Graham Good and the Painters @ Hodi’s Half Note – Saturday, Nov. 4, 2017

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.

About Will Black 11 Articles
I'm Will Black. Pleased to meet you. In case you haven't noticed, there’s a lot happening on this 8,000-mile-wide sphere we’re all stuck on together. There’s plenty going on in each 22.5 inch wide sphere that rests upon a human being’s shoulders, too. I’ve heard every broken record that plays in my own personal 22.5’’ sphere. Writing, for me, is an opportunity to smooth over the ticks and pops on those records, and an effort to understand and lend expression to the myriad phenomena going on in everybody else’s little sphere. If I do that work properly, our ride through space on this big blue sphere should be a little more worthwhile, or at least a little more tolerable.

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