Trent Reznor News

'Tis the season to be jolly, except for most of the bands that played Saturday's first night of LA modern rock station KROQ's Almost Acoustic Christmas concert. Nine Inch Nails, System of a Down and Korn were rife with rants of anger and hate. Joy to the world? More like coal in the stocking.

Sunday's varied lineup at the Gibson Amphitheater was more rewarding for those who'd rather embrace some joy for the season. The evening was filled with holiday presents, especially during performances by top-billed Depeche Mode and Coldplay.

For the start of its set, Depeche Mode stepped back from its arena show spectacle for stripped-down versions of "Personal Jesus" and "Walking in My Shoes" as well as a stunning, slow ballad arrangement of "Precious." Singer Dave Gahan was in high spirits, even laughing off technical trouble with keyboard programming. An encore included a fan's delight in "Shake the Disease," which the band hasn't played in years.

Coldplay was equally inspired, actually going almost acoustic for " 'Til Kingdom Come," a song intended for the late Johnny Cash, followed by a spirited version of Cash's "Ring of Fire." A gloriously soaring rendition of "Clocks" was another highlight; singer Chris Martin was dizzy with a rush of delight.

The White Stripes rocked just as hard as any of the Saturday's noisemakers but with greater finesse and intensity. The generally mellow Jack Johnson also was appealing, starting out solo on acoustic guitar with a short Christmas ditty and a slightly rewritten "Rudolph the Red-nosed Reindeer," which brought many cheers. He was joined by his underrated three-man band for a string of easygoing, plucky reggae-lite tunes.

One of Saturday's few glimmers of happiness came from, of all people, Nine Inch Nails leader Trent Reznor, who actually was giddy while jumping up and down with his electric guitar during the band's irony-dripping S&M anthem, "Head Like a Hole." NIN delivered a focused, dynamic juggernaut grafting hard rock and electronic dance music; Reznor plumbed the depths of his dark soul, but wasn't afraid to crack a smile while doing it. His most gripping moment, however, came solo at the piano, playing the confessional "Hurt" before the band chimed in.

The return of Korn brought out many rabid -- and, frankly, obnoxious -- fans who relished the group's pummeling din as frontman Jonathan Davis howled and moaned about a ugly world with no hope. Despite his conviction, it's a stance more to be pitied rather than admired, unless one buys into the band's carefully manipulated us-against-them tribal chaos.

Los Angeles-based System of a Down received a hometown heroes roar, delivering salvos of its Frank Zappa-meets-metal collision with speaking-in-tongues babble, askew harmonies, machine-gun bursts of guitar and maniacal rhythms. A tirade against Christmas was juvenile, especially from a band with such earnest political ideals.

The odd men out Saturday were the members of Fall Out Boy, whose goofball punk-pop numbers actually were a welcome relief from all the groups taking themselves way too seriously. Also appearing were jagged, angst-filled Thrice, featuring a cameo from Deftones vocalist Chino Moreno; third-rate Iron Maiden-like and cartoonish Avenged Sevenfold; and agitated would-be rabble rousers Rise Against.

Sunday's bill was rounded out by the peppily revisited '80s new wave styles of the Bravery and Hot Hot Heat, the power-pop variations of Death Cab for Cutie and the atmospheric Nada Surf.

Reuters/Hollywood Reporter