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Inspired moments of melancholy
An indie rock show in three acts
By Zachary Hoeppner
The tonal and rhythmic setting of Orange's music cast a spell over the enraptured audience that only seemed to build as the night progressed.
On Saturday night The Celebrated Workingman, Margot and the Nuclear So and So’s, and Wild Sweet Orange proved to a swarming Turner Hall crowd that with the power of soul anything is possible.
Act one. The Celebrated Workingman gave the crowd a performance to warrant dancing and plentiful smiles. Saturday night was a party to be sure.
Bassist Gavin Rice and drummer Justin Krol combined to form a wicked-tight rhythm section that is as much a staple of the band’s performances as Mark Waldoch’s curly-haired headbanging. The latter was in prime form, pouring out just a little more sweat and energy than your average frontman on the stage.
The strength of Workingman is their refusal to be carried by just one band member, that is to say each member finds equality in the conversation of their music. This is especially true of the humble tambourine and extraneous percussion workmanship of Charlie Hosale.
Act two. Enter Wild Sweet Orange, a group of youngsters with a powerful sound from way down there in Birmingham, Alabama. The band is touring on the heels of their exciting debut release, "We Have Cause to Be Uneasy," a punchy blend of neo-folk and southern rock. The Celebrated Workingman’s energetic set seemed a demanding task, but the quintet took over with remarkable poise; throughout its set, the audience looked on and listened with ears expectant.
Orange's performance was highlighted by Preston Lovinggood’s mature delivery of syllables in the form of vowels and consonants and the rest of the group’s extraordinary approach and eager soul. The low frequencies of Alex Mitchell and mature rhythms of Chip Kilpatrick together squeezed every last drop of groove out of each measure the band had to offer.
The tonal and rhythmic setting of Orange's music cast a spell over the enraptured audience that only seemed to build as the night progressed.
Act three. If you saw the eight remarkably quirky musicians of Margot and the Nuclear So and So’s standing outside a music venue, you would hardly think they fit together in one band.
The members of Margot play electric and acoustic guitars, piano, bass, drums, a sultry violin, wailing horns, and various auxiliary percussion including a huge plastic water jug and suitcase. This diversity of instrumentation and musicianship forms a complex blend of provocative melancholy and entertaining flamboyance.
With the very first note, guitarist and lead vocalist Richard Edwards established the power and grace of his voice, while simultaneously presenting himself with moody mannerisms and dressed to impress in a game-show host blazer. Serious music coupled with equally serious faces made a statement that designated the audience as more than just listeners--they were participants in the music.
During the break before Margot's encore, people shouted requests to which lead singer Richard Edwards replied, “I hear people shouting songs off our first record. We have another record out.” In fact the group has two brand new records, “Animal!” and “Not Animal,” both released this year by Epic. In many ways its sophomore releases are a marked step outside the box that previously defined Margot. We’re not talking about an avant-garde step, but just a mentionable dose of melancholy and a few more coats of lacquer to really make the finished product shine.
Yet Margot had difficulty staying true to the groove throughout their set. There were moments when the band explored brilliant landscapes, but its crescendo’s broke out into sloppy meter and lacked the robust sensation needed. Despite its missteps, the band was at its best Saturday night during inspired moments of melancholy outlined by the many vibrant threads that make up their sonic species.
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