The Hold Steady is not a typical band. Its April 6 show at Pearl Street in Northampton was packed to the brim with fans openly discussing not just the band’s music but also their personal homemade comic books based on the band’s material, often while debating such topics as whether or not the band’s 2005 album “Separation Sunday” would make a better book or movie.
In case you missed it, over the group’s four-album career, The Hold Steady has become one of those bands. Manna for the kind of nerds that can follow overarching character arcs about hood-rat American teenagers coming to terms with drugs, friendship and religion while taking wild joy rides across the Midwest. Minneapolis to be specific, in most cases, although lead singer Craig Finn name drops western Massachusetts in more than one number. A homage to his Massachusetts roots was more firmly stated when Finn openly addressed family members within Tuesday’s crowd and referenced his baptism in Northampton’s own St. Mary’s church.
Looking around the crowd, one of the more interesting sights was the varying demographics the band attracts. Young professionals in three-piece suits and sandal-clad college kids are staples, but upon looking around was a noticeable change of the usual attendees. But the people had one thing in common, the mutual worship of Finn and his five-piece backing band. And with the kind of back catalog that can churn out multiple satisfying set lists, The Hold Steady made sure to mix it up just right for their fickle fans.
Opening band, The Oranges Band, had its fair share of trouble appeasing the fickle fans. Sonically the band reveled in the sort of power pop that The Hold Steady has always used as the base ingredient for its tunes, however without much variation the songs and energy provided felt almost mechanical. Leading off with opening song “White” and continuing on through a block of songs dubbed by the band as “Are Invisible rock block,” in reference one of the band’s albums which focuses on “obscure Baltimore music history.”
However by the end of the set the crowd had already grown restless for the main attraction.
Beginning with “Hornets! Hornets!” The Hold Steady needed no warm-up time. By the middle of the tune Finn was already hopping around the stage, animating his movements wildly with arm flailing and pogo dancing. Finn made sure that his facial expressions sent a message, turning his vocals into a sort of method acting that made him a magnetic figure onstage. Rendering the backdrop of keyboardists, guitarists and amps emblazoned with white stencils bearing the band’s moniker were almost unnecessary. By the time the song’s protagonists got to “Southern Minneapolis” the crowd was fist-pumping along while Finn foamed at the mouth, the spit dripping down his chin and onto the microphone and occasionally on a lucky fan.
The Hold Steady then segued into “Hurricane J,” one of the singles off their forthcoming fifth album, “Heaven Whenever” due out later this year. The song’s opening riff reeked of classic Hold Steady Americana rock but fans were soon taken out of their comfort zone when the song swirled around and slowed down near the bridge.
With overlapping guitars and an emphasis on layering, the song both revels in the band’s past while giving a glimpse of their direction for the future. If songs like “Hurricane J” and “Weekenders” are any indication, “Heaven Whenever” may be the token sophomore album the band never quite slowed down to make.
The Hold Steady demonstrates what few younger bands possess, a comfort and knowledge of its own material. The proof lay in the members’ confident use of back tracks to buoy the set, which ran the gamut between newer tracks like Stay Positive’s “Navy Sheets” and “Magazines” and obscure older cuts such as Almost Killed Me’s “The Swish.” Thus, by the time the band hit its stride with big tracks like “Stuck Between Stations” and “Sequestered in Memphis” the choice for their new album cover became clear.
A pumping fist in the midst of a blurred-out crowd is one of the only things the band sees these days.
Peter Rizzo can be reached at [email protected].
