#SouthFM Concert Review

[themusicenthusiast]

Saturday, April 15th, 2017 – Just Another Line in the Story Your Life Will Tell: A Revived SouthFM Shakes Off the Dust During a Nostalgic Set at Trees

The celebration at Trees on this Saturday night may have centered around Big Story and the release of their debut record, however, there was something else that was every bit as monumental-arguably even more so-going on as well: a legend of the D-FW music scene was returning. A couple years or so out from a fairly vague Facebook post Paco Estrada made hinting at another chapter in SouthFM’s presumably finished book and nothing had happened. No further statements had been made about resurrecting the titan that had become one of North Texas’ elite bands. I don’t think many people thought much of it, especially as they continued to support Estrada’s current endeavors; and while SouthFM may have reunited to perform Swallowing the Pill acoustically last December, by all accounts even that was a one-off thing. Just a reason for the former band mates to join forces on stage one last time before finally leaving it to rest for good. And then came word of this show, SouthFM listed as main support for Big Story, where they promised some classics along with a few new songs. And so it was, ten and a half years after their initial breakup and a few reunion concerts in between, that SouthFM would once again become an active force the music scene. And at the risk of sounding sacrilegious, it did seem appropriate that they would begin their second coming on Easter weekend. With three-fifths of the final lineup returning (Estrada, guitarist Chad Abbott, and bassist Dave Shafer), the two remaining positions were filled by Andrew Pederson, the drummer being a familiar face to anyone who has seen Estrada in the past couple of years, while Cody Sowell picked up the duties of lead guitarist. Trees was packed, to the point it was hard to tell which of the final two bands had the most sets of eyes on them, the spectators cheering when as the lights dimmed shortly after 10:30, eagerly awaiting whatever was to come. “The Wound” clearly set the stage, the instrumental piece tacked on at the end of the third cut from Swallowing the Pill playing over the PA system. It made one feel as if they were listening to the record itself, the opening riffs of “Killing Me” roaring into action as soon as it had concluded.

