Phosphorescent with Liz Cooper and the Stampede, Turner Hall Ballroom 12/2/18

photo courtesy of Gigshotz by Stephen Bloch

The old adage in the concert community, "never miss a Sunday show," was gospel truth as Phosphorescent and Liz Cooper and the Stampede brought their own unique Americana music to Turner Hall; rocking the socks off of the crowd who ventured out on a rainy dreary early December Milwaukee night in the process.

Touring in support of his 2018 release, C'est la vie, Matthew Houck who is the songwriter behind Phosphorescent, pulled out all the stops with a six-piece band playing behind him.  Houck admitted that it had been "a minute" since the band played Milwaukee, which the group skipped on their 2013/2014 Muchacho tour.  The band, consisting of two keyboard/organ players and backup vocalists, a guitarist, a bass player, a drummer, and a percussionist, added a rich tapestry of timbres to Houck's introspective and often-times rawly emotive songwriting.  The psychedelic experimental indie folk-rock crew performed material drawing heavily from their latest release, but with some deep cuts sprinkled in as well.  Phosphorescent opened with "New Birth in New England," their latest single off of C'est la vie, which had an up-tempo vibe and very Paul Simon paced feel to the track.  A mid-set placement of "These Rocks," was a strong and personal tune, that came across with a level of raw earnestness, as if Houck was singing to his audience from his own living room.  

photo courtesy of Gigshotz by Stephen Bloch

The two gems off of C'est la vie, shined the brightest live. The reflective "Christmas Down Under" was done masterfully, as was the highlight of the set, the jammed out "Around the Horn," which clocked in at nearly ten minutes.  Houck threw out some vintage tracks as well.  For his encore, Hoek played a chilling solo version of "Wolves," from 2007's Pride LP.  This is one of my favorite songs of Hoek's and a welcome addition to the setlist.  The evening finished with two cuts off of the 2013 Muchacho record, "A Song for Zula," and an upbeat jammy "Ride On/Right On."  

photo courtesy of Gigshotz by Stephen Bloch

Opening for Phosphorescent was Nashville's Liz Cooper and the Stampede.  It is rare for an opening act that I have never heard live to steal the show, but Cooper and company did exactly that- and granted, Phosphorescent was darn good!  Backed with drummer Ryan Usher and bassist Grant Prettyman, the Stampede delivered a wall of sound that felt in large part like what would happen if Jefferson Airplane married My Morning Jacket.  Cooper is a frontwoman with flare and excellent skills on the guitar.  Rotating between a myriad of effects pedals and vocal distortion, she lead the group through a powerful support set drawing off of their outstanding 2018 debut release Window Flowers.  Opening with the first track of the record, "Sleepyhead," Cooper got the audience instantly engaged going back and forth between a straight mic and a mic that added vocal effects.  Liz Cooper and the Stampede quickly opened up their sound with a jammed out rendition of "Dali Lama," one of the stand-out tracks off of the Window Flowers.  The jams and tempo changes in this tune were remarkable and generated a well-deserved roaring ovation from the crowd which had come to their feet and towards the stage during the tune.  "Mountain Man," another stellar cut was jammed out as well, showcasing each musician's unqiue prowess.  If you have not heard Liz Cooper and the Stampede, please do yourself a favor and give them a spin. They were by far the best find of 2018 and a band who I hope is not a stranger to Milwaukee.  

photo courtesy of Gigshotz by Stephen Bloch