Charlemagne might still be selling drugs or Holly might have truly met her savior, but without a doubt, the girl who picked winners at the horse races keeps her talent intact. These are just some of the characters who have been appearing in their songs for 20 years, forming a disjointed biography.
Some aren’t afraid to step onto a pulpit, sweat, and simultaneously sanctify Joe Strummer, Thin Lizzy, Hüsker Dü, or Minneapolis hip hop. The Hold Steady does.
The Hold Steady emerged in Brooklyn in 2003 amidst the explosion of so-called indie music. Unlike the usual timelines boasted by the rock genre, the guys got together already at 35 years old. They weren’t young, they hadn’t hooked up with the prom queen, but like the Mississippi, they carried enough defeats and highs to tell.
The band’s origin lies in Minneapolis–Saint Paul with the band Lifter Puller, where Craig Finn (main lyricist, vocalist, and guitar) and Tad Kubler (lead guitar in THS, but who here played bass) came together, already exploring many of the tropes and sounds that would be continued.
Once they left the Midwest (physically, but not mentally), they re-established themselves in Brooklyn; Finn and Kubler recruited Galen Polivka (bass), Judd Counsell (drums, who would soon be replaced by Bobby Drake), and Franz Nicolay (keyboards).
From their beginnings, they combined various influences, from the legacy of heartland rock (Springsteen), Christian rock (lots of guilt and little redemption), or furious punk (Dillinger Four).
Finn’s peculiar voice, the main lyrical and compositional driving force, close to spoken word, coupled with his nerdy appearance (following in the footsteps of bespectacled rockers initiated by Buddy Holly), ensured that their proposal did not go unnoticed.
Their first full-length, Almost Killed Me (2004), showed us for the first time characters on the verge of collapse, adorned with Kubler’s tasty riffs and snippets in the style of 90s independent comic slice of life.
It would be the trifecta Separation Sunday (2005), Boys and Girls in America (2006), and Stay Positive (2008) where the themes, the strength of the songs, and the narrative handling would reach their maturity and perhaps their peak of popularity (it’s possible someone remembers the music video for “Chips Ahoy!” being broadcast on the defunct FlyMusic channel). The quintet would build a loyal fanbase, along with enthusiastic reviews and concerts full of emotion, attitude, and visceral energy.
They were defined as a bar band, not far from the truth. Fearless in embracing guitar populism and not shy about anthemic choruses.
A clear example of that sweet spot was the release of the live LP and documentary A Positive Rage (2009), which from its title already summarized who they were and what they were willing to give.
Franz Nicolay would leave the group in 2010 and would not be present on Heaven Is Whenever (2010), an album that seemed to pick up where Stay Positive (2008) left off, but which, despite good sales numbers, felt somewhat lackluster. Nicolay’s departure and his characteristic piano would be noticeable on this album and on Teeth Dreams (2014), where the band would recruit an extra guitarist to compensate, Steve Selvidge, and try to reformulate their sound.
Meanwhile, Finn began his solo career with Clear Heart Full Eyes (2012) and has since released six full-lengths, in which his personal and narrative stamp is unmistakable, but with significant sonic differences compared to THS.
Thrashing Thru the Passion (2019) would mark Nicolay’s return to the band after almost a decade and a return to the continuity of their most characteristic sound, now as a sextet. There would be an attempt to deepen the stories and the sound, allowing the songs to breathe more, sometimes at the expense of choruses. This new iteration would continue with Open Door Policy (2021) and The Price of Progress (2023).
This second act shows us a perfectly packaged The Hold Steady, aware of their audience, their scene, and their veteran status (were they ever truly young?).
The wild nights remain in memory, but every year they make sure to remind us they haven’t disappeared with their four consecutive days of concerts in Brooklyn, their Massive Nights.
As they reminded us in “Constructive Summer”: “we can all be something bigger.”