THE HOLD STEADY OPEN THEIR WEEKENDER WITH AN INTIMATE STORYTELLERS GIG AT THE DOME

LIVE REVIEW | THE HOLD STEADY – THE DOME, LONDON 06/03/24 by Morris Shamah

The Hold Steady performed their first “Storytellers” gig in the UK last night, at The Dome in Tufnell Park, London, as the first night of their annual Weekender. The Hold Steady are known for their riotous, raucous, rock n roll shows; this seated, intimate, so-called Storytellers set marks a departure for both the band and its fans. Before the show, the faithful were discussing what to expect – would there be actual, spoken word stories? Would this be similar to frontman Craig Finn’s recent story-and-songs acoustic tour? As it turns out, this Storytellers performance was less of a story-telling evening and more of a softer, playful, dynamic take on your normal The Hold Steady show. It was a treat in every way, from the arrangements to the setlist to the size of the venue.

^{The Hold Steady. Photo by Shervin Lainez}

Some differences were immediately clear. The crowd was (mostly) seated in folding chairs. Keys player Franz Nicolay traded his usual keyboard for a Wurlitzer electric piano, and spent half the show playing accordion and harmonica. Bassist Galen Polivka and guitarists Steve Selvidge and Tad Kubler were seated. Bobby Drake’s usual cymbals were swapped for lower-noise versions. Standing at the centre of it all was Craig Finn, still in The Hold Steady mode, gesturing wildly and repeating (and forgetting) lyrics, but dialed back to 75% intensity. The resulting performance is the most unique The Hold Steady show London’s ever seen. The stripped back nature of the set – and the more subdued crowd – meant that the details in the band’s playing were on full display. When The Hold Steady is in full-on rock mode, it can get easy to miss the little things for the big house party. Here, every band member shone brightly on every song. Franz’s keyboard playing was magical, the Wurlitzer twinkling along like starlight, the accordion bringing a carnival beachside soundscape to what is normally a bed of chainsaw guitars. Steve and Tad wove between each other better than Keith and Ronnie could ever hope to do – a decade of playing the same stage has honed their playing to the point where it’s impossible to say if they’re complimentary or just the same brain with four hands. Between the three of them – Tad, Franz, and Steve – songs like The Ambassador and The Only Thing from The Hold Steady’s capital-R Rock album Teeth Dreams found their hidden playfulness, and songs like A Slight Discomfort and Sweet Part Of The City from The Hold Steady’s black sheep album Heaven Is Whenever were revitalised with intrigue and depth previously sorely lacking.

Between all the reimagination and change, Galen’s bass bounced through like a familiar friend, and in some cases, the only thing recognizable. This Storytellers set became a showcase for house integral Galen’s playing is to what makes The Hold Steady, The Hold Steady. Sitting beside Bobby Drake, Galen was still in his usual stage spot behind Steve and Craig, but musically, his playing had never been more frontward.

As for Bobby Drake, he was nothing short of incredible. The intricacy of how he anchored the songs while still finding his playful side along the guitars and keys was astounding. His low-noise cymbals did more than just lower the volume, they reframed the drums as a lead instrument. Where other drummers might simplify and condense, Bobby found the space to expand and build; filling in the abscesses left by the lack of crowd and lights and excess, funneling this new and different The Hold Steady through their playful imagination and out to the audience as something complete and entirely whole.

Craig Finn performed much like he always does with The Hold Steady, over-the-top, singing with his hands as much as his voice. He traded his usual shouted affirmations for song introductions, providing context around their writing or how they fit in – or don’t – on the records. Some may have expected Craig to talk about the stories and characters he so deftly weaves in his songs, and there was precious little of that in this Storytellers set. But the stripped back nature of the show allowed the narratives inherent in these songs to come through more than usual. The apocalyptic Oaks and the depressing “saddest song in The Hold Steady catalog” Parade Days really relished the chance to be put on display for their story and character and not just their effect on a wild crowd.

The song choice all night was a superfan’s delight as of the 14 tracks played, none of them could be considered regulars. Nothing was played from the band’s biggest albums – no songs at all from Almost Killed Me, Boy and Girls in America, or Stay Positive. The setlist was instead made up of rarities, outtakes, deep cuts, and one live debut in You Tremble, an unfinished outtake from 2008’s Stay Positive that was released on a super-deluxe reissue of the record in 2018, but was only completed by the band this week.

The Hold Steady’s Storytellers set was less of a night of stories and more of a chance for the band to expand our understanding of what The Hold Steady is. A beloved indie rock band, a chance to jump along with your friends and throw beer and crowd surf, a staple of early March in London, but also a collection of really damn good musicians, crafting some really damn good songs. You’d be hard pressed to find a more impressive line up of any band on the road today, and last night they took the opportunity to show not only how great they all are, but how a great band comes together to make magic as a unit. It’s the perfect introduction to their annual Weekender, easing us into not only the revelry, but also the artistry that this weekend is all about.

Setlist