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Live Review: Band Of Horses, Philadelphia, PA, Aug. 9, 2011

“Welcome to tonight’s version of the weirdest tour ever!” says Band Of Horses frontman Ben Bridwell of their last-minute show at the TLA on a rainy Tuesday night. The Seattle-based group had been on tour this summer with Kings Of Leon up until the July 29 show in Dallas where KOL’s Caleb Followill left the stage to “vomit and drink a beer” and never returned. The tour was soon cancelled, and while Followill and KOL are facing a shitstorm of bad press, Band Of Horses took it in stride: The band lined up a few club shows with its guitarist Tyler Ramsey opening with an acoustic set.

Keyboardist Ryan Monroe pumps up the crowd by playing the Rocky theme before leading into BOH’s signature soulful-yet-haunting harmonies, which fall somewhere between Neil Young and the Shins. Last year’s Infinite Arms has such a layered feel to it that you’re surprised when you see the band duplicate what you’ve listened to at home. By the second song, “The Great Salt Lake,” it’s obvious this is going to be a high-energy show despite BOH’s hazy, hypnotic sound. Equally impressive is “Cigarette Wedding Bands,” which showcases Monroe’s talent as he moves from keys to guitar. And not only does he play guitar on the song, he completely shreds it with a short-yet-ripping solo.

Throughout the first batch of songs—from whimsical and haunting to twangy and country—drummer Creighton Barrett is a hulking guy, and it seems at any moment he’s going to go Animal all over his kit. But he doesn’t. Despite his energy, he is incredibly controlled and steady. He hangs back on the more poppy, ‘70s-ish tunes like “Compliments” but delivers the same intensity.

On “The General Specific” (a standout because it breaks apart from the rest of BOH’s songs, lyrically and melodically; it’s more bubbly and country), Monroe rips another solo, on keys this time, that’s more Elton John improv than alt rock. Then there are the songs that could be love letters, like “Part One (Savannah),” which gets the crowd singing along, “You really caught me dear/At the bottom where I’d fallen.”

At the first three notes of “Is There a Ghost,” fans whip out their camera phones to record the band’s single from 2007s Cease To Begin, and they keep recording right into the next, which was recently covered by Cee-Lo Green: “No One’s Gonna Love You.” During clap-a-long “Older,” we get to hear Monroe’s voice alone, and it becomes clear while Bridwell’s vocals seem to define BOH’s sound, Monroe’s are really half of that unique quality.

As the set winds down, the band plays the gospel “Marry Song,” which sounds like a country slow dance at a joint with a sawdust floor. BOH finishes with another single from Infinite Arms, “Laredo,” graciously thanks the crowd and returns backstage. But fans aren’t budging, because they know what’s in store for the encore.

After a harmonica-heavy “For Annabelle,” the crowd is eerily silent, waiting for “The Funeral.” And when they finally get what they came for, I’m happy to see Barrett finally let loose, arms flailing wildly but still harnessing that same energized control that drives BOH’s crisp show.

—Cristina Perachio

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