The Dear Hunter - Music Hall of Williamsburg

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   After months of waiting following a rescheduling of their entire tour, The Dear Hunter have finally passed through Brooklyn this weekend to perform their new record Antimai. Both they and their supporting acts put on one hell of a show in front of a packed house and I have to say that the experience makes me extra heartened for the status of contemporary prog and her frontiers.
The show started with a performance by Tanner Merritt - frontman of the band O'Brother, as both the tickets and the Music Hall's famous marquee took pains to remind everyone - who performed several non-album and/or new cuts with the help of one of fellow openers The World Is A Beautiful Place and I Am No Longer Afraid To Die's guitarists. Anchored by Merritt's electronic rhythms, the set flowed from tender shoegaze through harder riffs, ending with a stellar cover of Massive Attack's classic "Angel".

TWIABPAIANLATD quickly took the stage after to play their own latest LP - last year's return to form Illusory Walls - in a set that squeezed in their vintage cut "January 10th, 2014" early on. As brash and heart-on-sleeve as ever, they rode their high volume through their post-rock adjacent songs as their three vocalists wonderfully sang by turns.

Finally, TDH came out to thunderous applause. The night's performance was driven by an infectious groove not present on their studio versions, never as loud as their openers but full of energy that was traded back and forth with the audience across the set. The crowd sang along to every song off Antimai and more, jumping and dancing in place where the spirit took them, as others cheered on Casey Crescenzo by name. Towards the end of Antimai bassist Nick Sollecito even took to some of his own dancing and push-ups.

After "The Tower", the band switched gears to play several older cuts, mainly off of Act IV. They continued their flawless reinterpretations and musicianship across these varied, career-defining selections. In particular, "Wait" received especially rave reactions from the house, TDH's volcanic performance almost inducing some moshing but for the rest of the crowd not being into it and having Casey on their side. The show ended on another particularly high note with the extra danceable "King of Swords", their upbeat Parthian shot. I haven't lost that high since.

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LearsFool Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Prog Reviewer Joined: November 09 2014 Location: New York Status: Offline Points: 8642	Post Options Post Reply Quote LearsFool Report Post Thanks(0) Quote Reply Topic: The Dear Hunter - Music Hall of Williamsburg Posted: August 14 2022 at 00:54
	After months of waiting following a rescheduling of their entire tour, The Dear Hunter have finally passed through Brooklyn this weekend to perform their new record Antimai. Both they and their supporting acts put on one hell of a show in front of a packed house and I have to say that the experience makes me extra heartened for the status of contemporary prog and her frontiers. The show started with a performance by Tanner Merritt - frontman of the band O'Brother, as both the tickets and the Music Hall's famous marquee took pains to remind everyone - who performed several non-album and/or new cuts with the help of one of fellow openers The World Is A Beautiful Place and I Am No Longer Afraid To Die's guitarists. Anchored by Merritt's electronic rhythms, the set flowed from tender shoegaze through harder riffs, ending with a stellar cover of Massive Attack's classic "Angel". TWIABPAIANLATD quickly took the stage after to play their own latest LP - last year's return to form Illusory Walls - in a set that squeezed in their vintage cut "January 10th, 2014" early on. As brash and heart-on-sleeve as ever, they rode their high volume through their post-rock adjacent songs as their three vocalists wonderfully sang by turns. Finally, TDH came out to thunderous applause. The night's performance was driven by an infectious groove not present on their studio versions, never as loud as their openers but full of energy that was traded back and forth with the audience across the set. The crowd sang along to every song off Antimai and more, jumping and dancing in place where the spirit took them, as others cheered on Casey Crescenzo by name. Towards the end of Antimai bassist Nick Sollecito even took to some of his own dancing and push-ups. After "The Tower", the band switched gears to play several older cuts, mainly off of Act IV. They continued their flawless reinterpretations and musicianship across these varied, career-defining selections. In particular, "Wait" received especially rave reactions from the house, TDH's volcanic performance almost inducing some moshing but for the rest of the crowd not being into it and having Casey on their side. The show ended on another particularly high note with the extra danceable "King of Swords", their upbeat Parthian shot. I haven't lost that high since.