alluded to "an evening with Sector 9," was New Year's Day of 2011 in Aspen, Colorado. That set featured some very special and seldom played tracks including "Nautilus," a dubbed-out "Tokyo," "King Pharaoh's Tomb" and "Dance."

Based on previous performances in the city as well as previous "Sector 9" performances, one can only anticipate what they have in store for NOLA as they take the stage at the River City Ballroom at Mardi Gras World.

The band also announced that their performance at Nocturnal Wonderland would be a "Great Cycle Spectacles" show, sticking to the theme during this pivotal year in time. 

Tickets and more information regarding both events will be available soon so keep checking back here at Headstash or visit their official website for more details.

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Source: STS9

STS9 Announces Oakland Great Cycles Spectacles

The next installment of STS9's Great Cycle Spectacles will bring the band to Oakland, California's Fox Theater on April 20 and 21. Steeped in Mayan tradition, something the brand has embraced nearly since their inception, STS9 has already performed two-night stints in Chicago and Denver with a brand new stage set-up. Complete with massive LED structures and various vocal interludes to go along with new songs and old-school bustouts, the GCS shows have been massively successful.

Check out Headstash Magazine's review of the Denver shows to get a sense of what to expect. Bassist David Murphy has already intimated that all shows in 2012 will be GCS in lieu of a legitimate tour, so this might be one of your few chances to catch the band on the West Coast. 

But you can catch them at Horning's Hideout in North Plains, Oregon this June 21 to 24 for the third Re:Generation Festival, announced earlier this month.

STS9 is also scheduled to bring their Spectacles performance for two nights at Electric Forest in Rothbury, Michigan and to perform at The Hangout in Gulf Shores, Alabama. For more information on either festival, check out our 2012 Festival Guide.

Tickets go on sale Saturday, February 25 at 10:00 a.m. PST on STS9's website. Public on-sale starts Sunday March 4 at 10:00 a.m. PST. Tickets are sure to sell out so get yours soon.

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Source: STS9

REVIEW: STS9 Great Cycle Spectacles In Denver

The hype machine was in overdrive in the days leading up to STS9’s first installment of the “Great Cycle Spectacles” this past weekend in Denver, Colorado. These performances, held in correlation with the current phase of the Mayan Calendar, had been heavily promoted as a celebration of music, art, expression, widespread communication, connectivity and understanding. Both nights at the Fillmore Auditorium sold out in advance, making expectations all the greater.

The energy in the room was palpable as the house lights dimmed and blanketed the audience in a faint purple glow from the chandeliers above. A cryptic galactic greeting welcomed attendees. After our cosmic flight attendant finished her spiel, an LED pyramid appeared, artfully adorned with ancient Technicolor glyphs. Mere words do not do justice to the revamped light show, created by STS9’s visual alchemist, Saxton Waller.

The first song of the night was “20-12,” a new track that bassist David Murphy noted was the reincarnated “T.W.E.L.V.E.,” an old favorite that has been retired. Sticking to newer material, “Vapors,” which made its debut during the five-night New Year’s Eve run in Atlanta, was up next.

This track has great potential for growth. Marked by vibrant instrumentation, no laptops or midis and lots of room for improvisation, this tune was welcomed by both longtime and new fans.

[FIND news, downloads and tour dates on STS9's official website.]

“Looking Back on Earth,” a rarely played cut off the 2010 album, “Ad Explorata,” was the third song of the night. During this song, the listener feels as if they are in binary orbit, suspended in a motionless, yet incredibly charged state. This version seemed heavier than ones of shows past and drummer Zach Velmer was exceptional, pounding the skins with vigor.

In high contrast to the powerfully pulsating “LBOE” was an airy and joyful “Breathe In.” Sound Tribe knows just how to take the listener to their mental and physical edge only to place them down ever so gently, and this two-song segment was a prime example. As usual, pianist David Phipps shined, especially so during the section where he takes center stage, both literally and figuratively, for a beautiful and melodic piano solo.

