On the night of November 6th, dazed by the wake of the presidential election, fans of indie rock band Slow Pulp lined up outside The Roxy – a recently opened venue in Lakewood, OH that lies on the second floor of Mahalls. In a bizarre time of nation-wide distress and uncertainty, Slow Pulp’s performance induced feelings of hope and community.
The Roxy first opened its doors in September of last year. Like its sister-venue Mahalls, it serves as a space for a multitude of events including concerts, weddings, dance parties, fundraisers and markets. Preserved historical elements of the previous space (hardwood floors, bowling lane strips and soft lighting) accompany honeycomb tile and neon design elements creating a modern yet timeless venue that stands apart from others I’ve been to. As I walked in, I noticed hip-hop and pop music playing over the speakers – frat classic “Fireball” by Pittbull and “Super Bass” by Nicki Minaj, to name a few. I found a spot among the crowd and waited for the opener to start.
Free Range musician Sophia Jensen set the mood by getting the crowd to laugh with them, casually announcing that they had been hit by a car earlier that week and were in the process of recovering, but that today they felt well enough to be up on stage. They shared their gratitude that, in spite of the current political climate, they had the opportunity to tour with another up and coming band from their hometown of Chicago. Free range played an intimate folk set that brought the audience together. Couples in the crowd – many of them queer – held hands and swayed, entranced by Jensen’s lyrically and musically raw performance. At the end of the final song in the set, the power went out abruptly. The crowd broke out into confused murmurs, looking around us for the cause of the interruption which was nowhere to be found. Jensen simply laughed and shrugged their shoulders, waving goodbye to us before walking offstage. We cheered for the band who, despite the abrupt end, gave a wonderful performance.
Within the next few minutes the power came back, and with it the 2010s bangers returned over the speakers. The crowd chattered excitedly as we watched members of Slow Pulp set up on stage. Lead singer and guitarist Emily Massey took the stage in an iconic fit, wearing a black and white sleeveless scrunch top, black miniskirt, and red tights and flats. Honestly – outfit goals. The set started gradually; the surrounding lights and background music faded, and the band members took their spots on stage illuminated by white spotlights streaking through a thin haze of fog.
The band began their first song “Do You Feel It”, a short but sweet song that swells from subtle guitar ambiance to a steady pacing anthem, displaying Massey’s vocal talent and emotion. Massey then spoke to the crowd, remarking how The Roxy was the band’s first stop on their fall tour. She encouraged the crowd to support each other, to support the people in their lives during the fallout of the election, and shared Jensens sentiment of gratitude. The room was filled with warmth and light. The band performed “Idaho”, a heart-crushing song about struggling with self-love, followed by “At It Again”, both tracks from their debut album Moveys.
Before playing “Cramps”, the fourth song of the set, Massey asked the crowd: “Who here is on their period?!” in which many members of the crowd cheered. “Me too!” Massey replied, her bluntness a refreshing distraction from the melancholia of the music. She prepped us to enjoy the present moment, surrounded by other people who shared our struggles, our feelings, and our love of Slow Pulp’s music. During the Chorus, Massey turned her microphone to the crowd, allowing us to yell in unison.
The set traveled through Slow Pulp’s discography, including songs from albums Moveys and Yard, as well as their EP Big Day and single “Steel Birds”. Slow Pulp poured incredible emotion and energy into their set. The roaring highs and tranquil lows sent us from shouting to crying, lifted by Massey’s raw and beautiful voice. When they performed “Falling Apart”, which I had on repeat for the entire month of October, I fell apart. I was so glad to be there at that moment, singing along to one of my favorite songs in a crowd that I knew had experienced the same feelings of hopelessness, dread, and not knowing “how to handle” that Massey expresses through her lyrics. I knew everything would be okay.
Taking things down a notch after “High”, the band played “Broadview”, a track off of Yard about giving love a chance. Streaks of golden light shone through the blue stage lighting as Massey harped a brassy harmonica solo. The band finished with “Yard”, the titular track of the album. After unending applause, the band returned with “At Home”. “Should I try all over again, to try all over again?” Massey’s vocals repeated, the crowd joining in her chant. After a roaring applause the lights came up and people moved towards the exits, save a few girls who waited by the barrier for a chance at a band member’s setlist. I felt content, the feeling you get after a good cry. Slow Pulp’s performance was one of emotion, reflection, and connectedness. I felt seen.
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