Korn’s Jonathan Davis looks — and sounds — just like he did during his band’s ’90s popularity explosion. Photos by .
I walked into the almost-full on Wednesday to find — to my disappointment — already mid-set, excited fans bouncing and screaming back at Jonathan Davis’ crunchy squeals, the singer looking much as he did almost ten years ago when I last saw the California band. His mouse-like facial features had surely matured and the original band line-up had shifted, but their sound remained virtually unchanged, and that was all that mattered.
The band pounded through songs like “Faget” and “Freak on a Leash,” Davis leading band and followers from behind an elaborate mic stand as drummer Ray Luzier swung at a cymbal that peaked above his kit, held up by two pieces extending from each side. Davis’ stringy knots of hair flew about his head as he crouched low to the ground to pull the howls deep from his belly, and the audience responded to his cries with claps and vocal prods for more.
An encore included “Blind” and “Got the Life,” bringing to light the band’s musical evolution over its 16 years in existence, the two tracks representing a maturity in Davis’ vocal style and lyrical content. The audience gave screams of love and clenched hands of joy to the songs equally, relishing the end of Korn’s hit-filled, satisfying set.
Korn may not be the coolest band on the planet to like, but the hundreds of fans who showed up for the ’90s neo-metal icons proved they have a place. As humans, we all have a desire to be a part of something bigger than ourselves, and often music is what brings us together. Korn’s show and their large and dedicated turn out were a perfect example of this rad phenomenon.
Bree Davies plays bass in , writes about her obsessions with Iggy Pop and Lil’ Wayne in and repeatedly fakes her own death at . She is also a self-proclaimed addict.
Tina Hagerling is a Denver-based freelance photographer and web designer. See more of her work .
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