I don't miss many Whiffs shows – especially not two-band bills with a budget-friendly $5 cover. Then something changed. An unnamed third performer was added to the show. The Whiffs teased it was "a big surprise." Would the additional act be worth the sleep I'd lose? Well, as they say, "In for a penny, in for a pound."

Openers Drastic Plastic are the best new band that's not actually that new. The act is punk of some sort, built from a crazy assemblage of five players, all of them are either virtuosos or clowns – even after seeing the quintet several times, I'm still not sure which it is. On this night, a different mix provided new clues. The circus-toned keys of Jack Bryan were more integrated. The metallic, shred-heavy lead guitar of Eli Mardis was less domineering. Maybe they sound like Mr. Bungle. Or maybe I've just never understood Mr. Bungle either, so both exist in the "other" bucket for me. The group played a new one full of complications and multiple musical shifts. Bassist Jack Lague was active throughout, recalling John Entwistle. Like The Ox, he didn't move much as his fingers worked the strings. The act was tight, coalescing around drummer Guthrie Bricker. Songs were delivered one after the other. When vocalist/guitarist Jack Goodrich wanted to be an emcee he was. But most of the time his microphone was used for his shouted and chopped vocals. All of this happened in a twenty-three-minute set that must be seen to be believed – just don't try to figure it out.

The opener started late but was bested in that department by surprise (unless you asked nearly anyone ahead of time) guest Kid Congo & the Pink Monkey Birds. At 9:20 the iconic Kid Congo Powers took the stage joined by longtime lead guitarist Mark Cisneros and drummer Ron Miller. Previous bassist Kiki Solis is evidently no longer pink enough nor monkey bird enough for the role. For reasons both interesting and too long-winded, the trio had gathered in Lawrence to play this unannounced warmup gig on the eve of its national tour. The resulting seventy-minute set saw the band deliver both concise garage punkers and sprawling odysseys that were as much spoken word and jazz as rock. Some numbers were in English, others in Spanglish. The audience was asked to sing along. Powers' guitar added noises and accents, but few leads or solos. Cisneros did the heavy lifting in those departments. Miller's kit was augmented by the necessary drums to add the Latin flair to "Ese Vicio Delicioso." That buoyant should-have-been hit sounded better live than it does on the album. Bass guitar was piped in from backing tracks. Hearing a song with a strong bass line delivered by an apparition was a bit disappointing, but Powers kept spirits high. He was in a good mood, chatting between numbers, and offering glimpses into his time with The Cramps and The Gun Club when playing the cuts that each made famous. Despite the more-than-ample serving, the threesome didn't get through its planned set list. I suspect there are limits to how long the middle act on a Monday night three-band bill can play. It was still a lot – especially since I knew I'd see Powers and his crew again the following night – but every Kid Congo & the Pink Monkey Birds show is a blessing.

Eventually the stage was handed over to The Whiffs. I am the world's foremost authority on the local-yet-internationally-known power-pop band, so it's tempting to dive deep into the minutiae that distinguished this performance from others. I'll try to show some restraint. This particular eleven-song set featured nine numbers that were unreleased. Some have been around for years, and some I heard for the first time. All of them clicked. Jangling twelve-string guitarist Rory Cameron had a new one that recalls a bit of Thin Lizzy – he promised that one will be a single and it deserves the spotlight. Bassist Zach Campbell sang a number of future classics as well. Even the formerly-shaky one sung by lead guitarist Kyle Gowdy (his first since joining the group) has solidified well. Maybe it was always just an issue with the backing harmonies that were finally locked in. The group's performance of earworm "Wanted" was another highlight. Drummer Jake Cardwell led from the back of the stage, pushing his compatriots when needed, and (only occasionally) reining the musicians in. He's a conductor without a metronome, and that’s rock & roll. The set ended with one titled "The Mystery." Like previous closer "Verlaine," this one also veered from the act's usual late '70s power-pop playbook. As Gowdy leaned back into a spectral lead – unexpectedly powered by an Ebow – I was reminded why I don't miss many Whiffs shows and why I do miss so much sleep.