The Legendary 1994 Concert at Studio 1 Featuring GWAR, The Dickies, and The Fiendz
On October 15, 1994, the gritty industrial landscape of Newark, New Jersey, became the epicenter of a sonic assault that blended punk frenzy, metal theatrics, and underground grit. Studio 1, a storied venue in the heart of the city's north end, hosted a bill that promised chaos: headliners GWAR, supported by sludge metal outfit Buzzov•en, punk pioneers The Dickies, local heroes The Fiendz, and openers Generation Landslide and Ostimony. This wasn't just a concert; it was a ritual of rebellion, drawing fans from the tri-state area eager for a night of blood-soaked spectacle and high-energy riffs. In an era when alternative music was exploding post-Nirvana, this show encapsulated the raw, unfiltered spirit of the underground scene, where costumes, controversy, and crushing sounds collided.
Studio 1, located at 88 Verona Avenue, was more than a mere stage—it was a cornerstone of New Jersey's rock and metal history. Originally a nightclub that evolved into a live music hub in the late 1980s, it featured a two-floor layout that allowed for intimate yet expansive performances. The venue was renowned for hosting heavy hitters like Mercyful Fate, Ace Frehley, and Trixter, making it a "Northern New Jersey Metal Institution." By 1994, Studio 1 had cemented its reputation as a haven for alternative acts, with its dimly lit interiors, booming sound system, and a crowd that thrived on the edge of moshing and mayhem. Though it later transformed into a church, memories of its glory days linger in online forums and Facebook groups, where alumni reminisce about the sweat-drenched nights that defined their youth.The lineup was a testament to the era's eclectic underground. Opening the night were local acts Generation Landslide and Ostimony, both obscure bands that added a grassroots flavor to the bill. Generation Landslide, possibly drawing their name from an Alice Cooper classic, represented the DIY ethos of New Jersey's rock scene, delivering straightforward hard rock riffs to warm up the crowd. Ostimony, even more elusive in historical records, likely brought a similar raw energy, setting the stage for the heavier hitters to follow. These openers were crucial in building anticipation, as fans filed in, many clad in white T-shirts knowingly prepared for the inevitable "spew" from the headliners.
Next up were The Fiendz, a punk-rock staple from the Garden State. Formed in the late 1980s, The Fiendz had been grinding through the local circuit, playing venues like City Gardens in Trenton and Connections in Clifton earlier that year. Their October 15 slot at Studio 1 with The Dickies and GWAR was a highlight of their 1994 itinerary, which included gigs with acts like 7 Seconds and Blanks 77. Known for their catchy, melodic punk infused with pop sensibilities, The Fiendz delivered a set that energized the hometown crowd. Tracks from their albums like "We're the Fiendz" likely echoed through the venue, blending humor and hooks in a way that bridged the gap between the punk old guard and the emerging alternative wave. As a New Jersey band, they embodied the local pride, with fans chanting along in a sea of flannel and Doc Martens.
The video is preserved on youtube.
Following The Fiendz were The Dickies, the veteran punk rockers from Los Angeles who had been trailblazers since the late 1970s. Famous for their hyper-speed covers and original anthems like "Paranoid" (a Black Sabbath reinterpretation) and "Killer Klowns from Outer Space," The Dickies brought a dose of irreverent fun to the proceedings. By 1994, they were touring in support of their enduring catalog, including hits from "The Incredible Shrinking Dickies." Though no exact setlist survives for this date, their typical performances featured frenetic energy, with songs like "Nights in White Satin," "Give It Back," and "You Drive Me Ape (You Big Gorilla)" whipping the crowd into a pogoing frenzy. Their slot sandwiched between local acts and heavier bands highlighted the bill's diversity, offering a punk palate cleanser before the sludge and shock.
Buzzov•en, the sludge metal trio from North Carolina, ramped up the intensity next. Touring behind their 1994 album "To a Frown," they unleashed a grinding, feedback-heavy set that contrasted sharply with the punkier acts. Their performance included tracks like "Sore," "Unwilling to Explain," "Hollow," "Done," "Broken," "Toe Fry," and "To a Frown," delivering a wall of distorted riffs and guttural vocals that prepared the audience for GWAR's onslaught. Buzzov•en's raw, opioid-fueled sound—often compared to Eyehategod—added a layer of southern grit to the Northeastern venue, turning the mosh pit into a churning mass of bodies.But the true stars of the night were GWAR, the intergalactic shock rockers from Richmond, Virginia, on tour for their album "This Toilet Earth." Dressed as barbaric space mutants with oversized prosthetics and latex armor, GWAR's shows were infamous for their over-the-top theatrics: decapitations, disembowelments, and gallons of fake blood and bodily fluids sprayed onto the audience. At Studio 1 (sometimes referred to in records as "50 Station," possibly a nickname or error), they delivered a set that included "Saddam a Go-Go," "Vlad the Impaler," "Crack in the Egg," "Americànized," "AEIOU," "Penis I See," "I'm in Löve (With a Deåd Dog)," and "Ham on the Bone." Fan footage from the show captures moments like "Have You Seen Me," where the band's grotesque antics—complete with props like rotting fetuses and meat grinders—unfolded in full glory.
