The very first Fugazi show in the state of California, and it is set at the famed Alternative Music Foundation or 924 Gilman Street Project in Berkeley, an "all ages DIY, volunteer run, nonprofit, music & art community space since 1986" according to its website.
A venue originally known for its explicit stance of opposition to major labels, big corporations, racism, sexism, and homophobia, although decision-making in recent years seems to have marked a new direction according to some, significantly undermining or possibly even abandoning longstanding rules and founding principles.
Even on this particular occasion in May of 1988, it is clear from the recording that a number of "boys" attending to see Fugazi did not check their macho attitude at the door, jumping at about every opportunity to swarm the stage, slamming into the band or instruments and engage in violent dancing, in spite of numerous clear-cut calls by the band to "do us all a big favour, do yourselves a big favour, let everyone come to the front of the stage, let everybody get up here and move around and dance", as well as to "take the violence out of the scene, let's take the violence out of this show, there will be no fights, there will be no big-bad-boy bullshit".
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What ensues is a tumultuous, confrontational gig, probably even more so than the show in Spokane, Washington a week prior. The show struggles to get off the ground as momentum is lost repeatedly. As a case in point, the song Bad Mouth has to be aborted because Ian's guitar chord breaks (during the following interlude, Joe and Brendan start a little jam, going through some of the Lockdown arrangements).
Still, the band pushes on undeterred, busting out songs with ardour as both Guy and Ian speak out to get their point and the meaning of the songs across. Even the ever reticent Joe speaks out at one point if I am not mistaken. Highlights in my book include Merchandise, Give Me The Cure, a heated rendering of Suggestion, and the staple Waiting Room.
The show apparently was recorded and broadcast live by KALX Radio, yet I am not quite sure what to make of the quality of the recording. The guitar, and vocals or bass especially sound really clear in the mix, which is a big plus. The drums however are too low during most of the recording, notably during the more up-tempo parts. Also, some songs suffer from significant distortions as well (e.g. Burning) and the recording is incomplete as Glueman cuts off untimely.
To conclude, I can easily imagine this gig marks an important event for all involved to this very day, especially since the Gilman Street Project, at least at the time, pretty much echoed the kind of ethics and sense of community that had been gaining foothold in DC around that time as well, as Revolution Summer still hung in the air.