Concert Review: Mitch Rowland Graces Boston with Debut Album Come June
All images courtesy of Ally Giust
For the 10th stop on his North American tour, Mitch Rowland arrives in Boston to play his debut album Come June for eager fans at The Sinclair in Cambridge. A line wraps around the corner of the building that marks the entry to the venue, where many raise their phones to take a photo of the marquee that hosts both Rowland’s name and the name of opener Harris Harper. Every once in a while, you can hear the name “Harry” jut from the crowd's conversations as they wait in line. Many attendees likely discovered Rowland from his loyal participation as lead guitarist in Harry Styles’ touring band, eagerly anticipating Rowland’s performance of his solo music.
Harper opens the show with a soothing set – her vocals are comparable to Joni Mitchell’s with their shared, whispery rasp. Accompanied by her brother CJ Harper on keyboard, the artist stuns the crowd with her impressive vocal range and precise lyricism. Her tranquilizing folk style is the perfect opener for Rowland’s folk-driven set.
Rowland’s set begins with a laid-back, music-free entry by him and his band. After they settle on stage in their respective positions, the ensemble begins with “See The Way You Roll.” As the lights come up, a calming stage setup almost resembling a recording studio becomes visible. A Turkish rug lays flat beneath Rowland, and a ’70s-inspired spherical lamp sits atop an amp beside Rowland’s mug of tea. During this first song, bassist Matt Schuessler emits psychedelic sounds from his double bass by sliding a flat hand up and down the neck and tilting the bow side to side as he moves along the strings. The track also introduces harmonies from keyboardist and guitarist Aiden Finn, as well as drummer Sarah Jones, which appear beautifully throughout most of the songs in the set. The band gives the track a sparkling finish and almost immediately transitions into “Bluebells” after a roar of cheers from the audience.
“Bluebells” begins quietly, but every member of the band joins in for the chorus. Jones’ cymbal-focused drumming is a featured element throughout the song, which the audience loves because this technique has also been a part of Styles’ band since its inception. Guitarist Rob Schnapf follows Rowland’s acoustic guitar playing with his electric guitar, enhancing the cohesiveness of their band. The ending feels like a dream as the expansive instrumentals create its spacious atmosphere, with Finn’s Mellotron contributions and Schnapf’s guitar playing sounding like a tolling bell in the distance.
Rowland goes on to play an unreleased track, “Carry On With Your Tea.” Finn swaps his keys for a guitar and Schuessler picks up an electric bass to create a force of electric, stringed instruments. The song takes on a heavier tone than others played by this point in the show. Jones contributes to the track with intense drumming and harmonies, while Schnapf clicks on a distortion pedal for his guitar. Schnapf also strums quickly up until the end to create a suspenseful buildup to the band dropping out, leaving only Rowland and his vocals to finish out the track.
“On The Line” and “Illusionist” both include elongated, droning elements from both the electric guitar and Mellotron. The song is formed by heavy blues influences that can be heard in the twang of Rowland’s guitar. “Illusionist” leans into a psychedelic-folk sound, marked by the droning synth that dangles throughout the song. During these two tracks, it becomes clear that the band is very instrumentally in tune with one another. This part of the set also marks the moment where Rowland begins interacting with the audience: “This is the first show without a barricade, and those of you right underneath me will have a great shot up my nose,” he says.
“This is a song about getting your fucking lights knocked out,” Rowland says just before starting “When It All Falls Down.” For the first half of the song, the double bass and acoustic guitar are all that accompanies Rowland’s vocals. In the second half, however, there’s an instrumental eruption that continues through the end of the song. This pivot best emulates Rowland’s statement about the song’s meaning — getting beaten up — as the instrumental part carries an ever-so-slight edge.
During “Goes With Everything,” Schnapf and Finn pair up to play the song’s bridge in unison on electric guitar and the Mellotron, creating a captivating wall of sound. Additionally, “Shadow Range” and “All The Way Back” include impressive guitar solos from Schnapf and display Rowland’s strong falsetto. Both tracks also revive the blues-y sound that blends effortlessly with the folk elements throughout the album.
“The One I Love” highlights Jones’ drumming skills, which are enhanced by flashing white lights that change with every beat. Her drums provide an element of movement to the track, as the heavy bass drum and hi-hat use create a rolling effect. Rowland also shows off his guitar expertise on this track, intricately plucking at his strings during the instrumental break. Throughout the song, his smooth, deep vocals fill the space of the venue as he moves through each chorus.
“Medium Low” and “Here Comes The Comeback” both further establish the blues-y twang present two songs prior. In “Medium Low,” Schnapf’s guitar playing climbs upward alongside Rowland’s vocals and Jones’ harmonies and drumming take on a powerful force toward the end of the song. “Here Comes The Comeback” also features strong harmonies from Finn and Jones. Schanpf finishes the track with a notable solo that comes to an abrupt end.
For “Come June,” Rowland picks up a black electric guitar with a strap that reads his last name in glitter letters – gifted to him by a member of the audience before the show. Before starting the song, he expresses his gratitude for the appreciative crowd. Rowland and Schnapf come together onstage to play with one each other on guitar, matching parts and then veering off into similar canons that appear to be improvised.
For the encore, Rowland and his band re-enter the stage for a cover of The Velvet Underground’s “Oh! Sweet Nuthin’.” Rowland’s vocals become rather empowering on this track, which is a notable shift from his usual calming approach to singing. The song proves to be a great choice to end the show, as the band comes together to create an immense sound that causes the audience to erupt with cheers. Rowland and Jones end the song by slowing down the lyrics and harmonizing for the last time. As Rowland leaves the stage alongside his bandmates with one final wave, fans travel closer to the stage in hopes of capturing a guitar pick or setlist as a souvenir for this remarkable show.