“Circus,” a crowd-pleaser known for producing the typical side effects of hugs, laughter and uncontrollable happiness, was the next welcome addition. Well played, albeit typical versions of “The Rabble,” “Simulator” and “Arigato” followed, before the band broke into the most inventive and exciting portion of the evening to close out the first set.

[FOLLOW STS9 on Facebook.]

An inspired and jazzy “Kamuy,” got things started. Midway through the song, Murph, Phipps and guitarist Hunter Brown walked off stage leaving only Velmer and percussionist Jeffree Lerner to continue the groove.

When the rest of the band returned, Murph and HB had exchanged their usual guitars for acoustics and began a soothing rendition of the seldom played “Peaceblaster” track, “The Fog,” which, after a massive build-up, segued masterfully back into an acoustic “Kamuy” to end the first set.

With the new visual rig and a good flow to the first setlist, the Spectacles were off to a great start. The second set, however, could not eclipse the magic of the first.

Highlights were a spooky “Abcees” and a rare and aptly chosen “The Spectacle,” which made its second appearance in as many shows after being dusted off during the New Year’s run. Much like so many of STS9’s songs, “The Spectacle,” is enjoyable to see when translated from the minimalist album version, to a much more dynamic and powerful live song.

The set closer was “Economic Hit Man”, better known by the heavy-hitting acronym, and equally heavy-hitting bass line that defines “EHM.”

After a short break, the band appeared one final time and began the encore with “F. Word,” before finishing with a well-played but typical version of “Aimlessly.”

As the first Spectacle drew to a close, I was filled with cautious anticipation of what was to come on the final evening with STS9. The evening had its moments, especially the flashes of inspired variation towards the end of the first set, but the weekend was far from over.

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01.13.2012 – Fillmore Auditorium – Denver, CO

Set I: Intro > 20-12, Vapors, Looking Back On Earth, Breathe In, Circus, The Rabble, Simulator, Arigato, Kamuy > Drums > The Fog¹ > Kamuy¹
Set II: Scheme > Rent, Abcees, The Spectacle, Grizzly, Moonsocket, March, EHM
Encore: F. Word, Aimlessly
¹acoustic

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After an opening night where a dazzling new visual experience took center stage, a lot hinged on the second evening’s installment of the “Great Cycle Spectacles.” On night two, STS9 stood and delivered one of the most cohesive, well-played sets that I’ve seen to date.

A similar galactic greeting welcomed guests once again before the band appeared and began with “Hidden Hand, Hidden Fist,” another song that was in regular rotation during fall tour. “Be Nice” was up next and was a particularly bouncy and inspired version. After playing the opening sample to “Twilight,” which elicited a brief round of raucous applause from many in the audience, the eerie sample subsided into “Shock Doctrine.”

The night appeared to be headed in a direction very similar to the night before, however, that all changed when the opening notes to “Grow” rang throughout the auditorium. This old-school gem has the potential to transform a show from a misguided, aimless voyage to a clear, intentioned journey, and was exactly the transitional tune that the doctor ordered. Hunter’s clean, cutting tone plays wonderfully over the consistent, riding bass notes that emanate from Murph’s bass.

The groove would not be stopped as the boys segued masterfully into a super funky version of “Vibyl.” After a fun and upbeat “Golden Gate,” that had the entire crowd clapping along with Murph, came the gem of the night, a powerful and uplifting, “From Now On.” The long, drawn out build-up coupled with the slow, single note playing by HB during this song combines to create an experience that can only be described as spiritually surreal. Lighting designer Saxton Waller was on point during this track, utilizing just the right mix of glowing shadows and illuminated beams to engulf the band.

[FIND complete lineups, ticketing information and analysis in our 2012 Festival Guide.]

The set closer was a special treat for the fans who decided to stick around rather than head for a $9.00 beer, as pianist David Phipps sat alone at his piano and played a beautiful couple minutes as a glowing Mayan pyramid pulsated in the background.

During set break, an image resembling what one would see through the front windshield of a spacecraft filled the screen, as soothing bleeps and hums carried us into the beginning of the next set. This was clearly the calm before the storm.

