By Quinn Donnell
“Rubbletar” is a term that could used to describe a tour consisting of co-headliners Rubblebucket and Reptar. A tour that involves two hour-long sets, a room filled with dancing, blissful teenagers and twenty-somethings, and a stage modeled after the idea of a synth-addict’s living room. Illuminated by lamps sporting doodles that include an alien eating pizza, the phrase “moon poop,” and a palm tree with mics strewn with pink and green streamers, and cords creating a jungle of electricity throughout the stage, Rubbletar’s setting prepared Wescott Theater for an evening of fun tunes and good times.
Reptar took the stage just after a performance from Stepdad, a Michigan-based band described as “straight-up Passion Pit” by one Wescott attendee. Reptar frontman Graham Ulicny began the set by asking the audience, “If you guys could do anything tonight, what would it be?” After several songs, the amount of groovin’ demonstrated by nearly every one of the venue’s guests suggested that the crowd had found themselves to be exactly where they wanted. All five band members seemed to take on the form of a hybrid musician/dancer, particularly keyboardist William Kennedy, whose face couldn’t be seen through his shoulder-length hair, but whose knees were entirely visible as they high stepped to the beat of Reptar’s tropical noise pop.
Rubblebucket opened their set with a blaring horns section, which also acted as a backup dance crew for singer Kalmia Traver. Traver also functioned as a multi-purpose performer throughout the show, playing the saxophone between lyrics and busting some dance moves while Rubblebucket’s guitarist, Ian Hersey, whipped out some quick, staccato riffs. The frontwoman seemed to spend just as much time offstage, however, as she did playing on stage with the band. At one point, Traver walked into the crowd, connected to her fellow performers by a cord running from her mic, and began singing and dancing with the audience.
On a night dominated by shoe shufflin’ and hip twistin’, Rubblebucket ended their set in the most fitting way possible. Making her second appearance in the crowd, Traver was joined by her horn section and accompanying percussion players for an unplugged performance encircled by dancing concertgoers.