Though this site’s Ohio bias is well-known, I don’t think too many people will dispute the idea that Akron-born-and-bred electronic provocateurs Devo are a band of great importance. Though the musical influence of these iconoclasts might be hard to trace, their very existence and idiosyncratic strain of cultural critique opened a world of possibilities for anyone who followed.

Devo may be remembered by most of the general populace for the funny hats, yellow suits, and quirky hits like “Whip It,” but they began in the early ’70s in reaction to the Kent State shootings as a confrontational mix of theater, primitive electronics, and proto-punk. Even then, though, the idea of “de-evolution” was fully formed. As witnessed on the recent Hardcore volumes, by the mid-70s, the band was already laying the foundation for what would come, with songs like “Uncontrollable Urge” and “Jocko Homo” taking shape as seminal works.

Instigated by these recordings being re-appreciated, Devo embarked on the Hardcore Tour last year, playing many songs of this period for the first time in decades. Unfortunately, Bob Casale (a.k.a. Bob 2) had passed away while the tour was still in the planning stages, but Devo decided to soldier on, donating a portion of the profits to Bob’s family. For posterity, they filmed one of the 10 performances from the jaunt, their show in Oakland, which has been recently released as Hardcore Devo Live! (MVD Visual).

I was lucky enough to catch the New York date of this tour, and I can say without hesitation that it is among the greatest nights of music that I’ve witnessed. (My only complaint at the time was that it was too short.) Oakland was treated to the same setlist and presentation as New York, and it is captured in all its glory on this video (available in both Blu-ray and DVD formats). The band presents the evolution of de-evolution chronologically, beginning in their basement (as represented by a cinderblock backdrop) wearing t-shirts and jeans and eventually donning blue coveralls while the basement walls give way. The DVD, however, adds commentary from the band as well as contemporaries like Toni Basil and V. Vale. These interjections lend context, of course, while being brief enough so as to not disrupt the continuity of the set, and Gerard Casale’s tale of playing “(I Can’t Get No) Satisfaction” for Mick Jagger’s approval is particularly entertaining.

Beginning with “Mechanical Man,” this show, as one might expect, seems suitably stripped down. But even in this barebones format, Devo’s ingenuity is still readily apparent. It’s also evident how affective just the simple act of wearing strange masks must have been when they were starting out, as it still adds an element of the bizarre here. Midway through, Bob 1 speaks for the band when putting the general feeling concerning the tour into words, “I’m tired of playing ‘Whip It.’ Let’s do something else,” and it’s obvious that Devo is energized playing these songs in this format. (Though given the mechanical nature of the band’s long-running schtick, it would be hard to accuse them of ever going through the motions.)

As I experienced in the flesh, Devo’s performance is riveting. By the time Mark Mothersbaugh gets in the crowd to lead them in the call-and-response of “Are we not men? We are Devo!” of “Jocko Homo,” the band has proven that even in their most primitive form, they were a commanding force. The show eventually wraps up with an encore of Booji Boy singing “U Got Me Bugged” and “Clockout” performed in tribute to Bob 2 with his son Alex. With this final song, it’s hard not to feel a sense of closure, especially when Casale comments on that feeling by remarking, “The beginning is the end, and the end is near.” But as anyone who sees this video undoubtedly will, we can still hope for more Devo.