“GLOgli,” continued the highly charged evening with the band taking their time, allowing ample room to jam. After “Squares and Cubes,” an old-school tune that has fortunately been back in regular rotation as of late, the highlight of the weekend began. As Murph plucked the telltale notes to one of STS9’s most popular songs,“Kaya,” anxious excitement filled the room.

On this evening, compared to more recent shows, the boys had all the time they needed and didn’t rush through songs that need a good 10 minutes to really reach their full potential. As Saxton painted a beautiful canvas with his signature ROYGBIV colored lights, the song reached its triumphant peak as Hunter’s guitar soared and Zach pounded the kit with sound-barrier defying speed. Sweet release!

A reworked “Atlas” was up next with some cool Technicolor cloud-like visuals panning across the screen before the stage fell into a cool blue-green glow. A short, plucked sequence of soulful, jazzy bass notes signaled the beginning of “Equinox,” and the Fillmore absolutely erupted.

[FOLLOW Headstash on Facebook.]

The band played with such passion and precision during this version of an old favorite with lots of improvisation from each member, particularly some thumping bass.

The band returned for the encore and thanked their devoted fans for packing out “one of their favorite venues in one of their favorite cities to play in,” before the lights dimmed for one final time.

The vocal sample from 80s group Dee-Lite asked the all-too-poignant question, “What is love?” and away they went, producing an excellent version of this 80's cover. The final song of the night was a reworked, half-time version of “Scheme.” Although the original version was dropped the night before, it still closed the evening nicely.

In the end, it is fair to say that the first installment of this celebration of new beginnings, and of endings as well, may signify something other than the obvious links to the Mayan calendar, and the cycle of natural time we are currently experiencing. If there is one constant in life, it is change, and we were all reminded that during the first Great Cycle Spectacles weekend in Denver.

As time changes, so do each one of us, and so too does the soundtrack to our collective journey. And while LED screens, laptops, and midis are most certainly in our future, so are live instrumentation, improvisation, and most importantly, ever-evolving imagination.

2012 is going to be quite the spectacle.

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01.14.2011 – Fillmore Auditorium – Denver, CO

Set I: Intro > Hidden Hand, Hidden Fist, Be Nice, Twilight, Shock Doctrine, Grow > Vibyl, Golden Gate, From Now On, Interlude > Instantly, When The Dust Settles > Keys
Set II: The Unquestionable Supremacy of Nature > Peaceblaster '08 > The Unquestionable Supremacy of Nature, GLOgli, Squares and Cubes, Kaya, Interlude, Atlas, Equinox, MOD, Inspire Strikes Back
Encore: What is Love?, Scheme Reprise

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STS9's next scheduled "Great Cycle Spectacle" is at the Congress Theater in Chicago, IL on January 20 and 21. For complete list of tour dates and more information, visit their official website.

STS9 - Dec. 31 - "Raging dance party with two new songs and a double encore."

Headstash Magazine will have daily coverage of Phish, STS9, The Disco Biscuits, Umphrey's McGee's New Year's Runs as well as SnowGlobe festival in California. We'll also have in-depth coverage of Lotus, The New Deal, moe. and Pretty Lights.

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STS9's New Year's Eve run will take them back to The Tabernacle in Atlanta, Georgia for five nights after a two-year hiatus from the venue. Stay tuned for coverage from all the nights.

December 27 - The Tabernacle - Atlanta, GA
December 28 - The Tabernacle - Atlanta, GA
December 29 - The Tabernacle - Atlanta, GA
December 30 - The Tabernacle - Atlanta, GA

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December 31 – The Tabernacle – Atlanta, GA

Set I: Artifact > New Song, Abcees, Inspire Strikes Back, King Pharaoh's Tomb, Circus, Vapors, Aimlessly
Set II: Countdown > Auld Lang Syne, 20-12, Scheme, EHM, Breathe In, When The Dust Settles, Arigato, Moonsockets, Instantly, Rent
Encore I: Shock Doctrine
Encore II: The Spectacle

Crowd Atmosphere: Wildest crowd of the run with more outstretched arms during more songs. Everyone was ready to let loose and STS9 obliged with some banging songs that peaked and re-peaked all night.