One of their signature songs and, best of my recollection, the routine closer, was surprisingly moved to start of the set, and while it may have felt a bit odd, it came across as a powerful opener. It immediately had all of the longtime fans enthralled, being the first of many songs that several patrons joyously sung and shouted along with. That feeling of elation wasn’t confined to just the crowd, Estrada being unable to hide the grin on his face, which was all too noticeable even as he sang. “…Your love, you see, is killing me. And I don’t want to waste more time telling you how I feel...” It was as if that, in that moment, it was truly hitting him that he would be performing these songs again, a flood of emotions and memories coming with them, and he was loving it. Those authentic reactions would persist throughout the show. The quintet would prove to be masters of the segue this night, Sowell lightly picking at his guitar as Pederson supplied some gentle percussion for a transition piece that led them into “Push Me Away”. With each passing minute, this new lineup was starting to find their footing and develop their live chemistry, while the original members grew more confident in their performance. Shafer in particular, as the bassist began to thrash around more as they hit the second chorus of that one, really loosening up and getting into it all. Mixed in with the handful of fan favorites they were able to work in to their brief set was a couple new songs, and afterwards, they struck with the first. It was interesting one, and personally, my favorite of the new ones. Interesting in the fact that it so perfectly showcased the songwriter and lyricist that Estrada has evolved into, even transcending where he was at when writing that twelve-year-old record. However, it also felt like a natural progression for SouthFM, fitting nicely within their wheelhouse thanks to some catchy riffs and at times downright brilliant guitar work from Abbott. The robust percussion solidified it as a captivating number. “…Open your eyes. Open your heart,” the first verse concluded, the chorus beginning with, “Only love…” Everything about it embodied positivity and it felt rather inspirational. A couple more classics separated them from the next new number, and there was little doubt that “Surface (Wake Up)” was one of, if not the top song everyone was anxiously waiting to hear. “These are not the words that I would like to be saying to you… And I hope that in the morning you will feel the same way that I do…” several of the spectators chimed in, assisting with the choruses. It was one of those rare and magical moments where you get to see just how closely people identify with a certain song and how much it means to them. In the local scene especially that’s seldom seen, though only reaffirms that “Surface” is one of the most beautiful pieces of music ever written thanks to the honest sentiments and sheer vulnerability that it captures. “…Can we ever take the chance to see what happens? What we really want we fail to mention…” Another instrumental song from the album bled things into the next song, the delicate sounds of the instruments keeping it concealed for a time. Some haunting notes then rang out as Abbott proceeded to pick at his axe, unmistakably being the opening of “Regret”. Arguably their best song of the night, Shafer was able to provide plenty more backing vocals, accenting Estrada’s voice quite well as they were layered atop one another. That was also the song where Sowell appeared to truly immerse himself in the music. He had no more reservations of making certain he was getting each note right and instead just followed his gut, still nailing his parts as he at times shredded on the guitar. That song alone was quite the display to witness, Estrada taking a deep breath before the bridge, preparing himself for the rapid-fire part. “And kiss me in our darkest hour, kiss me when it’s pouring rain. Kiss me when the full moon begs and when the sun awakes again…” As usual, the emotion and passion he was packing into the lines bled though on his face, which further reminded everyone why he is one of the most talented vocalists there is; while Pederson ensured the song came to a phenomenal close, his drumming sounding more forceful than it had all night. With this 36-minute long set nearing its end, Estrada addressed the crowd, mentioning how excited they were to be there and on the bill, while also quipping that it was the night of “big singers” and shouting out J.R. from Stareview, who had played before them. “Randy’s not that big, though,” he noted, soon recalling when he first met the current frontman of Big Story. “He was a cocky young asshole,” said Estrada, before Shafer began bantering with him, asking him if anything had changed. “Now he’s a grownup cocky asshole,” remarked Estrada, who noted he had asked Randall Stephens if he’d mind him saying that about him. As he spoke, he was fighting against a growing chant of “SOUTHFM!”, the fans declaring their adoration for the band. The other new tune seemed a bit slower at times, adding a decent balance to a set that was otherwise dominated by intense rock tracks, and though it did have some serene moments, it also swelled to become a striking number. And that was when it happened. It was at the second chorus when you saw a shift in the overall demeanor of the musicians as they truly hit their mark and gelled with one another. It finally looked and felt cohesive, as if they were all crucial components of a much larger machine rather than five people each doing their own thing on stage. And with one song left to go, that couldn’t have come at any better time. Given the way the show had started, there seemed only one song capable of bringing the set to a close. Estrada turned his back to the audience, arms folded behind him while some fuzzy notes courtesy of Abbott acted as the segue. After a decent amount of time to build suspense Sowell sprang into action with the exhilarating riff that defines “Vesica Piscis”, a fitting and thrilling end to a show that offered but a brief glimpse of what the iconic Dallas group is still capable of. Thrilling due to its exceptionally high-energy, and fitting because of the holiday weekend, the story making it all too easy to draw some religious connections. “And he said, ‘Son, don’t you know it has to be this way? Your wounds will bring them life.’ And he said, ‘Son, don’t you know it has to be this way? So maybe someday they’ll understand grace.” This wasn’t the SouthFM that was easily in their prime in the final year or so of their existence, nor was it a SouthFM covered in dust and cobwebs, straining to shake it all off. It was something in between the two. Understandably, even after many years together, Estrada, Abbott and Shafer can’t just dive back in and have the same level of chemistry they enjoyed before. Factor in the two new members and the dynamics are completely new; and the only way a strong bond between them can be forged is by getting in the live experience. There’s no substitute for it and that is what will allow them to mesh with one another and eventually become a force to be reckoned with once more. Bearing all that in mind, it was a solid show. Sowell and Pederson did look new to the group, though they played it off as if they at least had a few shows under their belt, each bringing a good bit of energy to the mix to boot. As for the other three, while not to the point of merely relying on muscle memory and the confidence that comes with that just yet, none of them appeared too far away from that. After a few more times on stage it seems reasonable that performing these songs will be back to being second nature for Shafer, Estrada and Abbott. To the die-hard fans this was still akin to a religious experience, the simple act of hearing those five old songs again being euphoric. And that was just scratching the surface, a set clocking in at about half an hour forcing them to cherry-pick what they felt everyone wanted to hear most. They did a great job of that, everyone probably wishing they had heard this or that, though I don’t think anyone felt like they had missed out on anything. It will be fun see how this all unfolds, a new album already in the works, even if it’s only in the formative stages at the moment. Hopefully more shows will follow soon as well, and at least one where they’ll have ample time to delve into their catalog. But for now, it’s just great to know a band like SouthFM is back on the active roster. There aren’t many bands of that caliber anymore, and at least the scene has one more shining star then it did. Stay tuned to their FACEBOOK for news on future shows; and for those whose libraries’ may be lacking some SouthFM, you can download their full discography (for free, if you desire) on BANDCAMP.

