What can I say? This show has now made me a devout convert -- no really. It was all because of a stunning front woman and a sexy modern rock band.

The night started off with close attention-to-detail from a closed-off stage for sound check -- this was a first. I didn't realize how much of a control freak lead vocalist and visionary Jon Philpot was, but it eventually paid off by the end of the night.

Justin Chearno though aka Doldrums kicked off the delayed show with a string of technical difficulties that he tried to play off with inaudible personal anecdotes. His equipment shut off twice and the audio was beyond irritating as his experimental sound kept looping in and out, loud to soft that hurt my eyes and was just plain embarrassing. Though for some strange reason even though I know his music isn't exactly dance-able, a group of drunks on the far left side wildly jerked their limbs that contributed to the already distracting physical appearance of Chearno -- his entire arm was covered with what seemed like a year's worth of multiple wristbands from festivals or legal drinking age validations from various clubs because he didn't look a year over 16. The only highlight of his set was his surprisingly feminine voice that echoed through the microphone and the only recognizable song, 'I'm Homesick Sittin' Up Here In My Satellite.'

It was now time for some fresh air to try to get ten minutes worth of quiet time on the venue's outdoor deck.

By the time I got back indoors, Blouse had already opened up their first song. I was drawn by the soft sounds and hypnotizing voice of vocalist, Charlie Hilton. If dream-pop was named for putting concert-goers into a dream-state, Blouse did exactly that. Their music can be classified as 'sway music,' music you just find yourself swaying to, it didn't matter if you bump into strangers next to you because the music forced your eyelids shut. Hilton herself was mesmerizing as she was dressed in '60s garb strumming her Fender strapped high up. Their self-titled debut album is one of the best new music. 'Into Black' was the one '80s rock stylized track that highlighted Captured Tracks' love for shoegaze. While 'They Always Fly Away' and 'Videotapes' showcased how much the band really studied to perfect a sound, though trendy at the moment, to still make it their own, without sounding repetitive. The band were a quartet that included carbon-copy Rivers Cuomo drummer, Paul Roper. I have to make it a point to pick up their record soon.

Now for the finale, Bear In Heaven. For a Wednesday night, it was unusually packed, but loyal fans made it to the weeknight show no matter what. The production of strobe lights and interchanging background light rods on both ends of the stage went perfectly with their arena sound. The trio were able to fill the small space into a legitimate rock show because of their big sound. Supporting their latest effort, I Love You, It's Cool, the band are one of the few to still create a new style of rock. Philpot and bassist Adam Wills frequently exchanged guitars throughout the set showing off the talent of the multi-instrumentalists. During every chorus or extended instrumental section of each song, Philpot grooved to the demanding drum solos of Joe Stickney and whispered lyrics to 'Cool Light.'

The entire crowd danced along with Philpot as it almost seemed like they played their entire record. 'The Reflection of You' unsurprisingly got the most praise, while devout followers shouted out oldies. Polarizing tracks like 'Sinful Nature' consistently engaged the audience for an encore. Philpot was light-spirited and joked around in between songs but still maintained focus on providing a stellar performance for the anticipated crowd. You can't help but be impressed by I Love You, It's Cool and dedicated live performers such as Bear In Heaven because they'll never disappoint. Their sound could fill a stadium and even have the potential to become mainstream favorites. But maybe that would ruin small weekday gigs that would make for memorable nights.