Best Song: King Pharaoh's Tomb

Bustout of the Night: The Spectacle

Best Jam: Instantly

Best Moment: Murph began to hand the bottle over to someone backstage after his emotional countdown speech, then grabbed it back, took two long swigs and smiled before finally handing it over. But really, it was all of Murph's speeches. A little under a year ago, he was battling cancer and his and the band's futures were unknown. Now, healthy and prepped for a long future, he's happy and loving life and it shows every minute he's on stage.

Sloppiest Moment: Opening with a new song without any prompting elicited some confused reactions and was an odd choice.

Lights Review: Maybe the best lights of all the nights. The LEDs were much more subtle and Saxton took over with a lot of colorful and vibrantly dynamic choices that brought out the appropriate feeling in each song.

Twitter Recap: A raging dance party, two new songs and a bustout double encore - just what everyone expected and wanted.

Other Notes: After Up Until Now's retro-modern electronic music set the tone for a raging evening, STS9 took the stage with a Hunter-led, bouncy new song that has yet to be given a name.

Though an odd choice to begin one of the most anticipated shows of the year, Saxton's lights were on point and the song had a positive, uplifting feel to it.

The familiar sirens of "Abcees" began and the crowd really started to let loose.

Strong, bright lights pounded the crowd in tune with the harsh bass and airy synth. Unlike last night where the audience waited until late in the show to really respond, this perfectly placed song got everyone moving early.

Each section seemed exaggerated and patient with Murph's crashing ending and Hunter's fast-paced guitarwork laid the foundation for Zach to take over with some was assaulting drumming.

Despite Murph's Facebook promises of no repeats for the run, the band did indeed play "Inspire Strikes Back" and later on "Moonsockets," "Scheme" and "When The Dust Settles" for the second time in five nights though the last two were played fairly differently each time.

Though played on the 27th, "ISB" remains one of the most accessible song in their catalog with two distinct and obvious peaks.

Next was "King Pharaoh's Tomb" which was a slow and smooth reggae jam that straight hypnotized the crowd. There's not one central part nor epic conclusion - it's just a jam you start dancing to and lose yourself as it slowly picks up the pace. It's not about the cheap explosion, as it gets even more groove-oriented as the song progresses.

While it might not seem like the best choice for a show like this, it in fact was one of the most well received songs of the night. The setlist construction was really well done.

"Circus" followed and had the crowd on edge for it's exhilarating ending and newer breakdown. Another new track, "Vapors" debuted to some raucous cheering with a trancey, Disco Biscuit's like speed to it. "Aimlessly" ended the first set on a high note with an ending section that they wrapped up in unison.

After setbreak, the band came on just before midnight and Murph gave an emotional speech before counting it down and having silver confetti fly from the ceiling.A short "Auld Lang Syne" came before the expected "20-12" as the first song of the new year.

It was clean and crisp and the perfect song structure to get people back into the show. After "Scheme" - this time the familiar version we've heard since it's debut - was "EHM," the most profound self-described "banger" in their catalog.

Phipps' screechy synth built up the best energy of the entire week as the crowd "woo-ed" along with Murph in excitement.

An anthemic "Breathe In" followed, which was a nice juxtaposition of their well-documented distinct styles of music.

Though oft played, "Arigato" had a great jam and somehow elevated the energy in the room after so many expelled it during the peak of "Breathe In."

The set ended with "Instantly" which featured the best jam of the night in a synth-laden journey with some masterful guitar from Hunter and a "Rent" that had everyone grooving into the encore.

The band came back with a "Shock Doctrine" for the first encore and then walked off and came back once more with Murph expressing his love for the crowd and the crowd giving it right back before busting out "The Spectacle."

A song off "Peaceblaster" that doesn't get much play, people swayed their hips as the band methodically went through the song and wound down the evening.

It was a great cap on a solid run that was consistent throughout. Here's to a great 2012 and the upcoming "Great Cycle Spectacles."

- Nick Rhodes

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Stay tuned as we continue to review STS9's New Year's Eve run and all your favorite bands as they countdown to 2012.

