Rarely has this city seen a band as magical as Hope For Agoldensummer. Though the band’s debut LP, I Bought a Heart Made of Art in the Deep, Deep South, is an incredibly strong record by any standards, it is the CD’s release show that will likely remain in the minds of fans for some time to come. From the first chords struck by Telegram’s frontman Troy Bieser, a comfortable warmth began to permeate throughout the audience; this was not an ordinary “indie” rock show at the EARL. Telegram’s set showcased most of the band’s better material, and bassist Rob Henson practically stole the show with his amazing upright bass performance. Troy’s songs of love and heartache are of the type most appropriate for smoky, candlelit rooms and strong liquor; the tunes accessible to anyone who has ever felt the pleasure and pain that love can bring. This set was probably the best this band has done yet, and truly showed their potential.
Up next was the evening’s star, Hope For Agoldensummer. Performing in celebration of the release of their debut LP, the band succeeded in staging perhaps the best show in their history. All the band’s musicians were seated onstage amongst a myriad display of eclectic instruments typical of their performances; xylophone, woodblocks, accordion, various whistles and winds, and singing saw accompanied the more traditional guitars, drums, and cello.
One of the more remarkable things about HFAGS’s performances is their ability to appear as though the band members themselves are absolutely absorbed in their own music. In doing so, they also tend to create a very natural feeling of inclusion among the audience, as everyone is easily swept into the music. Sibling vocalists Claire and Page Campbell’s voices blend frighteningly well, and they become nearly indistinguishable from one another as they harmonize with seemingly little effort.
Claire Campbell has recently said that one of her goals has been to “get everyone at the EARL to shut the fuck up, just once.” This seemingly impossible goal was fully and wholly realized at this show, as the Campbell’s parents were invited onstage to perform an acapella duet version of a Ralph Stanley song. Before she gave the stage to her parents, Claire stepped up to the mic and proclaimed forcefully, “If anyone talks during this next song, there’s going to be a bodycount. I’m so fucking serious.” No one in the room seemed to know quite how to react as the two middle-aged parents climbed onstage, but as soon as they began to sing the entire room fell eerily silent. As the two singers’ voices intertwined in beautiful harmony, the members of HFAGS looked on proudly from the rear of the stage as if to say, “See, we knew what we were doing.” When they finished the song, the room erupted in applause the likes of which are rarely heard in venues such as this, and HFAGS returned to the stage in complete and utter control of the audience.
The show’s intended final song included Telegram’s singer as well as an additional percussionist, but the audience was not willing to let the show end with this. When the band tried to wrap up their set, the crowd made it clear that they were not going to get away so soon. They then performed another song, a crowd favorite, “Malt Liquor.”
This entire show, start to finish, was an absolute triumph, and likely cemented Hope For Agoldensummer’s position as one of the region’s most relevant and astonishing bands.