As someone who has never been to a hip-hop show before can imagine, when arriving at the Barrymore for the underground par group Aesop Rock, I was unsure of what type of atmosphere to expect. I stepped off the bus and entered. Immediately, the vast differences in the crowd's fashion taste that encompassed the small front hall were noticeable. Of course everyone has a personal style, but the crowd usually runs along the same lines, whether it be indie-influenced with vintage striped shirts, skinny jeans and slip-on shoes, or the oversized sweatshirt, baggy pants and baseball caps typically more associated with this genre. Here, though, each music fan stereotype seemed unified under a common excitement to see the show. Yet, throughout the evening, although style at times overcame substance for concertgoers and musicians alike, Aesop Rock delivered on both levels. The first of the three acts that night was hip-hop producer Blockhead featuring DJ Signify. Set up at a table full of sound equipment, DJ Signify worked the turntables as Blockhead stood behind an Apple laptop controlling the direction of the music and adding samples. Behind them was a projection screen of two filmstrip frames illuminating the room with psychedelic kaleidoscope-like backgrounds that strengthened the feel of the looped beats and samples. Despite their low-key stage presence, the piano-laced music gave a trip-hop feel that more than made up for their subdued performance. They also pleased the crowd with their mash-up of hip-hop inspired beats strewn with lyrics from classic artists like Queen and Phil Collins. Overall, a nice way to start off the evening — laid-back, yet artistically intricate. The Octopus Project, a five-piece indie-tronic band from Austin, Texas, set up on a stage with two giant cutesy Japanese anime-inspired stage props. The four men in the band wore the dress pants, white shirt and colorful-tie look, while the front woman and primary sample artist, Yvonne Lambert, sported a mod-style dress and haircut. It was clear that this band was all about the hipster image. They started their thrash band-like instrumental act with their well-known stunt of switching instruments during songs. Although the crowd's excitement was apparent, they should focused more on the execution of their music to elevate the songs to a performance polish, rather than sounding like they were goofing off in someone's basement. As if there weren't enough gimmicks already, Yvonne, in the final act, pulled out a Theremin. For those who do not follow the history of failed B-movie-score trends, a Theremin is a two-antennae electronic instrument that provides an intergalactic vibrato sound. In the end, it appeared that the only thing the band could unite on was their need to shock the audience, as their songs were flat in build and dynamics and rather tedious near the end. Aesop Rock could hardly have been a more incongruous with the first two acts, but renewed the theater with a high-energy, well-crafted performance. The first floor filled beyond capacity, and when Ian Matthias Bavitz walked out on stage, the room filled with an unexpected roar of shouts and cheers. Native New York frontman Bavitz and his congenial demeanor were well-complemented by Rob Sonic on supplementary vocals and DJ Big Wiz. The trio clicked together instantaneously and provided a solid, hypnotic performance. Playing their title track off his latest album, None Shall Pass, the crowd that had previously only been somewhat into the performances, erupted into a fervor of dance and song. As Aesop Rock found his groove during "Citronella," the audience’s excitement was expressed through the call and response of "Kill the Television," an ironic parallel to "Radio Killed the Television Star." Aesop Rock’s lyrical style had surprising intellectual depth, which demanded appreciation. Bavitz's lyrics speak more about philosophical dilemmas than bling and women. One witticism: "OK, woke to a grocery list. It goes like this: duty and death." The two rappers sharing the stage paid such close attention to the DJ that the performance was made more cohesive and meaningful. Toward the end of the set, while the crowd was still in ecstasy, DJ Big Wiz did a turntable solo that was well-received by the cheering audience. The set ended with an encore that had everyone shouting lyrics with all the energy they could still muster. The concert gave the audience an atypical and eclectic music experience. Despite this, as I walked out of the packed theater and looked around, in addition to the different stylistic personas, I also saw, pleased faces and heard words of praise by each, for all the acts