It seems every show I go to, one band that's on the list cancels - The Havoc, A Global Threat, Cheap Sex - ok, not always, but it happens often, and yes Cheap Sex's scenario was tragic and out of their control… And it was no different on this night, as Anatomy Of A Ghost were a no-show. Apparently, this wasn't the only show of the tour they didn't play, as evinced on their website, as they brush off the situation by just casually expressing their apologies with a brief "we're really sorry" for missing shows lately. No explanation. Oh well. In any case, their absence meant Chicago's Spitalfield, those amiable pop-punksters, would headline.

First to take the stage was the screamo four-piece Goodnight Bad Guy, who actually contributed a song, "Jet Black," to the new Jawbreaker tribute album Bad Scene, Everyone's Fault, and happily, included it in their set, which was somewhat rushed towards the end - well, the band did get a late start, as the promoter was not afraid to tell them. They started out with two uptempo chaotic numbers and then from hereon in, what we got were songs that changed tempos mid-song. For instance, the third offering was slower than the previous two, but still had its frenzied moments as well. Therefore, none of their songs are strictly "slow." They have a complex sound that came through throughout their entire set. And unfortunately, as would prove to be the case throughout the night, people just would not move around, dance, mosh, what have you, which is odd because usually shows with such intensity featuring aggressive music, the kids start up pits, but it was not to be. At the beginning of the last song, the singer even had to ask the crowd to move up because most - if not all - the kids were lurking around in the back.

It wasn't too packed for the opening band, but this changed somewhat during the sets of the Bled and Saosin. I must admit, I was truly impressed by Tucson, AZ's the Bled, a five-piece who play hardcore with killer breakdowns. This set proved to be the most aggressive of the night. Still, the crowd was motionless, except of course for the occasional head bobbing and toe tapping here and there. The band's twenty-minute set was comprised of songs off their recently released debut full-length that came out at the end of July, entitled Pass The Flask, featuring screamed vocals and brutal guitar work. The Bled are really entertaining live - so much intensity on such a small stage was good to see. Highlights of their set were "Ruth Buzzi Better Watch Her Back," and the final two: "Get Up You Son of a Bitch, Cause Mickey Loves Ya" and "You Know Who's Seatbelt." Yes, they have some strange song titles.

Next up were the much-hyped Saosin, who thus far have put out a sole five-song EP, which came out in June titled Translating The Name. Hardcore/emo, or emocore, I suppose, akin to Thursday and Thrice was the prevalent sound mixed with high-pitched singing/screaming vocals a la Coheed and Cambria - which are fine if you can deal with that; I don't know, kind of borders a bit too much on little girl-like. This SoCal band's real attribute, however, lies in the music, which is heavy yet melodic with superb and complex dual guitar work from Justin Shekoski and Beau Burchell. While Saosin aren't as heavy as the Bled, they are a talented bunch of guys who rocked out on songs like "3rd Measurement in C," "Seven Years," the more placid "Translating the Name," and a new one, which the singer proclaimed to be "a work in progress" for their upcoming full-length called I Can Tell There Was an Accident Here Earlier.

During their twenty-minute-long set, it was easy to like the singer/screamer, Anthony Green, right away. He was definitely the most personable - and theatrical - of the front men that night, talking to the crowd between songs, beckoning "my children" to come closer and surround the stage. But, as you can guess, there was no movement. None! Onstage, the vocalist, when he wasn't flailing his arms about passionately mid-song, was inquiring as to whether there were any parties going on at anyone's house later that night.

Thus it was time for Spitalfield, one of Victory Records' latest recruits. These guys played a short set; again, they were on for about twenty minutes like their predecessors, and played about six songs, opening with the bouncy "Those Days You Felt Alive," the first offering off their latest record, the ten-song Remember Right Now. If you haven't heard them yet, Spitalfield play a pop-punk/indie/emo hybrid with a definite emphasis on pop. Yes, their songs are filled with catchy hooks, memorable riffs, and tons of emotion.

Other songs they performed off Remember were "Kill the Drama," their first single "I Loved the Way She Said L.A." - true pop fodder that radio broadcasters will love - and "Stolen from Some Great Writer," one of their strongest songs that features a wonderful mid-song breakdown with great reggae-tinged bass. This tune along with "Five Days and Counting," which unfortunately wasn't played, are by far the standout tracks on their record with their complex, conflicted, thoughtful sound. We also got a Texas Is The Reason cover, and Spitalfield closed with the final track of their album "Make My Heart Attack." Sadly, the larger crowd that was evident during Saosin's set dwindled considerably before Spitalfield even hit the stage. The room was not even half-full. Not the best playing conditions by any means, but upbeat vocalist Mark Rose - just a genuinely nice guy - didn't seem bothered at all, actually thanking the people still in attendance for sticking around.

This four-piece has been pretty busy lately, first doing this tour with AOAG, the Bled, and Saosin for about a week-and-a-half, and then going out with Fallout Boy, Acceptance, and Trouble Is. They'll be hitting the road on this second tour from mid-August through mid-September. So if you like these guys and missed them on tour with Saosin et al - or if you did get to see them and enjoyed their set, by all means check it out.

More photos can be found here