After his set last Thursday night, I told Retribution Gospel Choir frontman Alan Sparhawk that my housemates (You and Yourn) had opened for Low (Sparhawk’s other band) a couple times last fall. In addition, my neighbors (New Ruins) had just opened the evening for RGC, in the recently revamped Void Room at the Canopy Club. He responded with the assertion that when you have been on the road as long as he has, you end up playing with everyone’s band.
So for me, that night’s festivities were homely and intensely proximal. It felt as if Retribution Gospel Choir had taken time out of their busy schedule to drive down from Duluth, MN, and play in our collective living room. I was deeply appreciative.
This late, midnight-oil burning show kicked off at around 10:30 p.m. with my favorite neighborhood rock outfit: New Ruins. These guys are a hardworking bunch of local musicians that C-U should be proud to call their own. Between balancing family life and work, New Ruins manages to record and put out new material at a steady pace. We can expect a new 7″ sometime this year recorded by Hum’s Matt Talbott. My housemate Nick wanted me to mention something about the terrible sound that often detracts local music aficionados from seeing shows at The Canopy Club’s “Void Room (No longer void of good sound?)”. However, I must say I was pleasantly surprised to see and hear they had invested in a nice pair of JBL speakers to bolster a crumbling PA system. Even New Ruins loudest moments were clear and discernable. It was a relief, because no one wants to have to compromise when they are about to imbibe greatness.
Dressed in all black with regal-looking ties, Retribution Gospel Choir took the stage to an intimate crowd of no more than 50; fine enough by me, and the band. The energy was consistent. Sparhawk’s $4,000 custom Les Paul Standard was his vessel for all he has to convey. It was very inspiring to witness, both as a spectator and musician. I felt in many ways similar to someone the first time they saw Hendrix perform. Not necessarily in technique, but more with the seeming possession of spirit that takes one over when letting the internal out. The performance was at times intense, with the veins of neck swelling and the crunch of guitar howling, all the while in tight control. The vocal harmonies usually filled out by Sparhawk’s wife Mimi Parker of Low were adequately substituted by drummer Eric Pollard. This balanced the rush of the music with clear, ringing lyrics. They played a major chunk of their newest release 2, including personal favorites “Hide it Away” and “Workin’ Hard,” as wells as the fun timey riff interlude “’68 Comeback”.
The lack of attendance did not detract from the appeal of this show. In fact, the sparseness made it feel all the more rewarding, rather than punishment. It was dark, intimate, and there was no merch table. If you wanted an LP, you had to go ask Alan himself. He’d autograph it for you too…it was like that. This was the first great show of the semester for me; hopefully more are coming to our collective living room. Be on the look out.