What did you think of the show? Let us know in the comments section.

STS9 - Dec. 30 - "Roller coaster of reworked songs with Phipps absolutely taking over all night."

Headstash Magazine will have daily coverage of Phish, STS9, The Disco Biscuits, Umphrey's McGee's New Year's Runs as well as SnowGlobe festival in California. We'll also have in-depth coverage of Lotus, The New Deal, moe. and Pretty Lights.

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STS9's New Year's Eve run will take them back to The Tabernacle in Atlanta, Georgia for five nights after a two-year hiatus from the venue. Stay tuned for coverage from all the nights.

December 27 - The Tabernacle - Atlanta, GA
December 28 - The Tabernacle - Atlanta, GA
December 29 - The Tabernacle - Atlanta, GA

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December 30 – The Tabernacle – Atlanta, GA

Set I:  Be Nice, Empires Part II > Move My Peeps, Scheme, Lion, Golden Gate, Frequencies DnB > Frequencies 2 > Frequencies 3, Atlas
Set II: This, Us, Hidden Hand, Hidden Fist, Metameme, Satori, Looking Back On Earth, Firewall, March, When The Dust Settles, The Unquestionable Supremacy of Nature
Encore: From Now On, The Rabble

Crowd Atmosphere: Usually a crowd starts off crazy and tapers off as their energy wears thin, but in this case, the room got louder and the vibes were strongest (with the crowd and the band) at the end of the show before peaking during the encore.

Best Song: Satori (Crowd grooved hard during this song.)

Bustout of the Night: Looking Back On Earth

Best Jam: Looking Back On Earth (Reworked ending.)

Best Segue: The three "Frequencies" weaved in and out of each other nicely.

Best Moment: The band and crowd's energy during the "From Now On" encore.

Sloppiest Moment: Hidden Hand, Hidden Fist (Though the ending was strong and definitely made up for it.)

Lights Review: A lot of LEDs last night and the lights during "Atlas" were absolutely blindingly bright. But when when the LEDs wee off and Saxton was given freedom to light as he pleases, he was masterful.

Twitter Recap: The debut of "March," which has some potential and a lot of songs were reworked and tweaked. Phipps took over.

Other Notes: A slower, growling intro to "Be Nice" started things off on a strong note. In what became the theme of the night, Phipps' emphatic synth work pulled your ear before Murph's residual bassline slowly made its way to the forefront.

By the fourth night of the run with already so many expectations met, the crowd's energy was lower than the previous shows but got progressively more raucous as the band fired through a host of fan-favorites with excellent musicianship.

In the two-hole was "Empires," a song that runs a wide range of emotions but never to the extreme on either end. A segue into "Move My Peeps" was both surprising (as normally "New Soma" comes next) and well executed.

The LEDs during "Move My Peeps" featured sea turtles and other underwater life for an extended period of time which felt a bit random and unnecessary. Thankfully, Saxton took over with a beautiful "ROYGBIV" design near the end as Zach's arms moved frenetically as he built up the drum and bass jam.

Another theme of the night would be reworked and re-reworked songs. Probably the most played song of 2011, "Scheme" was completely different and slowed down for a more sultry feel rather than the usual raging one. Though the sample remained in the beginning, the ending electronic one was absent.

It evoked imagery of a slow-motion scene in an action movie as people slowly grooved to and fro in accordance with the infectious backbeat. The song was a welcome divergence if for no other reason than STS9 continuing to evolve.

After "Lion" and an emotional "Golden Gate" that elicited the most boisterous reaction of the first set, the band launched into a "Frequencies" suite.

The "Frequencies DnB > Frequencies 2 > Frequencies 3" segment was long, patient and though the transition from one to the next was clear, it was smooth and organic.

Phipps completely took over for all three songs with a synth that ran the gamut from light and airy to dark and menacing - all at the absolute appropriate times.

By the time "Freq 3" hit, you could feel the band building up to something speciall. At the ultimate peak, it felt like a controlled mess of chaos with Phipps holding it down and pulling the jam into the right direction.

"Atlas" closed out the first set with some really bright and frankly a bit overwhelming LED screens.

