Aug 15

Aug 15 Review: Deer Tick at Pisgah Brewing Co.

So this is the famously wild band Deer Tick I’ve heard so much about!

Long known as raucous, borderline messy performers, the Providence, R.I. rockers have instead been perfect gentlemen during their previous two stops at Pisgah Brewing Co. — including a mesmerizing May 2019 show in the brewery’s sub-200-cap taproom that still feels like it was a dream.

However, back on the Black Mountain outdoor stage Aug. 7, the quartet lived up to its reputation with a deafening, erratic, and mostly entertaining set. Temporarily parting ways with tourmates Drive-By Truckers and Thelma and the Sleaze before reuniting in Tennessee at The Caverns the following night, it was tough to know whether a continuation of that bill’s hard-partying energy inspired frontman John McCauley’s unhinged antics — or if he was looking to up the ante with this standalone headlining show. But aided by an abnormally loud sound mix where the bass and drums were turned WAY up yet each instrument was distinctly audible, he likewise cranked his settings to the proverbial 11, providing a stark contrast to the almost overly chill sounds of opening act Twain.

Despite engaging takes on “If She Could Only See Me Now” and “Forgiving Ties,” results early on proved far less desirable than a tight Deer Tick show. Still, the four-piece kept things interesting and successfully switched gears for chill gems “Hope Is Big” and “Twenty Miles,” the latter of which showed off bassist Christopher Ryan’s versatility as he shifted to an upright with a bow. indeed, the more they played with tempos and styles, the better they got.

This winding path eventually led to “Mange,” my pick for the band's greatest hit — a stance shared by a fan who posted nice things about it on the Deer Tick Facebook page and received a shout-out from McCauley. So epic that the frontman was moved to lay on his back for part of the extended instrumental section, The Black Dirt Sessions standout also prompted drummer Dennis Ryan to let loose with all three guitarists providing accompaniment while kneeling, as if to worship his percussion prowess.

Messy and ear-splintering as it was at times, the performance was nevertheless preferable to a lifeless show that makes one wonder why they left the house instead of just staying home and listening to the band’s albums. On the brink of its 21st year as a band, Deer Tick appropriately exhibited the oscillating maturity and lack thereof inherent in someone about to hit legal U.S. drinking age, ultimately landing on the former with extended harmonized guitar work on set-closer “The Real Thing,” featuring transcendent lead shredding from Ian O'Neil.

Having passed through this gauntlet, McCauley returned alone after the ceremonial curtain call. Armed with an acoustic guitar, he sat on the edge of the stage as the remaining hundred or so attendees gathered close and were treated to a campfire rendition of “Ashamed” — encouraging us survivors to sing the chorus:

And, oh-oh-oh-oh
What a crying shame
A crying shame, what we became

With such a strong, warm finish, it was tough to feel disappointed with the evening overall. And after seeing Deer Tick at its best multiple times, this glimpse at their more freewheeling side only enhanced their legend.

(Photos by Jason Keefer)