When I first set foot in Valley Bar’s Music Hall on Jan. 22, there was little evidence that a concert was ready to start. The majority of the crowd in the venue was gathered inside the Rose Room, and the few that were not lined the back tables of the performance room, casually drinking and chatting, not looking toward the stage in anticipation.
But by the time The Foster Family Band appeared under the spotlight, I received my first surprise of the night: the room was almost packed.
While the size of the crowd was not astonishing for a Friday night, it was impressive for a band with only about 200 Facebook supporters to headline a crowded show in a 250-person venue, even with the locally celebrated Haymarket Squares in the lineup. This made the crowd a testament to the beautifully crafted show to come.
At the start, The Foster Family Band effortlessly maneuvered between a strongly rock-inspired song at the top of their set list and a jazzier, more daring song with highlights by clarinetist Johnathan Robinson. Each band member’s talent in maneuvering between songs was upped only by their ability to smoothly transition into quick tempos in later pieces.
The Foster Family Band’s performance also expertly incorporated the use of trumpet and cornet mutes — the first time I had seen it done live in a non-symphonic setting — showing the ability of the group to manipulate a brass blare into a soft tune in apt moments.
Ending the concert was a brilliantly placed encore of a slower song that felt like a true, concluding goodbye. In a world where musicians typically finish concerts with a climax, playing an exciting, popular song, the falling action that the band provided was the perfect ending to a well-told story.
One of the most interesting parts of The Foster Family Band’s performance was their stage setup. With vocalist Perry Allen in the left corner, the set became less vocal-centric, allowing each instrument to electrify the crowd rather than be wasted.
The stage setup is also why I strongly believe The Foster Family Band is better witnessed live. When I first began writing reviews for Metronome, I listened to their single “Heavy Now You Know The World,” until I couldn’t get the lyrics out of my head. Yet, on Friday, I focused intently on the melodies instead, as the instruments that were downplayed in the album rose to the forefront and made the song feel fuller and more vibrant.
The Foster Family Band exceeded my expectations by miles. Fresh faces in the Phoenix music scene, especially compared to The Haymarket Squares, the band was not one that I believed could top a performance by the much-loved punkgrass group that preceded them — but they did. The band maximized their headlining spot, fully utilizing every piece of their large, diverse group.
Nevertheless, The Haymarket Squares were an exciting addition to the show. Providing the concert with character, the folk band opened with a thrash of punk that only gave a flavor of each musician’s stage presence. The band’s vocals consistently encompassed the room with wonderfully raw, unenhanced sounds, complimented by a rush of instrumental prowess.
The band’s performance escalated when surprise guest performer Megyn Neff began fiddling beside them in a performance of “Gateway Drug.” The violinist remained for the rest of the set, beautifully complimenting the four-piece band with a versatile sound. This created an especially fun, melodic lightness during The Haymarket Squares’ usual on-the-floor, acoustic performance.
Mariachi de Grand Ave, the night’s opening act, also displayed innate talent. Fashionably dressed, but breaking the mariachi tradition of wearing charro suits, the unique appearance of the band captured my attention as much their vocally flawless harmonies. The lead singer was especially skilled in adopting low pitches, allowing the set to sound like Elvis had entered the building to sing mariachi.
However, Mariachi de Grand Ave didn’t feel like an appropriate opener for the lineup. What made the band seem out-of-place was the fact that their music and performance style stuck close to its traditional roots with little experimentation, clashing with the genre-breaking twists from the two energetic bands that followed. The band would stand out far more alongside musicians who align themselves to their respective genres.
Still, as each element of the concert (an event cleverly and aptly titled Folk Yeah) came into play, no word could describe the show more accurately than “unexpected.” With each performer doing their part in challenging traditional folk in at least one sense, I was left immensely satisfied with my decision to attend a concert that proved all my expectations wrong.
Contact the columnist at Emily.Liu@asu.edu