After a long set break, the second set opened up with an especially spooky version of "This, Us" which was a lot like the "Twilight" set two opener earlier in the week.

A sloppy first half of "Hidden Hand, Hidden Fist" was made up for by Zach's inspired playing during the breakdown and ending.

"Metameme" had images of spinning, melting clocks on the LEDs, like something out of a Salvador Dali painting. But this was only the first of at least three other starkly different animations.

The highlight of the night was a flawless "Satori" with colorful, dynamic lights by Saxton and an intense back and forth between Hunter and Zach. The crowd roared during this song and picked up steam with every passing minute from here on.

A rare and completely reworked "Looking Back On Earth" followed with a spacier and darker middle and ending jam. The version felt very deliberate throughout like they had a point to make with the music. It was Nine Inch Nails-like in its darkness.

On the opposite end of the spectrum, this roller coaster of a show had "Firewall" next, a song Phipps controlled from beginning to end. This jam, debuted during last year's New Year's Eve run, really is unlike anything else in their catalog. Phipps' improv at the end was punctuated by Zach's best drumming of the night.

A new song, called "March" by STS9's Twitter, was dark, but fun and had a TRON/Daft Punk feel to it.

After reworking "When The Dust Settles" for the summer garnered great reviews from fans, it was curious to see them revert back to the original version for the first half. The ending jam is pulsating, though, andit still retained Phipps' fluttery keys and Hunter's wailing guitar parts.

"The Unquestionable Supremacy of Nature," a song I would have bet money would have shown up on December 31, ended the set with a jungle beat ending that was creative and different than normal.

While some crowds take the encore for granted, this one implored them to return to the stage with minutes of screaming, stomping and clapping.

"From Now On" was an excellent encore choice and the crowd and band alike moved with swagger as the rocking song with ethereal undertones progressed. The song was uplifting and just what the crowd wanted.

Closing the show with "The Rabble" further solidified Phipps' title of MVP as he consistently drew the wildest cheers of the night.

This version was dark and dirty with some great flourishes on the keys and nothing short of hypnotizing lights. After it was over, no one wanted to leave the stage or the floor until the house music finally came out over the PA.

With one more night to go, there are still a lot of great songs in the queue and at least one or two new tracks expected.

- Nick Rhodes

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Stay tuned as we continue to review STS9's New Year's Eve run and all your favorite bands as they countdown to 2012.

What did you think of the show? Let us know in the comments section.

STS9 - Dec. 29 - "Great mix of old and new songs and even some solid improvisational jams."

Headstash Magazine will have daily coverage of Phish, STS9, The Disco Biscuits, Umphrey's McGee's New Year's Runs as well as SnowGlobe festival in California. We'll also have in-depth coverage of Lotus, The New Deal, moe. and Pretty Lights.

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STS9's New Year's Eve run will take them back to The Tabernacle in Atlanta, Georgia for five nights after a two-year hiatus from the venue. Stay tuned for coverage from all the nights.

December 27 - The Tabernacle - Atlanta, GA
December 28 - The Tabernacle - Atlanta, GA

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December 29 – The Tabernacle – Atlanta, GA

Set I: NIN Intro > Tooth, F. Word, Lo Swaga, We'll Meet In Our Dreams, Jebez, Hi-Key, Oil and Water, Wika Chikana
Set II: Really Wut?, Peaceblaster '68 > Peaceblaster '08, Gobnugget, Grizzly, Orbital, Simulator, New New 4 U U
Encore: Water Song

Crowd Atmosphere: No teases on Facebook meant no one really knew what to expect for tonight's show. Whereas the first two nights everyone was amped up and speculative, last night was a bit more mellow. STS9 had already met many expectations and the rest of the run felt like a freeroll. Give credit to The Tabernacle as well – they do not oversell the venue and there was plenty of room for everyone. 

Best Song: New New 4 U U (Not usually the most notable song in the setlist, but the jam at the end of the song was completely new and intriguing. Murph really directed the band well as the song morphed into a coherent track rather than the distinctly sectioned-off tune it usually is.)

