.

At the Drive-In's Identity Crisis

Our 2001 feature examines the band that was too punk to be metal and too metal to be punk

February 15, 2001 11:15 AM ET

at the drive-in
Cedric Bixler-Zavala of At The Drive-In performs at The Palace in Hollywood on December 7th, 2000.
Nicky J. Sims/Redferns

This story is from the February 15, 2001 issue of Rolling Stone.

"This is bullshit!" screams a stagehand as he and a team of pissed-off union workers push a drum riser across the stage at the Universal Amphitheater in Los Angeles.

"This is the most disorganized K-Rock show we've ever done," vents another stagehand, kicking the riser, which had been misplaced in the back of the loading area. Atop this jerkily moving platform, a befuddled Tony Hajjar of At the Drive-In is kneeling, putting together his kick drum as the stagehands spit, curse and ignore him.

Onstage, the other four members of At the Drive-In are waiting. Most of the bands on the bill – No Doubt, Incubus, Papa Roach, Moby – have played so many radio shows that these freebies are nothing more than minor annoyances: A big station asks you to play as a favor, so cut short your vacation time and jet across the country for a half-hour show under a plastic banner. But this is new territory for At the Drive-In, a fierce five-piece performing machine from El Paso, Texas, that is too punk to be metal, too art-rock to be punk, too pop to be art rock, too smart to be pop and too stoned to be smart. And they are excited – or at least they were excited.

Two minutes into the band's sound check, a crew supervisor announces that it's break time. Everyone has to clear the stage. He tells the band to return at 5:30 P.M., and then maybe – just maybe – there will be time to sound-check before the show begins at six.

Welcome to the big time. "We're peons, dude," Hajjar says, not so much out of anger as out of a habit formed from years of touring in a 1981 Econoline van and getting gas money wired from home to make it to the next gig. "I feel like the new kid at school," moans the band's curly-coifed singer, Cedric Bixler.

Ultimately, the band's backstage sound check ends up running into the set, cutting an already short thirty-minute time slot down to just twenty minutes. But in those few minutes, At the Drive-In deliver the high-energy wildman performance that has become both their greatest asset and their greatest burden, inspiring pundits to heap impossible titles on them: the saviors of rock & roll, the next Nirvana and, in an overstatement that could only come from the British press, the best rock band in the world.

Before the first song has even begun at the KROQ show, Omar Rodriguez has already thrown his guitar to the ground twice and Bixler has sent his microphone stand hurtling across the stage while executing his electrocution dance moves. As the band thrashes through the cut-up punk rock of its single "One Armed Scissor" – full of the splinters of guitar riffs and fragments of Philip K. Dick-like lyrics that mark an ATDI song – the audience actually starts singing along to words like "slithered entrails" and "mummified circuitry."

To watch At the Drive-In play is to see five people going in five directions – together. Each has his own interpretation of the lyrics; their individual musical interests range from punk to salsa to dub to metal to drum-and-bass; and their ethnicities are Mexican, Welsh, Puerto Rican and Lebanese. In fact, they don't even agree on how to pronounce certain song titles (one says, "In-vuh-lid Litter Department," another says, "In-val-id Litter Department").

After the show, At the Drive-In's troubles do not abate: As Bixler stands backstage cursing himself for unintentionally insulting the L.A. crowd by saying, "Welcome to the lost city of assholes" (it sounded so funny in his head beforehand), his curls are pulled repeatedly by a drunk woman who insists he's wearing a wig; guitarist Jim Ward is mistakenly assaulted by Papa Roach's security team; and Mike D. of the Beastie Boys, who co-owns the Grand Royal label that the band is signed to, hovers dangerously close to punching out a belligerent audience member diss-ing the group to his face. For some reason, this is a band that everyone likes to mess with: Just a few weeks prior, Rodriguez was punched in the face before an ATDI show by a security guard and dragged outside the club by his Afro.

At the Drive-In don't always get the respect they deserve as they knock on the door of success, but the band's peers recognize a good thing. "Ever heard of At the Drive-In?" Tom Morello of Rage Against the Machine asked a few days before the KROQ show. "We toured with them, and they are one of my favorite bands. They are so sincere about what they do."

Backstage at the KROQ show, Gavin Rossdale of Bush, who sneaked into a couple of seats with Gwen Stefani of No Doubt to see the band play, walks up to At the Drive-In and says that he was so impressed by their album, Relationship of Command, that he wants to work with its producer, Ross Robinson. More baffling to the band is his admission that he and Stefani use the often brutal and jarring album as make-out music.

Mark Kates, the president of Grand Royal, watches from the sidelines proudly as all this unfolds. Currently, Grand Royal pretty much revolves solely around At the Drive-In, and its staff has been working overtime to find alternative ways to break the band, chiefly through extensive play on MTV sister network M2 and exposure on high-profile Internet sites. "They don't know how lucky they are," Kates says of the band. "Because it's all working."

Instead of being confused and angst-ridden by brushes with success like the punk and alternative bands before them, At the Drive-In simply set their own rules (no lip-syncing in videos, for example), make decisions as a collective, and then go with the flow and try to ignore the hype.

"Our secret weapon," Ward says, "is that we've been a band for so long, and we've been through so much worse shit than this. Saving rock to me is not realistic; it's not real life. Real life to me is rolling in a van with a gallon of gas left, or crashing on someone's floor, or running out of money to buy strings when you broke your last two strings during a show."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

prev
Music Main Next

blog comments powered by Disqus
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.

X

We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Bird on a Wire”

Leonard Cohen | 1969

While living on the Greek island of Hydra, Cohen was battling a lingering depression when his girlfriend handed him a guitar and suggested he play something. After spotting a bird on a telephone wire, Cohen wrote this prayer-like song of guilt. First recorded by Judy Collins, it would be performed numerous times by artists incuding Johnny Cash, Joe Cocker and Rita Coolidge. "I'm always knocked out when I hear my songs covered or used in some situation," Cohen told Rolling Stone. "I've never gotten over the fact that people out there like my music."

More Song Stories entries »
 
www.expandtheroom.com