Friday was one of those spirited nights that happens every year at First Avenue, honoring the old guard of the Twin Cities indie-rock scene. Saturday was a more rarefied night that only happens once every few years, when new local bands conquer the club like old pros.
Even in the case of Friday's annual Tribute to the Replacements, it was astounding how young some of the musicians were.
"I'm so excited, I'm shaking," said singer/guitarist Emily Schoonover, 16, as her band Bruise Violet opened the Replacements tribute. The punk trio began their first-ever First Ave main-room performance with the snarling, snotty classic "Kids Don't Follow." The night really didn't get any better than that.
Saturday's homegrown headliners Hippo Campus — whose members are just coming of drinking age — had played First Ave a couple times before, but never with their name atop the bill or the kind of euphoric reception they got this time. They really couldn't ask for a better first headlining appearance than that.
Here's a recap from the all-local weekend.
A TRIBUTE TO THE REPLACEMENTS: Started in 2009 on the 25th anniversary of the 'Mats' most celebrated album ("Let It Be"), the tribute focused this year on one of the least-loved discs, 1990's "All Shook Down." No surprise that attendance was down and the silver-anniversary set was less than golden — though not necessarily due to the material itself.
The rotating cast of singers who joined rock-solid house band the Melismatics was mostly unconvincing and unimpressive, although the segment started out strong with resident old-guard member Curtiss A going all Rod Stewart-y with "Merry Go Round," and American Scarecrows singer Seth Davin finding the heart of "One Wink at a Time." R&B/soul powerhouse PaviElle French also broke the mold mid-set with a gospel-ized take on "Sadly Beautiful."
Bruise Violet kept up the youthful punk approach with blistering takes on "Tommy Gets His Tonsils Out" and "[Expletive] School." Al Church, with a large ensemble, delivered moody, drawn-out, synth- and sax-laden versions of "Within Your Reach" and the deep cuts "Satellite" and "Oughta Get Love."