Indigo Girls at the Pageant, 7/21/2012: Review and Setlist

Indigo Girls at the Pageant, 7/21/2012: Review and Setlist
Jeremy Cowart

The Indigo Girls | Shadowboxers The Pageant July 21, 2012

A good-sized crowd came to the Pageant on Saturday night to dance, sing, sway and canoodle along to the music of the Indigo Girls, but you had to hand it to the Shadowboxers. The five-piece, all-male band hails from Atlanta -- like the headliner -- and in addition to a solid 45-minute set of up-tempo pop-rock, the band backed up Emily Saliers and Amy Ray for the Indigo Girls' 23 songs. So it's forgivable if its opening set - long on harmonies, sticky hooks and peppy stage moves -- was pleasant but banal. Instrumentalists and vocalists Scott Schwartz, Matt Lipkins and Adam Hoffman were melodically in sync throughout, and the blue-eyed soul sheen came off like a less-slick Maroon 5. The band's cover of Marvin Gaye's "Flying High in the Friendly Skies" was proof of the members' soul roots, but the guys would certainly earn their keep during the headlining set.

At this point in the band's 25-year career, Emily Saliers and Amy Ray occupy a respectable in-between status: they regularly release quality albums every few years but are maintained by a fan base forged by the formative albums and singles from nearly twenty years ago. So songs from 1992's landmark Rites of Passage were met with whoops, dancing and a lightning storm of cell phone camera flashes, while tracks from last year's Beauty Queen Sister were politely appreciated. For a largely acoustic folk act, that's not a bad problem to have. This is a band that's too restless to be called a legacy act but smart enough to know that these ladies (and a few men) came out to sing along to "Closer to Fine."

Saliers and Ray took the stage with the Shadowboxers a little after 9 p.m. and began with "Least Complicated," a song that showcases Saliers' deft touch at cataloguing the briars and thorns of young, dumb love. And for an audience that likely discovered the Indigo Girls at that nexus of naiveté and self-discovery, the song was a welcome opener. "Heartache for Everyone," one of Ray's songs, continued the theme with her more gruff, more twang-inflected voice serving as a counterpoint to Saliers' high and sweet delivery. It's that vocal interplay that made the band famous, and while the full-band arrangement sometimes scuttled that harmonic intertwining, more often than not Ray and Saliers underlined what makes their musical relationship so special.

Harmonies aside, the band has always served as a push-and-pull for Saliers' romantic optimism and Ray's unflinching eye for injustices big and small. "Shame on You" provided her with some soft-touch moralizing (and left room for a little bass-groove action as well), and a spare reading of "Three Hits" recalled the stark beauty of the band's earlier recordings.

Older songs brought the responsive and good-natured crowd to life (an extended pass at "Chickenman" in particular), though some more recent cuts shone in the full-band setting. Saliers' "Love of Our Lives," from 2009's Poseidon & the Bitter Bug, was a highlight, and "Beauty Queen Sister" came through thanks to some rangy electric guitars and the Shadowboxers' spot-on harmonies.

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