It was quintessential autumn outside the Majestic Saturday night. A cold, dry wind cut through jackets, but inside the theater, the audience’s Plaid Shirts Per Capita (PSpC) was enormous in anticipation for The Oh Hello’s.
Beards bloomed like spring tulips, and the spritzing report of Pabst tallboys being opened kept tempo with the muffled acoustic guitar notes seeping through the air. The crowd occupying the dance floor was a nearly homogenous group of genial, manbunned (or ladybunned) twenty-somethings who appear to hold personal space sacred above all else.
The Oh Hello’s intertwine C.S. Lewis with folk-rock to create meaningful jams
The space normally used by concert-goers for thrashing about with reckless abandon, and discreetly passing blunts, bore about as much resemblance to a mosh pit as does an Easter Sunday church service.
This subdued atmosphere was by no means a bad thing — the mood was as calm and gentle as the sound of The Oh Hello’s, the brother-sister duo hailing from Austin, Texas, who have been garnering deserved attention for their poetic, soulful indie-folk style.
After Georgian indie-folk ensemble Family And Friends’ breathy, emotional vocals and Cereus Brights’ maddeningly tight pants, the openers gave way for the headliners.
At 11 a.m. sharp the lights cut out and the audience cheered — The Oh Hello’s, comprised of Maggie and Tyler Heath along with their supporting ensemble, drifted onstage to tremendous uproar. Tyler greeted the audience with charming bewilderment at the enthusiasm for their presence — he had the “aw-shucks” demeanor of someone thrust onstage for the very first time.
The group started off with “He’ll Eat You Alive,” drawing massive enthusiasm from audience and musical ensemble alike. The Oh Hello’s performed in laudable unison, conveying a wonderfully and commendably bridled passion. The duo projected a winningly humble presence, savoring their success yet maintaining the feel of a small, local band.
They maintained the feel of a band that was just starting to take off, perpetually expressing wonder and gratitude for the presence of such a large and appreciative audience.
A highlight of the night was their rendition of “Hello My Old Heart,” which delivered an emotional potency pushed beyond studio thresholds. This was not only because of an enhanced instrumental accompaniment, but also the very intimate, personal nature of their performance. A hushed and reverent silence fell over the audience during the quieter, somber sections, but grins flashed and bodies stirred as tempos rose and moods brightened.
Exuding energy, Neon Indian shows off new tunes underscored by his classic groove
The Oh Hello’s finished their night with a powerful medley of “The Truth Is A Cave” and “The Valley,” bringing all members from the opening acts onstage for a thunderously fun closer. Their percussionist brought the set into the stage, and various musicians began clambering about the balcony with glee as the night came to a close. The audience and musicians seemed to behave as one in this moment — no longer was the crowd here to see a performance.
Rather, all occupants of the Majestic had joined together with universally shared elation to celebrate the impassioned, eclectic music of The Oh Hello’s.