[themusicenthusiast]

2016: A Year in Review - The Top 10′s

I have an utter disdain for lists. They degrade the industry (the news industry, entertainment industry, etc.) and have allowed for a shift away from meaningful content. It is much easier to churn out a quick list (*Insert random artist*’s greatest 15 songs; Best 100 songs/films/TV series of all time; The 50 Best Songs of the Year) than an article with real meaning, such as an editorial piece or a review that contains some sort of original thought and feeling. Lists are void of any true emotion and are almost entirely subjective, that’s why I dislike them. That’s why there’s only one time of year anything of that matter will appear on this site, and even then I refrain from using certain terms, like “best” or “greatest”. The following are nothing more than my personal favorite releases from this past year, divided into an LP’s and EP’s category with a list of my top ten concerts thrown in as well. If you’re unfamiliar with any of the artists, I urge you to check them out, and to make it a little easier, there’s a Spotify playlist at the end of the article. (Also, check out my Honorable Album Mentions list, in case you missed it.) Top 10 LP’s:

1.) Artist: Volbeat Album: Seal The Deal & Let's Boogie (Republic Records) Must Listen Song: “The Devil's Bleeding Crown” 2.) Artist: Alter Bridge Album: The Last Hero Must Listen Song: “My Champion” 3.) Artist: Kaleo Album: A/B (Elektra/Atlantic Records) Must Listen Song: “Way Down We Go” 4.) Artist: Thrice Album: To Be Everywhere Is To Be Nowhere (BMG Rights Management) Must Listen Song: “Blood on the Sand” 5.) Artist: Soviet Dog Fight Album: The Hotel (Self-released) Must Listen Song: “He Said” 6.) Artist: Bayside Album: Vacancy (Hopeless Records) Must Listen Song: “Rumspringa (Return to Heartbreak Road)” 7.) Artist: Failure Anthem Album: First World Problems (Razor and Tie) Must Listen Song: “First World Problems” 8.) Artist: Lera Lynn Album: Resistor Must Listen Song: “Shape Shifter” 9.) Artist: Red Fang Album: Only Ghosts (Relapse Records) Must Listen Song: “Flies” 10.) Artist: Korn Album: The Serenity of Suffering (Roadrunner Records) Must Listen Song: “Rotting In Vain”

