New York – Houndmouth is from New Albany, Indiana, a history-rich town just across the Ohio River from Louisville, Kentucky. New Albany was a steamboat boomtown in the mid-19th century. Its most famous product is the Civil War-era steamship Robert E. Lee, memorialized in The Band song “The Night They Drove Old Dixie Down.” Perhaps living in such an old-timey town spurred Houndmouth’s interest in the same Americana that fascinated The Band, and that in turn led to their current Band-worship (of course, it could have gone the other way, too: Band first, Americana second). Houndmouth is basically a Band tribute act, playing songs The Band could have written if The Last Waltz hadn’t happened. This is fine, because The Band is one of the greatest bands of all-time, and Houndmouth’s new album Little Neon Limelight is loaded with catchy good-time roots rock tunes, inclusive harmonies, and a cast of interesting characters that could have come from Robbie Robertson’s imagination.
Little Neon Limelight veers dangerously close to what Hipster Runoff scathingly dismissed as “Civil War Wave;” cutesy festival-folk that wears the suspenders and hats of the Old South but fails to investigate the problematic implications of nostalgia for a time when people were property. The TV show Girls has given us the genre’s cultural avatar in Desi, Marnie’s acoustic guitar-toting jerk boyfriend who uses free-spirited soulfulness as a justification for selfish, insincere behavior. Little Neon Limelight has stock Americana characters like the “part time preacher in the traveling band” and hobo anachronisms like “working for my nickel down at the armory” under the watchful eye of the “boss man.” But “For No One” contains the lyric “take the derby hats and stick ‘em up your ass.” Houndmouth is not just style; they don’t even wear suspenders. There’s emotional and songwriting substance to what they do.
Houndmouth is less like Mumford & Sons and more like the Felice Brothers, the best and earliest of current-day Band imitators. The Felice Brothers embellish their Band fandom with intelligently observed character studies and lots and lots of spirit. Houndmouth isn’t quite as intelligent, but are their equals in heart. Like The Band, Houndmouth has four singers (unlike The Band, where shy Garth Hudson never sang a note, every member of Houndmouth puts in microphone duty). On choruses they all mix up together into a joyous party of harmonies. The secret weapon that separates them from other roots rock bands is keyboardist Katie Toupin, who would make a great country singer if she went solo. She only sings lead on two songs, rocker “Otis” and ballad “Gasoline,” but she adds a mischievous, twangy sweetness to the harmonies on every track. Her shouting on the raucous outro of “Say It” is the album’s single best moment, with the wind sound effect that runs through opener “Sedona” coming in second.
“Sedona” offers a possible template for Houndmouth to move forward. It’s gradually paced, building in volume and intensity until it bursts into a galloping climax. It’s the most sophisticated and unique song in Houndmouth’s repertoire, and gives them the biggest opening to grow into.
Little Neon Limelight is out this week from Rough Trade. Houndmouth has plenty of tour and festival dates through July.
Liam Mathews
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