The dawning of modern rock, also known as new wave and post punk music, was paved by musician composers such as Bryan Ferry and Brian Eno of Roxy Music, said to have been a great influence on the punk movement. Another significant influence of this era that does not get as much credit for planting the seeds that led to this get up and dance with meaning wave of music writing and unique driving rhythms would be the Australian band Midnight Oil, formed in 1972.

The roots of this genre began to branch out with the experimental lyrical storytelling of groundbreaking artists like Robyn Hitchcock.

They Might Be Giants, often referred to as TMBG, has been one of the modern rock greats. The duo John Flansburgh and John Linnell first met as teenagers growing up in Lincoln, Massachusetts. They kicked off The Bigger Show Tour in Woodstock this past Friday. Possibly as a symbolic starting point for this new tour, the first set was a stroll down memory lane with a number of songs from their album Lincoln.

To punctuate how misunderstood TMBG were on this sophomore release, critic Robert Christgau of The Village Voice gave Lincoln a mixed to positive review, describing the band as "actively annoying even if intelligence is all you ask of your art pop" and terming the hooks "cleverness for cleverness's sake." However, he conceded that "damned clever they are," and praised the song "Ana Ng" as a beyond perfect tour de force. Unfortunately, that particular song was not performed on this opening night.

The songs "They’ll Need a Crane" performed brilliantly and got the audience hooked in, as well as "Shoehorn with Teeth," bell included. The expressive nature of TMBG smooths the way for the challenging social commentary messages in many of their lyrics, ringing with often unspoken truths.

The creativity of this early 1980s era spread its wings just as MTV and the birth of popular video music took hold. Bands like R.E.M. from Athens, Georgia, The B-52's, and other new wave artists including TMBG gained instant commercial success with their fascinating spin on rock music and visuals.

The second set was a blend of tunes from their catalog of twenty three albums spanning forty four years of the band creating music together. One of the crowd favorites among their cult following, "Stilloob," which is a live reversed performance of "Sapphire Bullets of Pure Love," was received well at this sold out performance.

Still, the evening was not without moments of uneven energy. Newer material from their latest release The World is to Dig did not always generate the excitement the band might have hoped for, particularly during the first show of the tour. Songs such as "Hithagram" and "Get Down" drew a more muted response from sections of the audience. There were also stretches where the more cabaret style vocal delivery from Linnell did not fully connect with attendees who appeared to be waiting for the sharper edge of the band’s earlier catalog.

The horn section deserves credit for its musicianship and tight arrangements, adding depth and color to the performance. Yet for some concertgoers, the overall experience did not entirely justify the ticket price point that exceeded one hundred dollars. Conversations in the parking lot after the show suggested that while longtime fans were satisfied, others who were less familiar with the band’s extensive catalog recognized only a couple of songs. One couple summed it up simply by noting that they enjoyed the evening but expected to know more of the material.

The night closed out with selections from the album Flood, a record that has become one of the band’s most enduring releases. The band has marked milestones around that album in the past, including anniversary performances that celebrated its legacy and influence.

Throughout their illustrious career, TMBG has experienced peaks and valleys of success. The band broke away from the traditional record industry model and has continued to operate largely on its own terms as independent recording artists. That independence has allowed them to maintain a loyal following and a distinctive creative voice across decades of touring and recording.

Unfortunately, the band declined to do an interview with The Mountain Eagle prior to the performance. That absence left the music itself to carry the full weight of the evening’s message.

On a closing note, the owner of the Bearsville Theater Lizzie Vann, last year, had placed the music and restaurant village on the market for $7.99 million. The news broke this week that the legacy of the theater and recording that stretches back to the 1960s shall remain in the good stewardship of Vann.