Top 10 EP’s: 1.) Artist: Northern National Album: The New Age (Self-released) Must Listen Song: “Addiction” 2.) Artist: Goodbye June Album: Danger In The Morning (Interscope Records) Must Listen Song: “Oh No” 3.) Artist: VÉRITÉ Album: Living Must Listen Song: “Constant Crush” 4.) Artist: DREAMERS Album: You Are Here (Fairfax Entertainment Group) Must Listen Song: “Wolves (You Got Me)” 5.) Artist: Paralandra Album: All Fall Down (Self-released) Must Listen Song: “Alive” 6.) Artist: Hailey Knox Album: A Little Awkward (BMG Rights Management) Must Listen Song: “Awkward” 7.) Artist: The Young Wild Album: All the Luck (Fairfax Entertainment Group) Must Listen Song: “All the Luck” 8.) Artist: Always the Alibi Album: Reprieve (Self-released) Must Listen Song: “Ain't Another Girl” 9.) Artist: Catherine McGrath Album: One (Warner Bros Records) Must Listen Song: “Hell Would Have To Freeze Over” 10.) Artist: Chelsea Lankes Album: Chelsea Lankes (B3SCI Records) Must Listen Song: “Secret” Top 10 Concerts of 2016: 1.) Bruce Springsteen & The E Street Band at American Airlines Center in Dallas, TX. (Tuesday, April 5th) 2.) Shinedown at H-E-B Center in Cedar Park, TX with Halestorm, Whiskey Myers, and Black Stone Cheery. (Sunday, July 31st)  3.) SouthFM at The Curtain Club in Dallas, TX with Big Story, Brandon Callies & The American Revival, and Trent Rush. (Friday, December 9th) 4.) Alter Bridge at House of Blues in Dallas, TX with Adelitas Way and 3 Pill Morning. (Friday, October 7th) 5.) Brand New and Modest Mouse at The Field at Verizon Theatre in Grand Prairie, TX. (Friday, July 22nd) 6.) The Turnpike Troubadours at Firelake Arena in Shawnee, OK with Randy Rogers Band. (Saturday, December 3rd) 7.) The Turnpike Troubadours at Billy Bob’s Texas in Fort Worth, TX. (Saturday, February 6th) 8.) John Moreland at The Kessler Theater in Dallas, TX with Lilly Hiatt. (Thursday, February 18th) 9.) Taste of Chaos Tour at Southside Ballroom in Dallas, TX with Dashboard Confessional, Taking Back Sunday, and Saosin. (Friday, July 1st) 10.) Lera Lynn at The Kessler Theatre in Dallas, TX with William Wild. (Sunday, September 18th) 2016 was an interesting year. For the first time in several years I didn’t even attend one hundred shows. (Not that 92 is too far off of that mark.) It was a year during which I became (slightly) more selective with how often I went to a concert. I caught a few less festivals than in the last couple of years, though River City Rockfest was a definite highlight, with Dia de los Toadies being another winner, and the Deep Ellum Arts Festival is always a blast. And despite it being a turbulent couple of days, Houston Open Air was entertaining and I look forward to what it can be in its second year. I had the privilege of photographing a ton of amazing bands; and The Music Enthusiast in general had a good year. A big “thank you” to everyone who has taken their time to read anything I’ve posted, not just within the past year but ever. No matter how frequent or infrequent you visit TME, I appreciate your support more than you know. Nearly eleven years in and I don’t plan on going anywhere anytime soon and will continue to post a few articles each week. Happy New Year to you all, and I hope everyone has an incredible 2017!!

[themusicenthusiast]

Friday, December 9th, 2016 – Singing Songs We Have No Choice to Sing: SouthFM Reunites and Revisits ‘Swallowing the Pill’

All photos by Jordan Buford Photography What does it say about an album when it’s revisited nearly a dozen years after its release? What does it say when the band journeying back to that time called it quits a decade ago, and with the exception of a few reunion shows in 2010 has been completely dormant? I believe it says a lot, further proving that when SouthFM released the record that became their swan song, what could be considered a near flawless album created a benchmark for the rest of the North Texas music scene, regardless of if other bands are aware of it or not. Surely, Swallowing the Pill is something the majority of the bands’ fans still listen to on a regular basis (I know I do), the depth and beauty of the poignant and brutally honest songs having not diminished in the least since its release. So, as shocking as it was to see the announcement that the lineup of that era planned to return to the stage of The Curtain Club on this Friday night, in some ways it was almost expected. Expected because the catalyst for this event most likely came back in the spring, when the band participated at a benefit for their frontman Paco Estrada who had fallen ill. It was great hearing a selection of their songs again as various guest vocalists stepped up to perform them while Estrada looked on, though for all of the fans it was weird not seeing him in action, and presumably it felt strange to his band mates not having him alongside them. In that sense, this final (?) reunion show offered closure to this new chapter that was unexpectedly penned back in May, and there was no better way to finish it than by playing that masterpiece in its entirety and in an acoustic format. There was a stacked lineup, with a bunch of great talent warming up the stage for the Dallas legends, Maddox Slais being up first and regrettably, I didn’t arrive in time to catch his set. I did walk in as Trent Rush was finishing his sound check, the young singer/songwriter accompanied by a bassist and drummer, the latter being his father, Fred Rush, of Ugly Mustard fame.

