Before the North Carolina-based quartet, The Mountain Goats graced the stage, the crowd was treated to a stellar performance by support band Gently Tender. Comprised of several former Palma Violets members and Celia Archer from The Big Moon, Gently Tender showcased an impressive array of American-folk-inspired melodies and ballads. Their mellow, chilled vibe quickly engaged the audience, raising energy levels and enthusiasm.
As the stage went dark, The Divine Comedy’s “Bad Ambassador” played, signalling the arrival of The Mountain Goats with a subtle rather than dramatic buildup. The lighting was modest, with no elaborate backdrops, allowing the music to take centre stage. They opened with “Lizard Suit,” a jazz number featuring a subtle funk bass. This dreamscape jazz sound reappeared later in the set with “Darker in Here,” contrasting with rawer guitar elements. “Abandoned Flesh” from the album Goths also stood out as a jazz highlight, enhanced by saxophone solos. Though The Mountain Goats have never significantly leaned toward the Goth genre, frontman John Darnielle received ecstatic applause when he acknowledged World Goth Day throughout the set.
Over the past three decades, The Mountain Goats have drawn from a variety of influences. Songs like “The Diaz Brothers” and “Clean Slate” had an E Street Band vibe. The most emotive songs in this style were “This Year” and “Only One Way,” featuring a duet with Kathy Valentine. The deeply personal lyrics and the powerful concluding words, “There will be feasting and dancing in Jerusalem next year I am gonna make it through this year if it kills me,” resonated strongly with the audience, especially in the current global climate.
The heaviest songs, influenced by the nineties indie-rock and grunge zeitgeist, included “Lovecraft in Brooklyn” and the more upbeat and melodic “Make You Suffer.” The heaviest track, “Murder at the 18th St. Garage,” was well-received despite the lack of head-banging and moshing.
Darnielle also performed two solo songs: “So Desperate” and “Sinaloan Milk Snake Song.” The former delved into doomed relationships, while the latter expressed the frustration of being able to name places but not the people who positively impacted him. These songs hit harder without the full band, showcasing the poignancy of Darnielle’s lyrics. The subsequent “No, I Can’t” highlighted the beauty of Darnielle and Peter Hughes’ harmonies. Other standout tracks included the country-influenced “Water Tower” and “Palmcorder Yajna,” which impressed with lyrics like “Carpenter ants in the dresser. Flies in the screen. It will be too late by the time we learn what these cryptic symbols mean…”
Celebrating over thirty years as a band, The Mountain Goats also marked twenty years since the release of We Shall All Be Healed, their first deeply emotive autobiographical album. With 22 well-received albums to date, they didn’t need to rely on the anniversary performances of key albums. Instead, the challenge was to deliver a wide cross-section of their music without leaving fans disappointed. At Camden Roundhouse, disappointment was not an option.
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