froSTed’s Too-Brief Set Leaves Its Fans in the Cold

Only 13 songs in 43 minutes, including encores. That’s how short froSTed’s headlining set was Friday at the Coach House.

It assuredly didn’t have to end so abruptly. froSTed is the latest musical venture for singer-songwriter Jane Wiedlin, who ignored her three solo albums as well as everything she wrote or sang as a member of the all-female Go-Go’s.

Wiedlin was a key creative player in that L.A. pop group, co-writing many of its bubbly tunes, including “My Lips Are Sealed,” “Head Over Heels” and “Vacation.” Her subsequent solo albums, although commercially disappointing, yielded three bouncy singles: “Blue Kiss,” “Tangled” and “Rush Hour.”

In a briskly played but skimpy set, froSTed did leave a small audience of about 200 clamoring for more after playing everything from its new album (“Cold”) and nothing else.

It’s admirable to emphasize new material over old, and one could rightly argue that froSTed’s sound is more garage-y and edgier than the predominantly pop fare of both the Go-Go’s and Wiedlin’s solo work.

Since this quartet has only one album, though, why not reinvent some of Wiedlin’s older tunes? And there’s nothing wrong with a well-chosen cover or two. Otherwise, as in this case, you shortchange your audience.

To its credit, an energized froSTed--which also features lead guitarist Brian Waters, bassist Sean DeMott and drummer Lance Porter--did unveil an aggressive edge in what was basically a live performance of the “Cold” album. A couple of songs (“Bed” and “Dis-Integrated”) even showcased a welcome bit of nastiness and attitude.

Generally, though, the band needs stronger material and a distinctive voice. The foursome is grounded in simply structured, familiar-sounding pop-rock tunes. Only a few are memorable; the majority float uneventfully by.

Caught in no-man’s land, froSTed is too tame to be punk and too punchy to be pure pop.

Nonetheless, the diminutive Wiedlin was full of spunk and served as a likable, gracious hostess. She joked with the sparse crowd and, at one point, even handed out several bottles of beer to fans. It’s too bad her generosity didn’t extend to a more substantial and nourishing set of music.

Flossie Snail’s lead guitarist and vocalist Chris Arnold joked midway through the trio’s second-billed set, “I think it’s time we played a slow, acoustic song.” Kid not, that idea had merit, because the Costa Mesa band’s hard-driving but melodically vacant mix of punk, rock and metal quickly grew tedious. The sole exception was a loose, rootsy number titled “Waste Some Time With Me,” which brought a dash of variety to an otherwise monotonous presentation.

August Burning preceded Flossie Snail with a potent mix of crafty ensemble playing and John List’s soulful, wailing lead vocals. The Newport Beach quintet’s 30-minute set of Midnight Oil-inspired rock featured several excellent new selections, ranging from “The Jesus Song,” featuring James Wagner’s explosive guitar work, to the quirky, gender-bending “Drag.”

But nothing topped the crowd-pleasing, all-out stomper titled “Seabound Fool,” which showcased Eric Carter’s dazzling piano rolls and List’s most impassioned singing.

Spine, a northern Orange County quartet, failed to live up to its billing as a warm-up act. The group was tense and distant during its opening set, setting up a chilly barrier during a grating set of noisy funk-meets-hardcore songs that were defined by thick, discordant guitar licks and inscrutable lyrics. Lots of angst, but who the heck knows why?