The entire night was somewhat stripped down, no electric guitars in sight for about 99% of it, though being armed with an acoustic guitar didn’t hinder Trent Rush in the least. He easily held his own against the often sonorous percussion, the acoustic carrying a certain edge as he attacked it, utilizing every break he got to step away from the mic and put more focus on the guitar. Sporting some glasses (which he ditched after the first song) that looked similar to something, say, Elton John might wear, to a glittery scarf draped around his neck, Rush and company had no trouble captivating the attention of everyone that had shown up early. They worked for it as well, the young musician taking time during one number to leave the stage for one of the steps at the front of it, shouting the refrain to teach it to the spectators, and upon handing the reins to them he hopped down and made his way through the crowd. The closer, “Finale” I believe was the title, was also said to be the final track on Rush’s forthcoming album, an album that will presumably be out within the next year and one people should be on the lookout for. He won over some new fans this night and helped in getting the show off to a great start.

Brandon Callies & the American Revival had the stage next, Callies bringing the latest incarnation of his (newly renamed) band to Dallas. The lineup included some new faces, Ryan Holley on guitar and backing vocals, with Don Denham and Joe Devadanam making up the rhythm section and for the night Taylor Autry was joining them on keys. New faces didn’t mean entirely all new material though, as they touched on a few of Callies’ releases, from last year’s There's A Killer Down In Texas to 2011’s The Gunner. An early favorite wound up being “Shoot You Down”, Holley helping put a new twist on some of those songs with a twelve-string acoustic (he alternated between it and the standard six-string throughout their set), killing it during a solo on that song. Callies joked later on that they were given explicit instructions not to touch an electric guitar, mentioning to those unaware they were usually more of a rock band, though there was something about this slightly scaled back format.

While many of the songs did retain their edge—“Whatever You Want” being another example of that—there were some slower tunes as well, such as the one that followed, which had a smooth, twangy Southern Rock vibe for much of it; while Devadanam really cut loose at the end of “Keep On Walking”, the drummer showcasing his incredible chops. One of the biggest surprises of the night was a song that’s a mainstay at Holley’s solo shows, and one Callies & the American Revival decided to rework in order to play this night, Holley telling Paco they had “countryfied” one of his songs. Indeed, they had done just that with “Ghosts”, which sounded surprisingly good done in more of an Americana vein. Callies took a back seat during it, just playing his guitar as their 41-minute long set approached the end, there being time enough for one more. It had been far too long since I had last seen Brandon Callies in action, he and the new cast of musicians around him quite possibly sounding better than ever. Even being a little out of their element they still owned it and made it appear as if seeing them with a couple acoustic guitars is the norm. The sizable crowd that had gathered at that point loved it as well, from Callies’ longtime friends and supporters to new listeners that got their first taste of them. As early as it was it had already been a great night, with each band finding a way to push the bar a little higher, and Big Story was no exception.

This was one of a small handful of shows the band has done this year, with most of their time going into recording their debut album that’s due to release in the first half of 2017. They were the only band that came close to being truly acoustic, being sans a bass player this night, though Ross Rubio sure didn’t hold much back on the drums as they cranked out a series of reworked songs. In some ways, you wouldn’t expect their music to translate as well acoustically as it does, the musicians putting plenty of effort into restructuring them and making them sound as great as possible. Unbeknownst to Randall Stephens, Jovan Santos experienced some trouble their opening number, the frontman saying he knew Santos was excellent though had no idea he was magician able to just disappear like that. The broken string was soon fixed, the rest of their show going off without a hitch; fellow guitarist Dave Perez often providing some backing vocals, like on “Such Things”, as Stephens brought exceptional amounts of emotion to his singing.

Their first single, “I Can't Be Alone”, came in the back half of their set, and arguably it sounds the best out of any of their songs when performed in this manner. With excitement mounting for SouthFM, Big Story wrapped up their show with “Shooting Star”, Stephens prefacing it by saying it was a response to anyone that asks what makes you think you can do what you want to do in life, in the sense of chasing one��s dreams. The song acting as a marvelous closer as it set the stage for one of the biggest events The Curtain Club has ever hosted in its near nineteen years of business. The place looked similar to that October night ten years prior when SouthFM performed their farewell, or even that summer night back in 2010 when they got their reunion show out of the way, everyone packed in as closely as they could get. Some were fans Paco Estrada has picked up since throughout his extensive solo career, though plenty more were old school SouthFM fans that were hungry for some nostalgia. Per the band’s request, the stage lights essentially went out once they began just five minutes after midnight. If there had been a haze of cigarette smoke clouding the air then it really would have felt like a Curtain Club show of yesteryear.

