The first band in the set at Central Saloon on Saturday night, Linda From Work, is an indie-rock band with a really big sound and crazy good percussion. I was super impressed by not only the cohesiveness of the trio, but also with the lyrical range of the songs performed. Frontwoman Hillary Tusick’s stage presence was really something to watch; she seemed very much in her element. Her voice was strong but just sweet enough — think Karen O with a spoonful of sugar. Tusick writes songs that remind us why we dream of bursting the corporate bubble, and her voice well conveyed that cagey sentiment. 

Quite impressive on the drums and bass, the band is supported by Sam Nowak and Mary Robins (of Biblioteka), respectively. Can you say precision? The attention to detail and crispness of the instrumentals lent to the high-energy sound of Linda From Work. Though I do wish there had been a stronger guitar presence (like the addition of a second), Tusick’s solos were enjoyable. They were fun and playful, but sometimes felt weak given the power of the percussion and bass. 

After Linda From Work, The Black Chevys, formerly a four-piece rock ‘n’ soul band, had an expressive sound. During their set, there were moments where the power of the music came through, despite having only two band members on stage. 

Oscillating between acoustic guitar and drums, Duncan Cava Newland-Thompson did his best to support lead singer and bassist Rob Ross. The energy Newland-Thompson brought was organic. There was a looseness to the rhythm that meshed well with the fullness of Ross’s bass. On one occasion, this looseness slipped into a percussive mishap but was swiftly corrected by the strength of Ross’s rhythmic bass. 

There’s a soft subtlety and airiness to frontman Ross’s vocals; their expressive vulnerability conveys a full range of our angsty emotions. Listening to Ross was like getting a blend of MorMor and Childish Gambino, minus falsetto or staccato. His vocalizations were fluid and managed to sound smoky and willowy at the same time. The softness of his voice offers a refreshing twist on the “rock ‘n’ soul” genre. It’s more Curtis Mayfield than James Brown. 

Though this is Ross’s most notable and pleasant characteristic as a vocalist, it’s also a bit of a weakness in a live band performance. Much of his vocalizations felt severely overwhelmed by just the percussion alone, and while this could be attributed to a technical issue, I struggle to imagine his voice carrying above the bass, drums, and guitar. However, songs of unrequited love and listless summers posed an interesting contrast and rounded out what would have otherwise been a lackluster set. 

Overall, though the lack of a fuller sound due to MIA band members was disappointing and much of the set felt incomplete, it was clear Ross and Newland-Thompson put their hearts into the performance and the music, which made it all worth the while. 

The Black Chevys prepare for their set during soundcheck. // Photo story by Kassandra Bryant

Duncan Cava Newland-Thompson accompanies Rob Ross on the guitar.

Ross is just getting fired up in the first song of the set.

Backlit fog shrouds Newland-Thompson as he plays.

Ross's voice is gentle yet soulful.

Getting into the groove, bassist and frontman Ross leans into the music.

Spotlight falls on Newland-Thompson.

Ross hits a soulful note. // Photo story by Kassandra Bryant