What a surreal moment to see our name on the marquee at Hodi’s Half Note! We’ve dreamt of this for years! Come witness history in the making as we release our debut EP and headline Hodi’s for the first time! :) Music starts at 9 and we go on around 11. We still have presale tickets available so hit us up for $10 tickets! #historyinthemaking #grahamgoodandthepainters #fortcollins #hodishalfnote #localmusic #coloradomusic #epreleaseparty
Graham Good and the Painters celebrated the release of their first EP at Hodi’s Half Note Saturday. Good, the band’s rhythm guitarist and lead vocalist, maintained a leaping exuberance throughout the set, and the crowd followed in turn.
Good was joined onstage by lead guitarist Adam Wissman, bassist Cameron Collums, drummer Kyle Jones, trumpeter/trombonist Zach Rich and tenor saxophonist Chris More.
Wissman’s deft guitar work centers around fleet-fingered solos and distorted rhythm parts, and gives the music a head-banging pulse, which the horn section often supplements with sustained notes as the music builds.
During slower sections—and occasionally in the midst of high-octane rock passages—Wissman employed a reverb effect that compensated well for the lack of a keyboardist. Some of his rhythm parts had this listener wondering whether an organ had materialized onstage.
The band possesses a keen sense of dynamic contrast. Sometimes, crescendoes and tempo increases came with little warning—each member executed such shifts capably. Other times, pieces gradually transformed from gentle ballads into full-blown dance parties.
The band originated and remains based in Fort Collins, and the camaraderie between the musicians and the audience fostered a palpable intimacy. Graham introduced one song as the first the band ever wrote together, and said the piece took shape on the CSU campus.
Midway through the set, Good’s bandmates left the stage, leaving the frontman alone with an acoustic guitar. He played a Lumineers cover with bluegrass undertones, then offered a slower, heartfelt number.
A handful of well-handled covers rounded out the setlist. A rendition of Tom Petty’s “American Girl” benefited from extra intensity in Wassman’s guitar part, as well as from tasteful augmentations courtesy of the brass section.
A by-the-book run-through of “Stacy’s Mom” by Fountains of Wayne delighted many women in the crowd.
The hum of Wissman’s guitar part, along with energetic contributions from Rich and Collums, made the set-closer, a cover of The Mighty Mighty Bosstones’ “The Impression That I Get,” an undeniable highlight.
The horn section was absent for the first of the two pieces with which the band encored, giving Wassman a final opportunity to demonstrate his chops.
An appropriately raucous rendition of Pearl Jam’s “Even Flow” ended the show.
The night was something of a coming-of-age party for Graham Good & The Painters, and the band rose to the occasion with a joyful sound that left everyone smiling.