The last time we heard The Ghost of Paul Revere at the end of 2017, the Portland, Maine trio drew about 200 fans to the Brighton Music Hall, and that was impressive. The night was so bitterly cold that some of the club's pipes exploded and the back room was out of order, but that did not detract from the sheer joy and exuberance of the nightlife.
Saturday night The Ghost of Paul Revere was back in Boston performing at the Paradise Rock Club. Without such weird incidents it was easy to see how the band's fan base grew exponentially in the last year. At ten o'clock, the management announced that the show was officially sold out. Almost 1000 fans crowded into every corner of the hall.
The band's 95-minute show was another vivid rehearsal of their style, which they like to call "holler folk," but most fans could compare folk-rock, bluegrass-with-a-rock-kicks, or just another good example broad Americana genres. The Ghost of Paul Revere offers intelligent songwriting – many times with a New England or Maine-centered sound – outstanding vocal harmonies of the three main actors and impressive instrumental abilities used in dynamic arrangements that most often interweave these traditional sounds into visceral rock. n. roll. Music fans may compare them to The Avett Brothers, Mumford & Sons or Dawes, but for the real Ghost fans, there's a distinctive sound to the band, a distinctive way they create their invigorating music.
The show in Boston was a little bit unusual, as the band was not in the middle of a tour and immediately afterwards went on a Sunday departure from Tampa on a music cruise to Montego, where they would play with artists like Jason Isbell, Emmylou Harris and Dawes. As already mentioned, it was a very good year for The Ghost of Paul Revere.
Guitarist Griffin Sherry noted at a point on Saturday that Ghost has been a band for about nine years and also pointed out that they had spent the last six months going on tour in between, writing songs for a new album that they will hopefully publish year. The 20-song set on Saturday included five of our new songs, and all fit seamlessly into the favorites of the band's latest records.
The Ghost of Paul Revere also includes bassist Sean McCarthy and banjo player Max Davis. The Saturday quintet also included the drummers Chuck Gagne and Benjamin Cosgrove on the keyboards, the only musician not from the Pine Tree State, but from somewhere down south was introduced. Massachusetts. The added musicians gave the band a fuller sound without affecting the wonderful vocal harmonies or the amplified acoustic sound of their three frontmen.
The night started with "After Many Miles" from their 2013 "Believe" album, and this song was a good introduction to the band's feel for the band, a three-voice song that was only presented over a bass drum and a hand clapping, with one lyric featuring one Anger found Civil War soldier returns to his love. This aura was later reinforced with one of the band's most popular songs, "The Ballad of the 20th Maine," a rousing hymn that describes the story of one of the state's civil war regiments played in several major battles. The texts, however, also show the ideals that men volunteered for, and the stoic heroism required for the struggles, and they also represented the agony of absence from home. It is really a notable number whose chorus "with your Rebel scream goes straight to hell We are the boys of Maine "always brings wild applause.
The new songs, which were revealed on Saturday night, showed the potential to become just as popular. A tune that sang sherry, apparently referred to as "One Thing I Learned To Life," sang a carefree folk-rock whose contagious drive contained some thoughts about life and love. The bittersweet ballad "Living Without You" was a fantastic tool to show off Sherry's soulful vocal ability, with some of her highlights truly impressive. Davis sang Lead on the lively Banjos-based "226 Days," which once again dealt with the pain of being away from loved ones. And the power ballad "Love At Your Convenience," sung by sherry, was a dynamic effort that switched from soft confession tones to loud rock. Another new tune – we suspect it's "Find My Way" – explored the myth of the Eternal Rock, found in sunny California, with an arrangement that is the pithy side of Don Henley in style In the way it balances traditional roots with strong stone.
In the context of this new selection were many songs that have won the band so many fans. For example, "Fire in the Sky" (2013) adds some gospel influence to rock, with these three-part, three-part vocal harmonies appearing brightest. There is also a kind of gospel for "frontier" in which Sherrys desolate main voice in march-like rock chorus is resolved. These vocal harmonies are simply exquisite on "San Antone", another example where the protagonist is tempted by various things in another area, but remembers with enthusiasm that "my home is in the Great White North …". The last song is so fast You could call it a two-step mania, and Davis' Banjo on Hey Girl made this number a kind of Heddown / Sprint.
The regular set ended with "This Is The End", an enclosure of Paul Revere depicting the images of a sinking ship, but it's also about a relationship, and whether you think it's funny or concise is up to you , The best of the tripartite encore was "Ghostland," a lyrical song whose lyrics look at fear and ambition and memories and the way things develop, which only intones the core trio in a wonderful vocal harmony. The entire quintet was back for the mid-tempo stomp "This I Know," a kind of call for persistence and perseverance. It's obvious these guys from Maine know something about it.