Concert Review: Slow Pulp Rocks The Parish For Day One of Levitation Fest

Slow Pulp started Levitation Fest at the Parish with a flowing, yet grunge concert featuring opener Babehoven.

Written by Rachel Joy Thomas

Photos courtesy of Andrea Escobar

When Slow Pulp first entered the music scene with their debut EP1, a profound current rippled through the industry. The band, comprised of Henry Stoehr, Teddy Matthews, and Alex Julian Leeds, formed in 2015 and later added now-lead singer Emily Massey to the mix. The group’s lyrics mix self-deprecation and an idling ambiance, forming an idyllic representation of the Midwest. There’s a nostalgic blend of country, shoe-gaze, indie-rock, and ‘90s fuzz that reminds listeners of a summer in their childhood home, constructing an exciting cocktail of sounds.

After signing to -Anti in 2023, the band released their newest album, Yard, an immersive, multi-faceted record that offers an array of emotions from the small-town band’s perspective. Playing across the United States to promote this new creation, Slow Pulp graced the Parish during 2023’s Levitation Fest on Oct 26.

Before Slow Pulp’s on-stage appearance, opener Babehoven offered a twangy, eclectic set filled with powerful vocals and incredible riffs. Lead singer Maya Bon had an emphatic voice that tore through the crowd's hearts. Joined by two other band members, the indie-rock duo of Bon and her producer, Ryan Albert, made a splash ahead of Slow Pulp’s appearance.

The soft, dreamy resonance of “Chariot” uplifted the Parish crowd as Bon sang wistfully. In an almost philosophical display, the crowd swayed to the strumming of an acoustic guitar as though they were the only ones in the room. Transported to another time entirely, the band expressed — with closed eyes and a tightened grip on the crowd's energy — their transcendental vision. Bon’s voice came with the authority of iconic indie singers like Sharon Van Etten, unsheathed. The uncontained, raw power shifted back to its angelic roots as Bon blissfully sang on stage, going from tight, quiet vocals to rollercoaster highs.

Cheers erupted as Slow Pulp crossed onto the stage and started their performance. The beginning notes of “Slugs” attuned fans' ears, and the crowd’s excitement was palpable. A slow hum filled the air as Massey sang “Quiet, c’mon and give me a kiss” The rhythm guitar’s chuck guided listeners to nod their heads along the song’s groove, wistfully accompanying the relaxed energy of the track.

After “Slugs,” a fan in the crowd’s center passed a plastic slug toy to Massey, who gleefully picked it up and placed it on top of her setlist next to her pedal board. A silent word of thanks passed between the singer and her loving fan.Rhythmic delays vibrated through the concert hall as the band played “Idaho” off their debut album, Moveys. Chorus, overdrive, and reverb overwhelmed the song to a crashing, sensory-heightening climax. The overwhelming instrumentals began to blend, only separated by vocals and the crash of drums as the band seamlessly layered atop one another. 

Stoehr performed a variety of guitar solos and one-off riffs during the set, with “Worm” featuring one of the most sonically potent. as he showed off his intense musical prowess to the astonished crowd. Alongside the robust, breathy vocals of Massey, Stoehr ripped through the song with airy precision. There was a musical power that ebbed and flowed through the cavernous lows and mountainous highs of Slow Pulp’s discography. 

The band participated in guitar roulette throughout the set, constantly switching from one to another seamlessly. Massey’s Gibson SG Standard remained a staple, along with a cream-colored Fender Stratocaster. Stoehr and Leeds operated a pedalboard full of settings that were ever so slightly tweaked between songs. For soft “New Horse,” the band opted for an electric acoustic guitar and a laid-back production style. They played this track later in the set, with a beautiful fingerstyle acoustic ringing beckoning listeners forward in the venue. Pressed against the barricade and lightly touching shoulders, attendees peered toward the band as quiet synth dissonance rang through their ears. Massey quietly sang, “If I could treat myself better / I know I’m still getting better / I might come back.” Repeating vocals hummed together in a soothing lullaby, finishing the song by swaying listeners into nostalgic comfort.

The meditative “Fishes” acted as an interlude between the band’s grungier tracks. Bassist Alexander Leeds sat on his amp, watching passively. The simple lyrics and strumming of “Fishes” pattered together like drops in a pool, adding ever slightly to its otherwise muted dimensions. Fingerstyle plucking drew listeners in as Massey repeated the word “Fishes.” Slowly, the words melted together until it was difficult to tell where the next word began. The pattering of the song then became a rainfall that slowly trickled through the venue until the deafening rejoining of the band stirred the audience back to reality. 

The band stepped off the stage and Massey left behind her newly acquired plastic slug as she took the stairs to go. Fans in the venue began to speculate whether Massey would return for the glow-in-the-dark slug, sternly looking at it and even picking it up as they anxiously waited. Murmurs erupted through the venue while fans waited to see if the concert was over.A sigh of relief crept over the crowd as the band members set up to play their album’s title track, “Yard.” Stoehr took to the keyboard as Leeds and Matthews eagerly stood by. Massey sang, “I'm a bitch, I've been a bitch” in a low rumble to the accompaniment of a soft piano, evoking a sense of simple nostalgia. With the slightest bit of delay in Massey’s vocals, she finished out the song, repeating, “I don't wanna be / I've been selfish,” in a relaxed tone.

Slow Pulp quickly contrasted the thin texture croon of “Yard” with their next song, “High.” As the opening chords swam through the venue, a sense of recognition came over attendees' faces as they sang along to the lyrics. A grin crept over Massey’s face as she sang: “I have too much in my pockets; I wish they were empty.” Strumming, alongside the occasional plucking of heavy acoustic strings, continued to develop into a louder and louder sound. Suddenly, the song paused. 

Massey, then, with that same smile, belted, “I just think I’m too high.” The swell of a fuzzy, grunge guitar filled with distortion exploded through the venue in a sudden, dramatic shift. Cymbals crashed wildly along with the plucking of bass strings. The sheer noise radiated to every corner of the concert hall. Guests cheered and danced to the swell of the beat, hypnotized by the dreamy, twisting sound. 

Thanking the audience for having them, Slow Pulp announced, to the disappointment of fans, that the next song would “be the last.” Setting up for the track, the band looked at each other with a sense of enjoyment. The popular, long-awaited “Montana” closed out Slow Pulp’s night at the Parish, with fans savoring the last glimpse of the band for the night. Stoehr used a slider to create the soft, country swell in the lurching song. Pulling out a harmonica, Massey serenaded the audience with a chromatic surge of bluesy reminiscence.

Closing out the night, the band thanked the audience again and took off from the stage, leaving attendees in a haze as they exited the venue at 12:01 a.m. With relentless talent and enthusiasm, the group played a dynamic set that served as one of the ultimate highlights of Levitation Fest this year, fundamentally demonstrating their continued talent and potential to grow as one of the top growing rock bands.