Until last week, I only ever recognized the Georgia Theatre as a loud, dusty block of downtown I had to walk around because of construction.

Jason Flynn

Yet, for some reason, there were fliers everywhere; and everywhere, everyone kept talking about.

So I decided to go.

Full disclosure: I had never been to a show at the Georgia Theatre before this, so I don’t really know what it was like before — I don’t know about its history and I don’t know what changes have been made since.

I do know that the Georgia Theatre reopening received a lot of hype, but besides the celebratory set list I couldn’t tell you why.

Nonetheless, I picked J Roddy Walston and the Buisness with Reptar for my first time.

As I drove down Clayton looking for space to park there were growing numbers of obviously excited concert goers. Every approach was punctuated by bright lights; everywhere were the growing sounds from the open doors.

Then I saw the layout — with the wide open first floor, the two tiered balcony, mostly quiet photo gallery and an open rooftop eating area.

As most concerts do it, this one filled up slowly at first, and then rapidly all at once as the headlining bands went on.

I danced with a bunch of strangely dressed hipsters, helped a crowd surfing keyboardist in a spandex onesie crowdsurf back on stage and was generally rocked by punk gospel of both bands.

It was a fantastic show, and one I will remember for a long time.

But, was it special? Did this show stand out, here in this rebuilt theatre?

At first, I was inclined to say no.

The Georgia Theatre seems like a lot of other mid-sized venues I’ve been to. Would the show have been worse at the 40 Watt, or the Tabernacle in Atlanta? I doubt it.

Then I took a second to think.

The Georgia Theatre is a part of what seem to be a dying breed of musical destinations. Similar venues are not the norm, at least not ones with enough pull to bring some very popular artists from around the country, or with the capacity to fit rabid crowds.

Most of all, the Theatre has vehement community support. Probably one of the most intriguing things about it is the numerous types of people that attend shows — including hipsters, old townies, bros of all stripes and sorostitutes.

I was inclined to write off the Georgia Theatre as just another venue, but it lived up to the hype. The atmosphere exhilarated; the bands destroyed.

If every performance at the Georgia Theatre is as good the one I saw, then I can see why Athenians believe it is such an important place.

I, for one, will keep coming back as long as the spandex, sweat and roaring crowds do, too.