My love affair with Philadelphia-based indie-folk trio Good Old War began back in 2009, while accompanying a friend to Manhattan’s old Knitting Factory to see Straylight Run, for whom they opened. Never before was I so taken aback, and pleasantly surprised, by an opening band – especially one I had never had the pleasure of hearing before. Flash forward to December 14, 2011 and Good Old War is headlining a sold-out gig at Maxwell’s in Hoboken.
Before I get into the knitty-gritty of Wednesday night’s show, I must first divulge a bit about Maxwell’s itself. Having been there once before, I knew what to expect in terms of beer selection and overall ambiance, but I had never ventured into the performance space itself. Upon walking into the back venue, you are greeted by a small bar to your left (and a very pleasant ticket man to your right). Curiously tucked away around a corner is the stage set in an alcove of sorts. The room’s layout makes for a very intimate musical experience.
Free-spirited and energetic are words I think best describe the atmosphere at any given Good Old War show. As soon as the first acoustic guitar string has been strummed and tambourine shaken, every plaid shirt-wearing crowd member has begun merrily keeping time with the music. Good Old War is a collaboration between Keith Goodwin (vocals, guitar and keys), Tim Arnold (vocals, drums, keys and accordion) and Dan Schwartz (vocals and guitar), and they have been creating beautiful harmonies together since 2008.*
The trio started the night off strong with the hopeful, flirting-with-romance-inspired “Looking for Shelter,” and the upbeat, perfectly harmonized “Just Another Day,” both off of 2008’s Only Way To Be Alone. Goodwin’s crisp vocals were accented by those of Arnold and Schwartz, lending a well-rounded depth to their sound. Additional selections off Only Way To Be Alone included “Window,” “We’ve Come A Long Way” and the Greater-New-York -Area-favorite “Coney Island.”
Good Old War’s knack for fusing smart, heartfelt lyrics with solid harmonies is only exceeded by their impressive technical abilities. One such moment that stands out in my mind’s eye took place during “Weak Man.” In a bluesy interlude towards the end of the song, Schwartz – while wearing the just-played acoustic guitar that was strapped across his body – played the hell out of an electric guitar that was propped up on a guitar stand in front of him. Two guitars at once! Outrageous. Also noteworthy, during “My Own Sinking Ship” from 2010’s self-titled release, Arnold emerged from behind his drum kit and went to work on his accordion, which, in my opinion, is underutilized in today’s music. It offered a soothing quality to a song whose message about love offers a disheartening interpretation. Good Old War’s introspective track “My Name’s Sorrow,” while sad in context, was performed beautifully.
One particularly memorable aspect of the show occurred during “That’s Some Dream.” As soon as the inspiring mantra “I’m gonna live I’m alright, I’m gonna die it’s alright, I’m ok” sprung from the bands’ lips, everyone began jiving around in unison. (In a rendition of “That’s Some Dream” at Webster Hall in 2010, the band jammed to this ditty acoustically, while standing among the audience. It was that “we’re all in this together” mentality that really struck a nerve with me.) Another crowd-pleaser was offered by way of the twangy, tightly-strummed “Woody’s Hood Boogie Woogie.” How could a song advising to live life your way – after a healthy does of “Let’s go drinking” – not please?
This band of brothers puts on a well-executed, fun show with catchy folk-inspired rhythms. It’s as simple, and complex, as that. I look forward to Good Old War’s upcoming March 6 release, Come Back as Rain, and after hearing the plucky single “Calling Me Names,” it seems their knack for spirited live performances has been translated into a promising recording once again.
* Note the subliminal placement of the bolded letters. Good Old War
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