Ingram Hill 1/12/2005

Ingram Hill is steadily climbing a mountain of success. The recent explosion of June’s Picture Show, their first full length album, has propelled these Memphis minstrels into the national spotlight, and has created quite a buzz on almost every college campus in America. As if the tremendous critical reviews hadn’t done enough to boost their stature, their live show is a sky-high voyage of interesting originals and fun cover songs, heart-throb rock and roll attitude, and crowd pleasing delivery, all wrapped up in a blanket of southern-charm-ridden pop. It’s no wonder that they arrived into Cleveland to find a packed “Cambridge Room” waiting for them, full of fans who were undeniably eager for their new favorite band to take the stage. On the very night that the House of Blues hosted the “Pink Floyd Laser Light Spectacle” in the main room, Ingram Hill provided the real fireworks with their tight set of uncannily familiar originals and sing-along hipster reinterpretations of the classic sounds that have ignited their rise to the top of the modern pop and rock scene.

The crowd, an interesting mixture of blushing female fans, college-radio explorers, and Memphis music devotees, seemed a little restless as opener Wichita Stallions gave everything they had to warm up the room. Unfortunately, the band’s contrived lyrics and stale stage presence did little to shake the cold February Cleveland evening from the shoulders of the audience. There were some moments of hope, but, overall, the Wichita Stallions basically served as barely tolerable filler while latecomers arrived and Ingram Hill fans socialized with their kindred musical spirits. After it seemed the anticipation in the Cambridge Room couldn’t get any thicker, Ingram Hill discretely snuck onto the stage to the inevitable deafening roar from their legions. Vocalist/guitarist Justin Moore couldn’t contain his delight at the warm welcome and proceeded to kick off the show with an ear-to-ear grin. His high spirits conveyed one solid message to everyone in attendance - there is no doubt Moore is doing exactly what he loves, and he is surrounded by the perfect team. His rhythm section, Drummer Matt Chambless and bassist Shea Sowell, made their presence known immediately, providing both a solid backbone to the band’s barroom pop and contributing to those indispensable harmonies that smooth out and fill the Ingram Hill sound. Opening with a high-octane version of “Hangin’ Around Again” was just the ticket to immediately get the room moving.

The anthem “Chicago” followed and was probably the most well received and recognized song of the evening, as the upbeat and energetic response from the crowd was evident in the number of people saying “this is my favorite song.” An interesting treat followed, as the downbeat flow of “Never Be the Same” was interrupted by a smooth leap into Pink Floyd’s ultra-classic “Comfortably Numb.” Perhaps a tribute to the laser show in the other room, this unexpected cover caught some off guard, but any reaction soon faded to pleasant surprise. Guitarist Phil Bogard stood on “Numb” out as he masterfully mimicked David Gilmore’s legendary lead. Many of the lyrics to the songs on June’s Picture Show were written by Moore as an outlet to vent about a failed relationship, and the emotion seeps through clearly. But the real treasure in his songwriting is how his delivery makes discussing normally melancholy subject matter seem like more of a weight off the shoulders than a burden. Couple this with the circle of smiles and positivity that exists between Moore and the audience, and an interesting dynamic between heartbreak and celebration forms. “Almost Perfect” is an, well, almost perfect example; the crowd’s reaction to it made it a perfect pick-me-up, a chance for the audience to vent and sing and turn the experience into a celebration of heartbreak.

“We’re gonna play a song that was written by someone who taught us a lot about music,” Moore declared to the audience. The ensuing cover of Tom Petty’s “American Girl” wasn’t terribly creative, yet the straightforward route was perhaps the best approach to have some fun while keeping the crowd in familiar territory. Ingram Hill’s simple delivery of this American anthem was effective and enjoyable for those who weren’t terribly experienced with the group’s originals. At this point in the evening, the group finally proceeded to play their first radio single, the deceptively mellow “Will I Ever Make It Home.” The introduction to this gem is laid back, but after a few simple bars, the band explodes into an upbeat conflagration of supercharged change-ups. Alas, the band had time for just one last song, and they made an interesting choice. Elvis’ “Suspicious Minds” was a fun way to end the evening, and was especially memorable for the casual fans in the house. It seemed to indicate that the heavy-hitters of the set called for a release, and it was a downright proper way for some Tennessee boys to pay homage to an icon.

Ingram Hill is poised to reach a pinnacle that some fans and even the band themselves surely doubted could come so soon. This band on the move has truly developed a sound so catchy accessible, and inspiring, that there is little doubt their next trip to the House of Blues will find them headlining the main room and blowing the doors off the place with their combustible exposition of raw Southern rock and pop. Odds are fans won’t have to worry about this group resting on their laurels and setting up a “base camp” anytime soon on their trail to the top – between their road ethic and their undeniable need to create truly timeless pop gems, Ingram Hill should keep climbing the mountain of success for a long time to come. The sky truly is the limit.

Setlist:

One Set: Hangin’ Around Again, Chicago, To Your Grave, Day Your Luck Runs Out, and right now it's What if I'm Right, Never be the Same > Comfortably Numb > Never Be the Same, Almost Perfect, American Girl, Will I Ever Make It Home, Maybe It's Me, Suspicious Minds

For more info see: ingramhillmusic.com

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