The first verse of “So That I Could Rescue You” was made into more of a prelude, Estrada crooning the lines almost a cappella. It was beautiful and created more of a cinematic feel to a night that was destined to be an experience. Upon finishing it, Chad Abbott began the catchy chord progression that officially starts the song, the fans singing right along. “…And I’m just killing the time that I have left. And I’m just wasting the years as they pass…” It was the first of more than a dozen songs in which the meaning and emotions behind them were just as striking now as they were then, while some even seemed to have taken on new meaning in the years since. Billed as an acoustic rendition of Swallowing the Pill, it was part acoustic and part electric. Abbott and lead guitarist G.I. Sanders both wielded an acoustic guitar, while Moe Martinez sat behind a full drum kit and Dave Shafer lightly picked an electric bass, adding more force to the show when necessary. Because of that, one of the purest acoustic songs of the night was “The Game”, which was still the fan favorite it has always been. “They said you were cool so I wanted and waited to find a way into your life. I say you’re just cruel, a heartbreaker, love taker, committed to playing your games…” The throng of fans nearly overpowered Estrada on those first couple of lines and throughout the tantalizing tale that was always at its best in a stripped down setting.

“…That’s such a silly song…” the frontman quipped upon finishing it, saying the joke was on everyone watching and that he had never liked that song, though his smile made what he said rather unconvincing. “I can’t believe all you guys are here,” he then remarked, earning some cheers from the audience. It was one of a few breaks they took from tackling the songs in the order they appear on the record, and the only problem with that was that some of their best songs were knocked out early. That was one of them, while “Surface (Wake Up)” was another. Some would go as far as to argue it’s one of the best songs ever, Estrada conveying that longing and desperation of wanting something deeper out of a physical relationship as he belted out the words. Sanders was also feeling it, swaying along on his stool as he struck his guitar, not being able to resist standing on some of the most climatic moments of a few songs. That came with an added bonus, a snippet of Leonard Cohen’s “Hallelujah” being thrown in as a sort of bridge; and as the final notes resonated, Taylor Autry (the keyboardist of Estrada’s current band) joined them on keys, helping with the segue piece, “The Wound” being the first of the three instrumental pieces that tell their own story within the record.

“Killing Me” began more akin to the version done by Paco Estrada & One Love, a soupier, dreamlike start before growing into a powerhouse cut, even if it was more bare bones. Martinez’s drumming became relentless as he ferociously knocked out the beats towards the end, ensuring it was as thrilling as ever. And that brought them to “Habit”, a song that Estrada mentioned was one of his favorites perhaps being the most fitting of the night. A song about change—striving to be something different, something better—just felt apt under this circumstance, and it made this entire evening feel all the more cathartic. Autry again rejoined the group, Doug Kershaw also taking the stage, the violinist being crucial to the last half of the show, particularly on “Blue & Grey”. More often than not, the piano-driven song was overlooked at shows, not fitting with the strong rock tracks that dominated SouthFM’s catalog, even if it was perhaps their strongest song in regards to the emotions it captures. That’s why hearing it in its original form felt so special this night; and while ten years or so ago people may have been slightly surprised to hear it, they savored the experience this night.

It’s planned that the income from this show go to have Swallowing the Pill pressed on vinyl, and Estrada couldn’t help but chuckle as he said this would be the point people would need to flip the record over in order to hear the next song. Autry continued the segues, keeping this live experience authentic to the album as they got to what was said to be the “couples skate” song. After having got a brief break for most of the previous song, Shafer began to get livelier. Towards the end of “Dancing Like This” he left his stool, though the bassist was still rather reserved as he settled into the groove and swayed along with the music. Upon finishing that song he addressed everyone, getting a laugh from the audience when he said he had missed about ninety-eight percent of everyone there, while the other two percent could “fuck off”. “By the way I talk, you all probably think you’re part of the two percent,” Shafer laughed, a grin on his face throughout everything he said, the part about missing everyone being most sincere.

