Faster Pussycat – Hook & Ladder Theater – Minneapolis MN – June 11th

The Hook and Ladder Theater presents Faster Pussycat with special guests Supersuckers, The Rumours and Lonely Ones

Review and photos by Kyle Hansen

The Hook and Ladder Theater, with its cozy, industrial-chic ambiance and history-steeped walls, was the perfect setting for The Loney Ones to bring their brand of melodic hard rock to life. From the moment the lights dimmed, there was a palpable tension—like the crowd knew they were in for something visceral.

Opening with “Killdozer,” the band launched straight into high gear. It was thunderous, but not chaotic—each member totally in sync. Marty McCoy’s vocals tore through the room, blending melody and aggression in a way that made the intimate venue feel like a packed arena. His ability to shift from crooning to a full-throated growl kept the audience locked in.

Drummer was relentless, his energy never dipping for a second, anchoring the set with powerful, precise rhythms. Jymmy Tolland’s guitar work was fluid and expressive, alternating between heavy riffs and soaring solos, and bassist Jimmy Goodman kept the groove gritty and grounded.

The setlist hit a mix of fan favorites and newer material. Songs like “Purgatory” and “Half Life” showed the band’s range—blending harmonies with heaviness, introspection with full-on sonic assault. Between songs, the band’s easy banter with the crowd added a personal touch that bigger venues often lack. At one point, McCoy shared a brief story about playing Minneapolis years ago in different bands, adding a layer of connection that felt genuine.

The encore—featuring a blistering version of “Eternal Sadness” followed by a surprise cover of Led Zeppelin with a sludgy twist—left the audience howling. It was loud. It was sweaty. It was everything a good rock show should be.

Verdict:
The Loney Ones proved they’re not just a band to hear—they’re a band to feel. At the Hook and Ladder, they didn’t just play a show. They built a moment.

The Rumours, a punk-infused rock trio from Waterloo, Iowa, have been making waves with their electrifying live performances. Known for their high-octane garage rock sound, they seamlessly blend elements of glam, punk, and blues, delivering a raw and unapologetic musical experience.

Their concerts are a testament to their dynamic stage presence. The Rumours captivated the audience with their energetic set, featuring tracks from their latest album, Kill or Be Killed. The performance was described as “a truly impressive and unforgettable night of punk rock music,” highlighting their ability to engage and energize the crowd.

The Rumours’ sound is often compared to bands like Nashville Pussy, characterized by their pedal-to-the-metal approach and raspy vocals. Their album Suck It showcases this style, delivering straightforward punk-laced rock ‘n’ roll that resonates with fans of classic punk aesthetics.

Their latest album, Kill or Be Killed, released on July 5, 2024, captures the band’s live energy in the studio. Tracks like “Cuntrol (U Freak)” and “Sex and Patchouli” exemplify their high-energy style, while their cover of “These Boots Are Made for Walkin'” adds a unique twist to their repertoire.

Additionally, their single “Want Ya,” released in April 2025, reflects the band’s evolution and continued commitment to delivering compelling rock music.

For those seeking a raw and energetic punk rock experience, The Rumours deliver a performance that is both captivating and unforgettable.

There was one problem with a heckler that got way out of hand. He obviously had way to much to drink and was saying inappropriate things. Way inappropriate things. They handled it like pros and got him to come up to the stage. He was wasted. They then had them removed. People should treat everyone with respect. That is all Im gonna say.

The Hook and Ladder Theater isn’t a huge venue, but that’s exactly why Supersuckers made it feel like a homecoming bar brawl—if your hometown is equal parts roadhouse, punk club, and honky-tonk dive.

Eddie Spaghetti strutted onto the stage with his signature smirk and a low-slung bass, flanked by a band that looked like they’d either just rolled out of a van or a Clint Eastwood movie. No fanfare. Just straight into “Rock Your Ass”, and from the first downstroke, the room belonged to them.

The band brought their trademark fusion of punk snarl, garage grit, and country swagger with zero pretense. Tracks like “Born with a Tail” and “Pretty Fucked Up” had the crowd singing along word-for-word, drinks in the air and grins wide. You don’t just listen to Supersuckers—you lean into them like a speeding motorcycle.

Eddie’s banter between songs was as sharp as ever—part stand-up comic, part drunken philosopher. At one point he cracked, “We play country music like it’s punk, and punk like it’s gospel,” before launching into “Must’ve Been High”, turning the whole theater into a whiskey-soaked revival.

The Hook and Ladder’s up-close-and-sweaty layout only intensified the experience. No barricades, no fancy light rigs—just amps cranked to 11 and an audience that knew exactly why they were there. You could feel the walls shake when they tore through “The Evil Powers of Rock ’n’ Roll”, and it honestly felt like rock was something dangerous again—for a brief, beautiful moment.

They closed with “Dead Jail or Rock ’n’ Roll”, a cover that felt more like a mission statement, and then walked off stage like they’d just won a street fight—bloody knuckles, bigger hearts.

Verdict:
Supersuckers didn’t just play a set—they gave a masterclass in outlaw rock. Loud, dirty, unapologetic, and tight as hell. At the Hook and Ladder, they reminded everyone that real rock ’n’ roll ain’t dead—it’s just wearing scuffed boots and a denim vest.

Some bands mellow out. Faster Pussycat just gets nastier—and better at it.

On a humid, beer-slicked night at the Hook and Ladder Theater, the L.A. sleaze rock legends rolled in with all the grit, grime, and eyeliner you could hope for. The venue—small, hot, loud—was a perfect match for their gutter-glam vibe. No pyrotechnics, no polished production—just raw, distorted guitars and enough attitude to sink a battleship.

They opened with “Motorbike”, and it was amazing. Their latest single.  Taime Downe, looking like the last man standing from a Hollywood bar fight, stalked the mic stand like he had something to prove—and honestly, he didn’t need to. His voice was a whiskey-drenched growl, perfectly at home in the grime.

The band has evolved, sure—more industrial touches here and there, some slower, grungier grooves—but they never lost the core: dirty riffs, bad intentions, and anthems for the beautifully broken. Tracks like “Cathouse”, “Bathroom Wall”, and “Slip of the Tongue” hit hard, fueled by relentless drums and sleazy guitar hooks that got the crowd shouting like it was a dive bar at last call.

Mid-set, they threw in “House of Pain”, slowing things down just enough to let the room breathe—and shout every lyric right back at them. There was no ironic detachment here; this crowd felt that one.

By the encore, it was sweaty, loud, and everyone looked like they needed a cigarette, a shower, or both. The band closed with “Babylon”, grinding it out like the end of the world, and then walked off without fanfare—just a wave, a grin, and feedback ringing into the rafters.

Verdict:
Faster Pussycat at the Hook and Ladder wasn’t a nostalgia act—it was a celebration of survival. Raw, dirty, and still dangerous, they proved sleaze never really dies. It just downs a shot, lights a smoke, and keeps grinding.