Review: The Dead South, delightfully alive

I did two dangerous things, and both worked out. Firstly, I went to see The Dead South on the strength of one song. “In Hell, I’ll Be in Good Company” is good! However, it didn’t work out well the last time I did that.

The second dangerous thing was to “settle” for one of the last remaining seats in The Usher Hall. I had prevaricated too long, and the only seats left were marked as having an “obstructed view” and were slightly discounted.

So, from my high vantage point, I had a sharp angle down onto the stage and was unable to see maybe 5% of the floorboards. Frankly, I could have sat behind a pillar, and it would not have stopped me from enjoying the sounds of the Canadian folk-bluegrass band.

The Dead South’s music

The Dead South‘s sound is rooted in traditional bluegrass instrumentation, prominently featuring the banjo, mandolin, and acoustic guitar. I took some pride when I got to tell friends I was off to a gig featuring a banjo.

However, they diverge from the norm by substituting the upright bass with a cello, adding a rich, resonant depth that contributes significantly to their distinctive sonic character. So much so that I hadn’t even thought of using the word “bluegrass” to describe them, using folk instead, before I overheard someone else use it, and the penny dropped.

Beyond the instrumentation, the band’s storytelling is crucial, and their lyrics often weave intricate narratives, a hallmark of folk music, exploring themes that range from the macabre and unsettling to the vivacious and spirited.

The band has a distinctive old-west aesthetic, but their lyrics give me a sense of sombreness. If bluegrass could be gothic then I think it would sound like this.

The Dead South at the Usher Hall

Overall, my gamble was a huge success.

The support band, Corb Lund, was fantastic and on-theme. This was important as The Dead South have such a carefully curated niche, and the wrong bad would have jarred with the atmosphere.

As it happens, I’d be glad to go see Corb Lund again.

The Usher Hall is, I think, a safe bet. The top seats are perhaps a little too steep for people on sticks (which has been me in the past), but generally, the venue is accessible. The bars are plentiful and not too expensive, although light on sacks. More importantly, the venue sounds great, and it didn’t feel weird to see Nathaniel Hilts, Scott Pringle, Crawdaddy and Danny Kenyon on the stage.

I’m glad I went. It’s been a highlight of the year, albeit coming in the first few months.

Overall

The Dead South met high expectations, proving their captivating sound extends far beyond a single hit, delivering a rich blend of bluegrass instrumentation and hauntingly beautiful folk narratives.

Despite an “obstructed view” seat, I immensely enjoyed their unique cello-infused melodies. With a fantastic supporting act in Corb Lund and the Usher Hall’s excellent acoustics, this performance was a resounding success, solidifying The Dead South as a must-see live act.