First up is the veteran group known as The Sadies. Hailing from Toronto, ON, this band has been entertaining crowds since 1994. The founding brothers, Travis and Dallas Goode, are part of a musical dynasty; their father and uncles formed the bluegrass band The Goode Brothers. Tragically, Dallas passed away in 2022. The Sadies blend heartfelt storytelling with heavy rock and roll to produce music that is new yet familiar.
Songs range from the laid-back, smoky “Message to Belial,” to the introspective “All the Good,” and the over-the-top rocking “Northumberland Blues,” exemplifying the band's range of emotion and musical adeptness.
Mike Belitsky’s skillfulness on the drums—light yet intense, driving yet never overpowering—keeps the band on track. Sean Dean keeps the low end thumping on a traditional double bass. Watching Dean work the large instrument while never breaking a sweat is inspirational. Up front, Travis squeezes the soul out of his guitar while rocking like he is still in his teens. The three-piece power trio is extremely entertaining and a treat for the ears.
During the set break, when fans would normally watch miles of cables being rerouted and massive drum kits being exchanged, they now witness another change of scenery—literally. The Sadies have played with a small backdrop just large enough for the band; now the sets spread apart to create a large Old West city for The Dead South.
The Dead South takes the stage and jumps into “Snakeman,” “20 Mile Jump,” and “Son of Ambrose,” allowing all members to cut loose at the beginning. Colton Crawford (banjo) digs hard into the banjo riffs, and the crowd gets dancing. The band has brought back music from the Old West and the pioneer days. The raw, unvarnished storytelling feels fresh and modern. Actually, they are continuing a tradition from the days of clapboard towns and minimal civility captured in song
Nate Hilts (vocals, guitar, mandolin) is the band's spokesman and relates to the fans on a personal level. His voice is a mixture of sweet honey and coarse gravel, giving each line in the song the appropriate feeling. Nate plays the guitar with clarity, giving the instrument that all-important deep wooden sound that complements Danny’s cello. “Recap,” “Bastard Son,” and the haunting “Broken Cowboy” show off his talents.
All the band members bring a feeling of character to the performance. Danny Kenyon, with his clean-shaven innocence, has the western-hero look covered. Scott Pringle covers the good-hearted yet reluctant protagonist, which complements Nate Hilts’ dark antihero look. Colton Crawford plays the Old West support character to a tee—maybe he is a good guy, maybe not; best to keep an eye on the quiet ones.
Scott Pringle (guitar, mandolin, vocals) adds the special touch of mandolin to every song, and his voice is solid—even when singing the descant parts—adding dimension to the harmonies. “Boots” and “Time for Crawlin’” epitomize his range of talent.
Danny Kenyon (cello, bass, vocals) serves as a focal point, as his instrument of choice is the cello. He holds down the bass end, which allows him the freedom to create lyrical leading lines. “Yours to Keep” and “Black Lung” showcase his vocal abilities, and his bowing on “Honey” is magical.
The show builds to a climax with the fan favorites “Little Devil” and “In Hell I’ll Be in Good Company.” The fans sing along with the band's best-known single. Nate reluctantly informs us that bad weather is rolling in; the band will play as long as fans want to stick around, but they are going to call the show’s end with the song “Honey”—a great way to end the show. Nate also takes time to thank everyone, especially his crew and the good folks at Bells.
The Dead South is a phenomenon. The band brings a genre of music to life that speaks to people and is very entertaining. Look for local events and get tickets quickly, as they tend to sell out. Their music is available on all streaming services; add a little gritty, old-time music to your rotation.