The atmosphere was electric and visceral. Fans, many veterans of GWAR's tours, came prepared for the "spew," emerging drenched in red and green fluids that symbolized the band's satirical take on violence, politics, and media. Onstage, characters like Oderus Urungus (Dave Brockie) wielded oversized weapons, "slaying" effigies in a bloodbath that mocked authority figures—fitting for 1994, amid cultural wars over censorship. The crowd surged, a mix of metalheads, punks, and curiosity-seekers, creating a communal catharsis. Though no contemporary reviews survive, the show's legacy is preserved in VHS transfers on YouTube, showing a packed house reveling in the absurdity.
This concert exemplified the 1990s underground: a fusion of genres unbound by mainstream constraints. GWAR's controversy-fueled rise, The Dickies' enduring punk wit, and The Fiendz's local tenacity highlighted a scene thriving on live energy. Studio 1's role as a launchpad for such nights ensured its place in lore, even as the venue faded. Decades later, fans still share stories online, a testament to how one October evening in Newark etched itself into rock history.
Next up were The Fiendz, a punk-rock staple from the Garden State. Formed in the late 1980s, The Fiendz had been grinding through the local circuit, playing venues like City Gardens in Trenton and Connections in Clifton earlier that year. Their October 15 slot at Studio 1 with The Dickies and GWAR was a highlight of their 1994 itinerary, which included gigs with acts like 7 Seconds and Blanks 77. Known for their catchy, melodic punk infused with pop sensibilities, The Fiendz delivered a set that energized the hometown crowd. Tracks from their albums like "We're the Fiendz" likely echoed through the venue, blending humor and hooks in a way that bridged the gap between the punk old guard and the emerging alternative wave. As a New Jersey band, they embodied the local pride, with fans chanting along in a sea of flannel and Doc Martens.
The video is preserved on youtube.
Following The Fiendz were The Dickies, the veteran punk rockers from Los Angeles who had been trailblazers since the late 1970s. Famous for their hyper-speed covers and original anthems like "Paranoid" (a Black Sabbath reinterpretation) and "Killer Klowns from Outer Space," The Dickies brought a dose of irreverent fun to the proceedings. By 1994, they were touring in support of their enduring catalog, including hits from "The Incredible Shrinking Dickies." Though no exact setlist survives for this date, their typical performances featured frenetic energy, with songs like "Nights in White Satin," "Give It Back," and "You Drive Me Ape (You Big Gorilla)" whipping the crowd into a pogoing frenzy. Their slot sandwiched between local acts and heavier bands highlighted the bill's diversity, offering a punk palate cleanser before the sludge and shock.
Buzzov•en, the sludge metal trio from North Carolina, ramped up the intensity next. Touring behind their 1994 album "To a Frown," they unleashed a grinding, feedback-heavy set that contrasted sharply with the punkier acts. Their performance included tracks like "Sore," "Unwilling to Explain," "Hollow," "Done," "Broken," "Toe Fry," and "To a Frown," delivering a wall of distorted riffs and guttural vocals that prepared the audience for GWAR's onslaught. Buzzov•en's raw, opioid-fueled sound—often compared to Eyehategod—added a layer of southern grit to the Northeastern venue, turning the mosh pit into a churning mass of bodies.But the true stars of the night were GWAR, the intergalactic shock rockers from Richmond, Virginia, on tour for their album "This Toilet Earth." Dressed as barbaric space mutants with oversized prosthetics and latex armor, GWAR's shows were infamous for their over-the-top theatrics: decapitations, disembowelments, and gallons of fake blood and bodily fluids sprayed onto the audience. At Studio 1 (sometimes referred to in records as "50 Station," possibly a nickname or error), they delivered a set that included "Saddam a Go-Go," "Vlad the Impaler," "Crack in the Egg," "Americànized," "AEIOU," "Penis I See," "I'm in Löve (With a Deåd Dog)," and "Ham on the Bone." Fan footage from the show captures moments like "Have You Seen Me," where the band's grotesque antics—complete with props like rotting fetuses and meat grinders—unfolded in full glory.
The atmosphere was electric and visceral. Fans, many veterans of GWAR's tours, came prepared for the "spew," emerging drenched in red and green fluids that symbolized the band's satirical take on violence, politics, and media. Onstage, characters like Oderus Urungus (Dave Brockie) wielded oversized weapons, "slaying" effigies in a bloodbath that mocked authority figures—fitting for 1994, amid cultural wars over censorship. The crowd surged, a mix of metalheads, punks, and curiosity-seekers, creating a communal catharsis. Though no contemporary reviews survive, the show's legacy is preserved in VHS transfers on YouTube, showing a packed house reveling in the absurdity.
This concert exemplified the 1990s underground: a fusion of genres unbound by mainstream constraints. GWAR's controversy-fueled rise, The Dickies' enduring punk wit, and The Fiendz's local tenacity highlighted a scene thriving on live energy. Studio 1's role as a launchpad for such nights ensured its place in lore, even as the venue faded. Decades later, fans still share stories online, a testament to how one October evening in Newark etched itself into rock history.
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