Dance Hall Filled With Intensity and a Lot of Fun

During Elvis Costello’s first tours in the late 1970s, he often would play a frenzied 35 minutes or so, then leave the stage, no encore in sight. While this ticked off some people, such energetic performances created an atmosphere of undeniable spontaneity and excitement.

Enough to make Elvis proud, Berkeley’s Dance Hall Crashers operated in much the same hurried state on Sunday before an adoring capacity crowd at the Galaxy Concert Theatre. Delivering 16 short, crisply played songs (including encores) in just under 50 minutes, DHC left the fans exhilarated but craving more from the punkish platter.

With singers Elyse Rogers and Karina Denike at the forefront, the band projected a bouncy stage presence and dance-happy tunes that created a mood ripe for moshing in the pit (even a resurrection of pogo-ing was inspired) and fun, fun, fun.

Sporting pigtails, thick, black-rimmed glasses and a red and white sundress, the nerdy-looking Denike provided welcome layers of humor, charm and vivaciousness.

The group also deserves credit for evolving into more than just a party band.

In shifting from the Two-Tone, horn-heavy arrangements of their 1990 debut release to the leaner, guitar-driven pop-punk sound of its latest album (“Lockjaw”), the band has added noticeable grit while retaining a flair for melody and harmonizing.

This was particularly evident live--the winning combination worked well to broaden the scope in subtle but significant ways.

Several songs connected on the sheer force of delivery. Bordering on the kind of hard-core assault you’d expect from such bands as Quicksand and the Deftones, the femmes hurriedly barked out indecipherable lyrics while guitarist Jason Hammon unleashed steady but simple chords during “Othello,” “Sticky” and “Skinhead BBQ.”

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At times the breakneck pace slowed just enough to allow worthwhile themes to come through. Ranging from amused (“Pick Up Lines”) to downright disgusted (the ska-flavored “Good for Nothin’ ” and “Enough”) to self-proclaimed naughtiness (“Don’t Wanna Behave”), Rogers writes seriously and playfully, balancing doses of sarcasm with sincerity.

The combination of Rogers’ girlish, nasally voice with Denike’s deeper wailing resulted in both lovely harmonies and distinct, alternating leads.

After witnessing a trio of perky sing-alongs, including “Shelley,” “We Owe” and an electrified encore of the signature “DHC,” one had to wonder: Is this really just a pop band on speed? Or a punk band under a pop disguise?

No matter, because few musicians can cover this kind of ground in so short a period. Except for maybe one geeky-looking Englishman.