Hiss Golden Messenger frontman, MC Taylor, takes the stage alone, armed only with an acoustic guitar which he proceeds to carefully tune. Not exactly a blistering rock ‘n’ roll entry, or so I thought. As soon as he straightens up to face the audience, there’s a quiet intensity about the man, and he slowly starts strumming the three simple chords of Brother, Do You Know The Road? whilst stepping away from the microphone to deliver the opening line un-amplified. Offstage, the band sing the response to Taylor’s call, then gradually join him to take their places onstage, all the while answering the lyric’s continual question. Instruments are slowly introduced, as Taylor gathers in ardour and the song builds and builds. Five minutes pass, then six, but this performance feeds the spirit – it’s hard to tear one’s eyes away from Taylor. The song climaxes then winds down after 10 minutes, and in the brief pause before the next, it feels like I now know the road well, such is the journey I’ve just been taken on.
Given the amount of time that MC Taylor and Scott Hirsch (the other founder member of Hiss Golden Messenger) have been plying their trade in the music industry, it should come as no surprise that they know what it takes to reel an audience in. With histories in other bands dating back to the late nineties, these gents have learned all of the tricks of the trade. Hiss itself has been going since 2007 and Lateness of Dancers, released last year, is their fifth album, which has received glowing critiques from the likes of NME, Mojo and Pitchfork.
Tonight’s HGM personnel is a fine assortment of musicians, who, whilst remaining relatively faithful to recorded arrangements, also look to add interest with teasing intros, extended instrumentals and above all, impress with their wholehearted performance.
Saturday Night (from Lateness of Dancers) is introduced via a warm, wobbly Fender Rhodes and the band apply a rousing, stomping four to the floor before effortlessly segueing into the song. It’s a great track and this rendition feels like something from The Band’s Last Waltz with a good old boys’ attack, rigour and commitment – the band wear expressions of joy and really sweat for the cause.
Lucia is given a funky makeover (a natural progression from the JJ Cale-esque album version), Mahogany Dread is super warm and smooth, given the Fleetwood Mac treatment; and I’m A Raven (Shake Children) has real swagger.
If I’m to level any criticism, it would be that the majority of the show is a little one-paced, although a gospel cover does illustrate HGM’s ability to explore a song’s light and shade. However, when songs are delivered as well as set-closer, Southern Grammar (also current EP title track), it doesn’t matter too much. A self-confessed lover of groove, Taylor and the boys really lay it down hard and true – they are totally enveloped, unaffected and a real pleasure to watch.
They also perform a couple of encore numbers: a Wailin’ Jennys cover which is fine and dandy, but final song, Drum, is special. The microphone is again ignored, the band nestle in the middle of the crowd; Taylor with his acoustic guitar. Everyone is encouraged to sing the chorus, “Take the good news and carry it away / Yeah, take the good news and spirit it away”.
That’s exactly what I’m doing, and I’m sure the gig’s attendees will, too – Hiss Golden Messenger are the gospel and we need to spread it.
Adam Atkins