Recap Ha Ha Tonka at The Frequency

Friday night at The Frequency, Ha Ha Tonka lead singer Brian Roberts figured out a new obligatory remark for touring bands to tell Madison crowds: "Madison's always been my favorite city on the isthmus." There you go: Skip the groaners about cheese and feed our self-satisfied geekiness instead. A town that appreciates that kind of humor needs to keep its rocking-out side good and healthy, and maybe so does a band that titled its forthcoming second album Novel Sounds Of The Nouveau South. Fortunately, the Missouri quartet kept up its balance of heady lyrics and tight, catchy roots-rock. They just about worked themselves into an angsty fit by the time "Gusto" hit its second chorus, and a few folks in front of the stage preached and gesticulated along with the chorus of "St. Nick On The Fourth In A Fervor," flushed with a certain naive righteousness ("This glimpse of brilliance is much better than one long look at mediocrity").

On the other hand, the bridge of "Caney Mountain" has is a percussive, cryptic jumble of words ("high-shined sequined buckle in that bible belt," we think?), but it draws its visceral power from the group's big four-part vocal harmonies, which held up with surprising clarity—this being a rambunctious live show and all. The vocals also counted for a lot on the band's a capella version of the traditional song "Hangman" (Led Zeppelin covered it under the title "Gallows Pole") and an awkward but amusing cover of Tom Petty's "You Don't Know How It Feels," recast as a traditional bluegrass stomper with guitarist Brett Anderson picking a mandolin, drummer Lennon Bone playing trombone, and bass player Lucas Long on jaw harp.

On the more quiet and dramatic side was Ha Ha Tonka's Bloodshot Records mate, Minnesota singer-songwriter Ben Weaver, playing in a stripped-down trio. The crowd was too restless and chatty to give Weaver a fair shake, but his songs held up against the chatter, especially when he picked up a banjo to plod through "40 Watt Bulb." Before that came local band The Selfish Gene, now down to a power trio after breaking up and then re-forming. Decider's take on this band has usually been: fairly catchy, imaginative songs, good poppy vocal harmonies, could use a little more punch somehow. And at times they can get it just right, at least when it comes to the zippy guitar hook of "Fist Fed Up," from their 2007 album The Grand Masquerade. Luckily, TSG's opening set here was unexpectedly snappy and fun—even on "Autopilot," which tended to sound a tad stiff and cutesy on previous listens (though it's certainly catchy in any case)—so maybe this writer will come around to 'em after all.