Nothing beats serendipitously discovering a new band. It’s always good to get suggestions from our friends or the Internet or both, but when an incredible artist just falls into your lap it’s really an ineffable thing. I covered The Ballroom Thieves at the Sinclair in October and during the playlist between sets, my ears perked and I scribbled down lyrics to an unfamiliar song. I hid a batch in Frisco/ I couldn’t get a job/ So I did the next best thing and learned how to rob. I came home and typed the lyrics into Google and “Houndmouth-Penitentiary” popped up, only to realize the ubiquitous flyers at the show and in my face read: “The Ballroom Thieves/Houndmouth Nov. 14th at Royale.” So sure, it wasn’t quite serendipity, but it still felt more dignified than a Spotify “here’s a band you might like” suggestion.
The Ballroom Thieves have become some of my favorites lately. It’s not because their music is killer or because they are the friendliest and most sincere post-gig musicians to hang out with (it is and they are). It’s also that they always seem to pair their shows with other likeable and listenable artists. Their concerts become opportunities to listen and learn about new bands, finally instilling value in the opening acts. And this time, notably, credit is due to the good people involved with producing the Newport Folk Festival who sponsored this event.
Around nine The Wheeler Brothers, a folk-rock, Americana quartet from Austin, came on and played songs mostly off their fresh album Gold Boots Glitter. Not before long they had the gathering crowd on their feet and singing along with some of the catchier choruses. Nolan Wheeler took out his ukulele for a memorable performance of “My Time,” but I think his brother and Ed Helms-with-mustache-dead ringer, Patrick, stole the show on the drums. He just might be the most jovial man I’ve come across, and it’s infectious. If you weren’t dancing, you were at least smiling ear to ear by the time The Ballroom thieves were introduced. And of course, their Jackson Five cover of “I Want you Back” also didn’t hurt.
I first thought the Royale seemed an unlikely venue for The Ballroom Thieves. The Sinclair was so fitting. There—surrounded by a comfortable family and friend and fan filled crowd. They were in good company and essentially had hit a homerun even before playing the first note. The Royale, a nightclub in Boston, is a bigger venue that yields bigger unknowns. But while the venues fostered two totally different shows, together they revealed the band’s totality. The Sinclair performance vs. the Royale performance respectively highlights their “Ballroom” vs. “Thieves” persona. In less familiar territory, the Thieves had less to rely on and more to prove. Devin, Martin and Calin rolled up their sleeves exposing their ever thievish tattoos and played “Coward’s son” and “Down by the River.”
It wasn’t until the huddled around a single mic and sang “ Save Me “ that they won the crowd over. They could feel it too, as they raised their glasses of bourbon with another rowdy and welcoming crowd. Devin admits they are humbled and that they “fucking love Boston” before a spooky cello solo leading into “Droves.” In front of a new audience in a new venue, the band proved strong, composed and convincing. The “Thieves” side of the band showed on Thursday as they undoubtedly pilfered the support of any hesitant fans in attendance.
As a relatively novice fan of Houndmouth, I wasn’t sure which songs I wanted to hear more than others. It was not the kind of show where there were songs I had been listening to for years and that and if they had been neglected, the show would be a washout. It made it less stressful, especially because they played a very recognizable set list. They are exceptionally versatile and with so many standout songs that I’ve found them to be super accessible. Just a few times through their album and I felt equipped to scream along to On The Road, Ludlow and Come on, Illinois like everyone else. We heard almost every song from their first full album, “From the Hills Below the City” which was released in 2013, a year after their self-titled EP.
First we saw Shane Cody on the drums, Zak Appleby on the bass, Kate Toupin on the keys and Matt Myers on the guitar and lead vocals, but it didn’t stay that way. They’re as versatile individually as they are a group, all playing at least two instruments throughout the course of the night. It made for a lively set, as they were so palpably appreciative to playing in front of “the biggest crowd outside [their] home region.” They played a cover of the Beatles’ “Golden Slumbers” straight into “Halfway to Hardinsburg,” which had the more inebriated fans bellowing as they pushed their way to the front. Before leaving the stage they played two sweet new songs holstered for their next record.
The turnaround was quick and Houndmouth came back playing straight into “Penitentiary,” before forever winning over my fanhood with The Band’s “I Shall be Released.” It was perfect—alternating high-pitched Richard Manuel verses while accompanied by the Wheeler Brothers for the last chorus. Cody told us to “get close and touch tits” before they finally played an impassioned “Comin’ Round Again,” which we kept on singing down the stairs and out to the streets. Myers intentionally plucked off two strings mid song and played a frazzled three-string guitar until Cody flipped his kit upside down and tossed his sticks aside. The night ended harmoniously: the band leaving behind a crumbling stage, and the satisfied crowd leaving a floor wholly riddled with beer cans.
Look out for The Ballroom Thieves who hope to come back sometime this winter. We can expect they’ll continue to team up with new and exciting bands, giving us more opportunities to discover something new for ourselves. Nothing trumps that.
