music.lycos.com Maybe Weezer’s been taking downers; their latest performance in Detroit failed to equal the energy that both their albums put forth.

When word got out that Weezer—after a five year disappearance from active music-making—would finally be mounting a full-scale American tour, enduring fans snapped up tickets instantly, expecting that their long-lasting love would finally be rewarded. At Detroit’s State Theater on March 8, the enthusiasm of the fans came face to face with the apparent apathy of the band, and the unfortunate reality set in: Weezer is loved largely for the irresistibly fun attitude of their music, with sing-along choruses and smile-inducing lyrics. Their live performance, however, makes no effort to capture that spirit and is thus inevitably disappointing.

The level of fan devotion Weezer enjoys is rivaled by few bands. Known mainly for a few songs that were big in 1994, the band’s good-time, geek-rock legacy has remained alive, especially on college campuses, as that little turquoise disc soldiers on with its perfect blend of rock guitar, pop melody and entertaining lyrics. Even though “Buddy Holly,” “Undone-The Sweater Song” and “Say it Ain’t So” have faded from radio playlists, and though their second album, “Pinkerton” was largely overlooked, Weezer somehow had more ticket-selling power this winter than just about anybody who’s not a boy band or U2. Plus, Calvin students were more abuzz for Weezer than any other area concert in recent memory. Everything about this tour indicated that Weezer’s comeback was imminent and that faithful fans would finally be rewarded. When March 8 finally arrived, the excited anticipation among the Detroit crowd was unmistakably electric.

After a freezing 45-minute wait to get inside, concert-goers were greeted by the amusing juxtaposition of an entryway full of product-plugging booths from tour sponsor Yahoo right next to a merchandise table selling Weezer’s own “Corporate Sell-Out Tour” T-shirts. Internet kingpin Yahoo sponsored the tour, and while advertisements were abundant around the venue, that minor annoyance to fans was far outweighed by the benefits offered by the sponsorship. These included astoundingly low ticket prices, deluxe set and lighting design, and even a free goodie bag and souvenir poster on the way out. Not to mention the well-maintained, trustworthy website for tour dates and ticket info, a refreshing alternative to Ticketmaster.

The Yahoo package included two opening bands, but the long line caused most of the audience to miss the first one. The Get-Up Kids were the main opener, and they ignited the packed room with an energetic set. They made up for the audience’s unfamiliarity with their music by working the crowd passionately and rocking out with vigorous conviction. Adept live performers, the Get-Up Kids did exactly what a good opener should: they heightened the excitement of the crowd and upped the ante for the main attraction.

When Weezer finally emerged on a charming high-school-gymnasium-styled stage set and busted into “My Name is Jonas,” the evening’s excitement hit its peak. The crowd bounced and sang along with gleeful abandon. The band, however, conveyed a different mood. They never spoke, smiled, yelled, jumped or ran. They conducted themselves in a resolutely efficient manner.

Of the first nine songs Weezer played, six were new or non-album tracks. As one unfamiliar number followed another without explanation or comment, the excitement of the audience drained. These fans should have been thrilled to hear long-awaited new songs from their favorite band, but the unexceptional choruses combined with the lifelessness of the performance made the first half of the set a test of patience. When the favorites did arrive, there was certainly a revival of energy in the room, but they came and went so quickly that one couldn’t help thinking, “Is that it?”

The band successively dispensed with the big three hits from their first album as well as “In the Garage,” “Tired of Sex” and “Why Bother?” with economical, studio-perfect replications of the originals. No suspense-building instrumental intros, no inspired guitar solos, no extended audience sing-alongs. Frontman Rivers Cuomo kept his eyes pointed downward, offered no amusing commentary, and only thanked the audience once or twice for its generous enthusiasm. After 15 songs in just 45 minutes, they left the stage. Weezer returned for a two-song encore, including a powerful rendition of “Only In Dreams,” a sustained, intensity-building number that provided the evening’s musical highlight. Then, exactly an hour after they began, Weezer was gone. The giant light-up W on the wall went dark and the sweaty, somewhat bewildered audience went home.

After such a long dormancy, plus all the hype-fueled anticipation for this tour, high expectations were justified. Weezer’s fans displayed their loyal zeal, but to validate that durable devotion, this band had a lot to prove. With their short show, calculated performance and cold demeanor, Weezer proved that ultimately they’re a band better-suited to making great records than performing great concerts.

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