Slow Hollows • Sunhill • March 19, 2024 • Kilby Court
Reviewed and Photographed by Logan Fang
On March 19th, Salt Lake City had the pleasure of welcoming LA-based band Slow Hollows to Kilby Court where they performed for a small, yet eager audience of Tuesday concert-goers. Kilby Court, a familiar and charming setting to most locals, offered a perfect scene for Slow Hollow that night with its grungy and dark atmosphere. The night featured a small set by local band Sunhills who kicked off the show with a mix of indie vocals and surrealist sounds followed by the extensive works of the much anticipated Slow Hollows.
Sunhill
To begin the Tuesday evening performance, the four-member band Sunhill took to the stage and opened with a couple of crowd favorites. While they’ve yet to complete their debut album, the band has released a collection of dreamy garage rock singles. Romantic hits like their 2020 single “You Love Me ‘Cause You’re Bored” held the audience in a trance with its euphoric melodies and heavy alt-rock undertones, while more upbeat and pop tracks like “Give It Up” had the audience singing along.
As the Tuesday night progressed, Sunhill’s ethereal vocals continued to fill the space with warmth and intimacy. At one point during their short performance Sunhill’s lead singer, Drew Nicholson, gestured to a familiar Kilby veteran at the back of the venue, Simon Griffin, leader of Blue Rain Boot. Having seen Blue Rain Boots a number of times in concert and reviewed their performances in the past, it was interesting to see these two bands supporting one another.
Many tracks like “You Were Never Mine” mirror that of Blue Rain Boots’ more alternative rock and electric discography. “Inside Outside,” a more recent Sunhill release, encapsulates the sentimental dreaminess that characterizes much of their own and Blue Rain Boots’ music. Despite the modest turnout, Sunhill impressively commanded the audience throughout the duration of their whole set.
Even throughout all 7 minutes of their sprawling epic “Sugar Coated,” the audience swayed along to Sunhill’s rhythmic synth lines and gentle atmospherics. As the final notes of their set resonated throughout the venue, there was a sense of contentment and fulfillment lingering in the air. Sunhill’s performance was both captivating and transcendent, effectively leaving members in a hazy dream state as their set came to a close.
Slow Hollows
Following a short break between performances. Slow Hollows took to the stage. Austin Feinstein, the leader of his new solo project after a three-year hiatus since the band’s split, sauntered onto the Kilby Court stage with an extensive setlist. Many of the songs he performed came from his latest album Bullhead which he released just weeks prior to his performance at Kilby. Like Sunhill, Austin’s vocals embody the typical muted and ethereal qualities that have become so emblematic of indie music today. Songs like Feinstien’s “Idle Hands” and “4141” are mellow and ethereal tracks that make for a soothing listen, even if at times bordering on repetitive.
With no shortage of accolades, Austin has worked alongside many of the biggest names in the music industry today like Tyler the Creator and Frank Ocean. And yet his performance at Kilby exuded a sense of casualness, contributing to the overall laid-back nature of his performance. While Slow Hollow’s engagement with the audience was minimal, the band certainly delivered an introspective performance for the Tuesday crowd. From the more melancholic strains of “Old Yeller” to the driving rhythms of “The Art School Kids,” Slow Hollow’s set showcased their musical prowess and ability to resonate with the young group of concertgoers.
The band put on a cohesive performance, that while tight and a little robotic, seemed to hold the audience’s interest throughout the set. The soft melodies characteristic of many of their gentle hits like “Two Seasons” made some endearing moments that I enjoyed that night. As Slow Hollows continues its tour around the nation, I’m curious to see how Austin’s new vision for the band unfolds and what changes might come from his experimentation with different soundscapes and melodies. I’m hoping to see more work from him during this period of reinvention and exploration.