Bustout of the Night: Jebez (Played about three times per year and this version did not disappoint as they transitioned between light and dark synth lines.)

Best Jam: New New 4 U U (Had to remind myself what they were playing toward the end of this song. Dare I say, improvisation?)

Best Segue: NIN Intro > Tooth (A dark and dingy way to start the show, but pretty much won by default. Not too much seguing last night.)

Best Moment: The breakdown of "Jebez." Phipps really got to shine last night with a lot of keys-led songs and watching him flawlessly bring everyone back down was masterful.

Sloppiest Moment: The ending of "Orbital" was a bit muddled. But everyone seemed really on point and though the setlist was unusually constructed, it worked really well.

Lights Review: Not as any LEDs as yesterday it seemed, which isn't necessarily a good or bad thing, but Saxton was absolutely pitch-perfect in the first set, spotlighting each band member at the appropriate time and swinging cans gracefully on the beat.

Twitter Recap: Old and new songs melding together for a show that typifies how explosive this band can be when incorporating their entire catalog.

Other Notes: The Polish Ambassador started things off with his unique brand of bouncy, fun electro that paid homage to the area with a sprinkling of old-school Atlanta hip-hop.

Murph and the gang took the stage as the familiar "NIN Intro" rang out over the speakers.

"You guys ready to get it going?" he asked the crowd followed by a patented woo.

The band looked intensely focused while bouncing to the beat of the opener. It seemed longer than usual as the band made sure to find their groove. A segue into "Tooth" had them picking up steam and displaying swagger on stage.

A dark jam, the second half of "Tooth" saw Hunter take control with an escalating guitar second.

A patient and explorative "F. Word" followed as the band continued to bob in unison. One of the more underrated songs in their catalog, "F. Word" is smooth and one of those songs where your ear jumps from member to member as each one adds an equal piece to the collective sound. Jeffree Lerner's percussion isn't always at the forefront, but when it is – as with parts of "F. Word" it pulls you in.

"Lo Swaga" followed with an organized peak where Hunter led all the members into the jam before everyone jumped in for the expected drop.

Some excellent bass work from Murph on "We'll Meet In Our Dreams" made the fan-favorite one of the highlights of the set. Each note was crisp and the ending jam was long and high-energy.

The bust-out of the night in "Jebez" was also the best moment. Saxton's light work was the best of the evening during the song and the band played it with ease. The sweet, slow breakdown had the band playing downtempo while Phipps fooled around on the keys to slowly bring the song to a crescendo.

The slow outro gave everyone a chance to calm down after the high of the peak that really does sneak up on you. The beauty of "Jebez" is that it's a raging song that's easy to dance to, but it's not obvious about it. It's a song you get caught up in and don't realize until it's over and you're sweating bullets.

After "Hi-Key" and "Oil and Water," the band closed the set with a surprising "Wika Chikana."

This version felt more syncopated than usual and almost march-like in its rhythm. The song provided a bit of an abrupt ending to a extremely solid first set.

"Really Wut?" was a good choice to start the second set. Coming out with a groovy, guitar-led jam and then transforming into a fiery dance party for the second half, it's a great way to get people back in the mindset to rage.

The floor shook during "Beyond Right Now" and the outro to "Peaceblaster '08" had an organic feel to it.

"Orbital" provided a way to control the pace of the show with its fast and slow jam segments dictating everyone's movement. Though a bit sloppy at the end, the band really connected (Saxton included) and worked well off one another.

The surprise of the night was "New New 4 U U" which was more coherent than ever and featured some heavy, layered improvisation by all the members. Phipps' eerie keys solo to close the show was the highlight of the highlight as the band took the song in a much deeper direction.

Murph directed the band well during this segment bringing people in and out like the true leader he is. It was great to see them taking chances on stage.

A "Water Song" encore was the icing on the cake and a really positive way to end the show. It was well-played, patient and jammed-out exactly the way it should have been.

- Nick Rhodes

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Stay tuned as we continue to review STS9's New Year's Eve run and all your favorite bands as they countdown to 2012.

What did you think of the show? Let us know in the comments section.