St. Louis breakout Foxing is not your dad’s emo. Although similarly oriented, their music is on another plane of ambition altogether. Unafraid to indulge in things like math-y intricacy, orchestral flourishes, post-rock expanse and post-hardcore torque, they’ve been making a progressive campaign this decade to transcend convenient genre boxes.
But finally, with their freshly released third album Nearer My God, they’ve taken a quantum leap to an entirely new stratosphere with a sophisticated pop-smart sound that’s a thing of craft and grandeur.
Delivered live by a full six-member band, their lush indie rock has now thrown the doors wide open with the enhanced possibilities of electronics. And with that expansion, their music doesn’t just do basic soul purging anymore. It works pathos with exceptional dynamism and a vivid sense of climax, riding all the slick tension like a rocket into the heavens.
In their latest work, Foxing’s horizon just got a lot broader and brighter. With their new look and sellout draw, they’re looking a lot like a rising star that’s only just beginning to show its potential for the big time.
But beyond the drama and dazzle, a righteous city-specific aspect of Foxing’s latest show here was giving some stage time to crucial Orlando LGBTQ+ youth assistance group Zebra Coalition. Great local respect there.
Chicago openers Ratboys specialize in a sound that sits at an interesting and somewhat unlikely intersection of indie and country. Unfortunately, their twang wasn’t as discernible live as it is on record. But with a thick, motoring guitar drive that’s a proud extension of classic, brawny ‘90s indie rock, their shining fundamentals were on full display in a performance of muscle and melody.
Unlike Foxing’s phenomenon, the triumph of Ratboys is in their economy and precision. When done just right, focus is as virtuous as any high concept. And Ratboys do perfectly pitched indie rock that shoots straight and lovely with tune, integrity and power.
Kississippi Credit: Megan Thompson
Also making a resounding opening statement were Kississippi, the full-band vehicle for Philadelphia artist Zoë Reynolds. Played live with fidelity and gusto by a quintet, their music is plush, feeling guitar pop that’s airy and sparkling but substantial. It’s the kind of quality, heartfelt indie rock that positions Reynolds well as a notable young contemporary of the Crutchfield sisters and their bright class.
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