That brought them to the live debut of “Paper Dolls”, which is more of an interlude than anything, the violin adding a gorgeous sound to the subtle picking of the guitars. “…That’s the one time SouthFM ever got political…” Estrada commented afterwards, before making a crack at their own song by saying that no one writes music that’s only a couple of minutes in length. The thing is, as relevant as that short story was back in 2015, it, too, is every bit as meaningful now. Despite knowing “Regret” was up next, the way it got underway, Abbott playing some almost serene sounding notes, was the opposite of the darker, more ominous intro only the electric version could pull off. It was retooled there, though after the intro it felt more similar to the original version. Indeed, it wasn’t without its explosive moments, some thunderous percussion ringing out at times, ensuring it was one of the most memorable songs of the night.

The second instrumental piece, “The Grieving”, that’s tacked on to the end of that song led the way into another tranquil portion, “Before The World Will End” being utterly spellbinding. The minimal instruments allowed Estrada’s voice to carry the song, often being just as tender, though at times he belted the words out with a passion, the emotion continuing to bleed through on his face, which was noticeable all night long. With this 63-minute long show quickly approaching the end, the magic and even wonder that was in the air never waned. There was still an overwhelming sense of joy from everyone about getting to hear this music again, and singing along had been a near constant throughout the show, and that was best seen on “Where Did You Go?” It felt as no time had passed, Estrada stepping back from his mic and waving a hand in the air, the crowd instinctively knowing that was their cue as they all shouted, “WHERE DID YOU GO?” one of the final times it was uttered in the song.

“Push Me Away” and the accompanying end piece, “The Healing”, wound them nicely into “Prelude”, the vocalist thanking everyone for coming out and helping make the night so incredible. Honestly, I could have seen the final song on Swallowing the Pill sounding incredible acoustic. They could have kept it in a vein like the prelude, but maybe with a little more gusto. Instead, they went for a lot more, pulling out one grand surprise that would have the near capacity crowd clamoring for more. Abbott was first to swap out his acoustic guitar for an electric, with Sanders being right behind him, allowing them to knock out “Vesica Piscis” in all of its glory. The stage lights rapidly flashed on and off as they tore through it with the same intensity they had back in their prime, Sanders even stepping onto one of the monitors as he raised his ax into the air. It was the last thing anyone was expecting out of this night, officially reminding them why and just how much they loved SouthFM. The band walked off stage to the crowd singing their praises and wildly applauding, which ultimately turned to chants for an encore. For a fleeting moment it seemed like that might be in the realm of possibility, the stage lights remaining dimmed. It didn’t happen, though the promise had been an acoustic rendition of Swallowing the Pill, and they delivered that. It’s safe to say a wave of emotions had washed over everyone in The Curtain Club this night. Seeing those five guys back on stage again and hearing that record, a record the caliber of which every band hopes to create at some point, it stirred up a lot of emotions. More than anything, it was just a good trip down memory lane, being taken back to a time when there were titans in the D/FW music scene. There’s an incredible crop of musicians out there currently, and I don’t mean that as a slight against them, but this was a reminder of when bands could pack out a venue every time they played. That’s part because the support system was different then from what it is now, and for bands of that era, people are still die-hard fans. As for Estrada, Sanders, Abbott, Shafer, and Martinez, they shook off all the dust in preparing for this show. It’s safe to assume some had accumulated over the years, but as you watched them, it really appeared as if not even a day had passed between now and the last time they were actively gigging. It was impressive to say the least, that they could maintain that level of musicianship, being impeccably cohesive all for just one more brief night together. I don’t know what else to say other than what an extraordinary night it was. For those that witnessed it, it was something they won’t forget. And maybe, with some bit of luck, people will hear more from SouthFM. It seems highly doubtful, though they did clearly enjoy themselves while gracing the stage and the music scene could sure use a band of this stature again. In case you missed them back in the day, all of SouthFM’s music is available (for free, if you wish) at BANDCAMP. Be sure to download their discography if you don’t already have it.