A quick glance about the Rex Theatre and one might have assumed it were a Michael Bolton-meets-Backstreet Boys concert. Two demographics prevailed—the first being the 90’s-hair-soccer-mom group, and the second being the I-have-a-strictly-enforced-bedtime group.

            At first thought, this 98% female crowd was largely in attendance for the American Idol finalist and Pray for the Soul of Betty frontman Constantine Maroulis. While this thought may have applied to some audience members, it was refreshing to note several unlikely fans’ enthusiasm throughout the entire show. From listening intently to The Numb Ones to dancing along with Big City Rock and mouthing the lyrics to Pray for the Soul of Betty, a comfortable atmosphere remained present through the duration of the show.

            The first set, hard-rocking Fort Lauderdale trio The Numb Ones, proved to be thoroughly entertaining. Providing a darker edge to the evening’s lineup, frontman/bassist Russ, guitarist James, and drummer Phil performed with a certain magnetic style. Featured on Cleopatra Records, home to Zeromancer, Gary Numan, and other significant musical figures, The Numb Ones commanded the crowd’s attention with an attractive “dark rockstar” attitude and an impressive repertoire.

             Only a brief set change followed, and Atlantic artists Big City Rock mounted the stage. Obviously geared toward the two prevailing demographics mentioned above, this pop-rock cookie cutout was chock-full of optimism but held little substance.

            A prime example occurred when frontman and guitarist Nate Bott dedicated a song to the entire world. He then proceeded to sway in place with closed eyes as if the all-encompassing dedication were the most profound sentiment he’d ever uttered.

            With each track’s lyrical naïveté, it became difficult to connect with the band members’ underlying musical emotion; they were too busy playing tunes about bland, cliché topics. Songs that showcase “driving through the city with the radio on” and querying the audience, “Do you want to rock? Do you want to roll?” may seem nice on paper, but only on paper. Corporate-tweaked and a watery pop radio station’s dream, Big City Rock’s lack of dynamic stage presence and general substance finally proved rather uninspiring as the set concluded with minimal fanfare.

            Quickly removing everything from the stage, Big City Rock’s exit left one man onstage. The Betty tech, Derek, who would later rescue airborne equipment and band members multiple times began his duties as the headlining set drew closer.

On the wall stage left, he hung the most precious hometown greeting Pittsburgh could ever wish for: a giant sheet graced with the words, “Pittsburgh 27, Seattle 20. Please, ladies, no more drama!” With this particular tour stop falling so close to Super Bowl XL, it also came as a pleasant surprise when Betty drummer Hamboussi appeared briefly onstage to blast a Steelers tune through his laptop during the tail end of the set change.

The soccer moms were checking their watches as the anticipation grew thicker still; each spectator could barely seem to contain her excitement.

Finally, after the lengthy set change came to an end, a now-Steeler-jersey-clad Hamboussi mounted the stage, guitarist Joao Joya close at his heels. Bassist Taylor Pala eventually meandered his way onto the stage wearing the infamous black and gold as well; the Pray for the Soul of Betty lineup was nearly complete. One burning question hovered above the audience in a collective thought bubble: Where’s Constantine?!

The soccer moms each let out a sigh of thankful relief as their cherished American Idol hopped onto the stage, in Roethlisberger guise, and swaggered his way across the stage with a lively demeanor.

Track after track of sparkling performance, the New York City quartet illuminated the stage with more crowd-pleasing merriment and superior musicianship. Completing a stellar cover of the Stone Temple Pilots’ classic “Plush”, the set also included several original Betty tunes. A few more of the set’s highlights were a song of Taylor’s, and a particularly entertaining composition of Hamboussi’s in which the other band members swapped their usual instruments for percussive ones.

Audience favorites “Drift” and “Truck Stop Sally”, featured on the group’s Myspace.com account and latest CD, clearly showcased the fans’ Betty loyalty, as each spectator was visibly open-mouthed, whether from singing along or gawking at Maroulis.

Immersed in the triumph of a Pittsburgh show gone especially right, the set’s end transitioned to an enthusiastic encore’s commencement. The soccer moms coerced Joya into removing his shirt, while Maroulis climbed to the top of a giant amplifier to belt his final notes. In short, the radiant performance drew to a close with much satisfaction.

In a brief discussion with Numb Ones frontman Russ after the crowd had subsided, it was clear that the musicians had thoroughly enjoyed themselves as well. “It’s been great to tour with Betty and Big City Rock,” he commented. “This show was a lot of fun.”