Hot off the release of their great debut album, Westside Cowboy rocked Music Hall of Williamsburg with support from Star Moles.
Sometimes you just can tell when a band is about to have their moment and Tuesday night at Music Hall of Williamsburg felt like it was one of those times. However before Westside Cowboy took the stage, opening band Star Moles got things started and played a lot of songs off of their excellent new album as well and to a pretty full house. Led by Emily Moales, the Philadelphia quartet brought their bedroom pop to the stage with her sparkling vocals finding their spotlight amongst the group's rounded out sound, a departure from the more intimate, homespun recording. Enriched by the metallic twang of guitarist Sam Sullivan and the thumping percussion from Jem Seidel, Moales was the primary focus of the night and from the opening piano accompaniment of "The End" to start off the night, it was clear that we'd be in for a real treat as these darkened pop songs found their light in front of an audience. "Overdog" was another deep, longing song that saw the band hit their groove and bring Moales' creations to life. Moving over from her keyboard to an electro-acoustic guitar, Moales really stepped into the light for the remainder of the show, taking command and finding her grasp on the night, each song rising to a new level as the band began to operate like a well-oiled machine. For "Real Magic," her voice rose to the occasion as well and the band met her at the exact right moment, everything congealing in perfect unison as the mirrored disco ball high above began to twirl, adding a magic of its own to complete the song. Making the leap from more of a solo record to this full band sound was an intoxicating and vibrant way to experience these songs, each one more vivid and making the leap from headphones to the stage with stunning returns. It was an impressive and strong showing from the band and helped to set the tone for the headline act to follow.
Just over a month since releasing their full-length debut and Westside Cowboy came back for a quick run through the U.S. to help promote the record and cash-in on the well deserved buzz that they've been generating all year long. Catching them at what feels like a precipice was something special and it seemed as if the band was in on the feeling as well. Wasting no time in starting to make a fuss on stage, bristling their guitar stings, rumbling the bass, and hitting the hi-hat with a giddy fervor, it was clear that the band wanted to capture the energy that had been building in the crowd between acts, shake it up, and relish in the release that was about to come as soon as they tore into their set. Their wiry post-punk appeal was sharpened and ready to go on the attack, their dueling guitars only enhanced by a triple-threat of vocals that was all held together by a minimal drum kit that only included a kick drum, floor tom, snare, ride cymbal, and a hi-hat. All that to say, despite what seemed like a barebones set up, the band made quiet the racket (compliment) as they raged on, building on their steely melodies and clanging rhythms. Standing on opposite sides of the stage, guitarists Jimmy Bradbury and Reuben Haycocks each ripped into their instruments with fury and force while bassist Aoife Anson-O'Connell kept it all together in the middle. Opening with the album's lead single "Kick Stones (Boys)," the audience slowly started to pop off, nearly one by one as you could see heads start to bob across the floor before fists started to pump in the air. As the beats picked up and the rally of the guitar got under the feet of the audience, people started to move around and get lost to the groove. As much as these songs exhumed a gnarly post-punk kind of feel, there's also the unifying feel of their harmonized vocals that draws you in with a heightened communal feeling as well. These are unifying tunes that fill you with energy and make you feel alive and ready to share the feeling with whoever is around you. It's clear to see why a band like Fontaines D.C. would tap them to open their North American tour in 2027 and it feels inevitable that this band will be playing to a much larger venue the next time they roll in to town. However on this occasion, hearing Bradbury lead the tiny room through a churning "Big Wheels" is something I'll look back on with fondness and jealousy the next time a massive crowd is shouting it back to him. Things really turned up for "Pin Up Boys" and when the band laid in to the breakdown, you could feel the tension cut through and the entire room got lost in the moment in one fell swoop. As we all bounced along in unison, it was another euphoric moment that you could see resinate with the band on stage as well. Anson-O'Connell did her duty to split the stage and when she added her backing vocals, the tracks took flight and found their cruising velocity. When she led "Coyote" on her own, it was her shining moment that made clear was one that featured her entire heart and soul. Getting to see a band just as they've come into their own, found their rhythm, and are now operating in total "go mode" is a real treat to see and not one that comes along every day. Right now Westside Cowboy feel like they're about to breakthrough in a way that they've only dream of, but now absolutely deserve.
Westside Cowboy set list:
02 "Can't See"
03 "Drunk Surfer"
04 "Well Done Kid, You Did It"
05 "Worried Age"
06 "Big Wheels"
07 "Dobro"
08 "Paperchains"
09 "Pin Up Boys"
10 "Don't Throw Rocks"
11 "Patchwork"
12 "Coyote"
13 "The Wahs"
14 "Strange Taxidermy"
15 "I've Never Met Anyone I Thought I Could Really Love (Until I Met You)"
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