Reeves’ Dogstar shows versatility at Columbus show
After lying dormant for more than two decades, Dogstar came roaring back to life Tuesday night at Newport Music Hall, much to the delight of fans who know the trio as something other than Keanu Reeves’ band.
It was no surprise to see the line outside the venue snaking all the way into the next block; there was bound to be curious concertgoers there to glimpse the popular actor. However, they were quickly disabused of any notions that Reeves was the star of the show.
It’s evident that Dogstar gives the famously low-key Reeves a break from the glare of Hollywood’s spotlight, a chance to play a supporting role instead of leading man. With his head down much of the time, his face veiled by his shaggy hair, he looked like thousands of other bass players who just want to get onstage and do their thing.
After opening with the imploring ode “Blonde,” the threesome offered up “Everything Turns Around,” an upbeat earworm carried by Bret Domrose’s swirling
vocals and a summery California vibe. Both tunes are featured on Dogstar’s upcoming album, “Somewhere Between the Power Lines and Palm Trees,” due out Friday.
The band ripped through several tracks from the new album, including “Lily,” the Pink Floyd-esque “Glimmer” and “Dillon St.,” which drummer Rob Mailhouse punctuated with a harmonica solo while never missing a beat.
The band closed its set with bassfueled heavy hitter “Breach” before returning for a four-song encore of “Lava Lamp,” “Halo,” the plaintive, U2-like “Shallow Easy” and “Jackbox,” a blistering number highlighted by a psychedelic guitar solo.
Dogstar proved it can alternate between anthemic rockers with wailing guitarwork by Domrose, and more subdued story-songs reminiscent of a ‘90s alternative version of Jackson Browne. Reeves and fellow actor Mailhouse are a solid rhythm section, powering each song with a steady thrum.
If there was one misstep, it’s that the musicians didn’t play more of their older songs for the fans who have been with Dogstar since their beginning in 1991. While the new material is good stuff, more familiar tunes would have strengthened Domrose’s connection to the audience.
Opening act Archer Oh showed off the dichotomy of its sound, veering deftly from spirited indie surf rock with jangly guitar riffs to extended progrock-flavored jams.
bpaschal@dispatch.com