Almost 150 people, most from out of town, filled the Beachland Ballroom from noon until almost midnight for the annual DEVOtional. They were there to pay tribute to Devo, a band that began as an art school project at Kent State University in the early '70s and has since so infiltrated the culture than even nü-metallists Korn have appropriated the theory of de-evolution which underlies all its work.

Fans from California, Florida and New Jersey, Brooklyn, Philly, Chicago and Seattle donned the red flowerpot hats properly called "energy domes," browsed tables of Devo-related merchandise, watched vintage film clips, sang their favorite Devo song with house band the Spudboys, listened to bands such as the thuggish spoof duo Baditude and the fake old-timey ensemble the Mutant Mountain Boys apply theories of de-evolution to their own music. They heard a harangue from the Rev. Ivan Stang of the Church of the Sub-Genius, and participated in Q&A sessions with artist KRK Ryder (who also displayed his theremin skills) and Devo co-founder Jerry Casale, currently calling himself "Jihad Jerry."

That Q&A was a high point for many of the fans as Casale covered all kinds of ground from funny anecdotes about the band's move to LA (he recalled driving by a supermarket called Akron with Devo co-founder Mark Mothersbaugh who remarked "I always hated Akron") and its not-so-funny descent into cocaine abuse, its new music and use of online distribution, costume ideas they had that never became reality such as codpieces that flashed to the beat, the basses he's played over the years and the theoretical question of who they'd have induct them into the Rock Hall (should they ever get in). "Maybe Phil Spector," said Casale. "We'll let him out of jail."

The other high point was Casale's return later in the evening to do a mini-set with the Spudboys. Appearing in a blue ensemble topped with a turban, he performed "All She Wrote," a track off his Jerry Jihad CD which he sang to a cardboard standup of the person it disses: George Bush. Then he reached back to the Devo songbook for "Beautiful World," and performed with vigor and passion. Another highlight was the performance by 9-year-old mini-fan Gordon Keller Jr. who was in from Southern California with his dad. Dressed head-to-toe in a distinctive Devo ensemble made by his parents, he clambered on stage to deliver a gutsy version of "Don't You Know?"

DAVE MATTHEWS BAND

Blossom

Monday - August 20

While rumors of a break-up continue to dog it, the Dave Matthews Band has been a perennial pavilion (and lawn) filler at Blossom. In part, the band's popularity stems from keeping the music the way it's always been. Its rock/acoustic/jazz sound has been the same since 1991 and this show suggested it's not going anywhere for a long time. Thousands filled the mud-soaked arena and sang along to every song it played. The whole band seemed comfortable while playing tunes such as "Louisiana Bayou," "Too Much" and "Stand Up," and the lights were so intense, it seemed like a Pink Floyd show at times. Carter Beauford (drums/percussion/vocals) was sitting behind his Yamaha kit relaxed as could be while chewing gum and dancing along to the music. Violinist Boyd Tinsley's intricate playing stirred up the crowd and more than once saved the show. You can't forget about saxophonist Leroi Moore and trumpet player Rashawn Ross, both of whom showed their true jazz talent.

The set-closing "Stay (Wasting Time)" went on 10 times as long as the studio version and was filled with solos and breaks. Matthews swept away the crowd with his elaborate and heart-wrenching vocal talent. Of course, the band came back for a three-song encore which started off with fan favorite "Grave Digger" and ended with a cover of Dylan's "All Along the Watch- tower." - Abby Ausperk

DARK MEAT

Parish Hall

Thursday - August 23

There are several shows left before Parish Hall closes on October 1, but last Thursday's bill seemed like a celebratory last hurrah. Staged on the floor with Christmas lights illuminating the venue, it was New Year's Eve in August as the boisterous crowd freaked and partook in communal psyche jams that didn't cease 'til after 3 a.m. Making a much-anticipated Cleveland debut, 13-piece Atlanta energy-rock shamans Dark Meat aroused a sweltering bioelectric exchange with the audience that made Parish Hall smell like "Perish Hell." Kicking off with a couple of horn-based cowpunk rave-ups reminiscent of the Gun Club, the band beautifully switched gears when Buster Backfat Orchestra joined in for a Cleveland-dedicated krautrock stampede through Albert Ayler's "Ghosts." Interludes of this '60s hometown legend's marching band skronk appeared continuously throughout their set and the crowd went crazy.

Nonstop participatory dancing around flickering strobes and freewheeling conga- bashing pulsated a glowing orb of chi between the band and audience, reaching its apex during an incendiary cover of Stooges' "Funhouse," which featured a crazed five-piece horn arrangement and three cavern-toned drummers. In between its awesome summations of Ayler and Stooges, Dark Meat delivered a mind-shattering melodic punk take on the hyper-rhythmic, commune folk/downer acid-drone of '60s Swedish bands Parson Sound and International Harvester. This pummeling amalgam had the face-painted collective flipping out like Pagan Fest 2012 and it was fantastic. Following a brief intermission, the evening consummated with an after-hours moonshine-addled improv space-rock jam in the dark.

The New Lou Reeds were in top form that evening as openers. Likely to be its final Parish Hall gig, the power trio rocked a loose set of garage-y swamp blues (a la Credence Clearwater Revival) filtered through '70s proto-metal. The cocksure yet self-deprecating frontman Stephe DK retorted to playful ridicule by exclaiming "yeah, we do suck" between propulsive freakouts that grew hairier once washes of guitar feedback were administered. For their final jam, Stephe DK broke from his trademark cartoon caricature-of-Roky Erickson vocal rants and delivered a blistering acid guitar solo. It was their heaviest performance yet. - Steve Newton