The Dead South Brings Prairie Fire to Boston's House of Blues

Shot for The Concert Chronicles. Original article found here.

Boston may be better known for its punk rock basements and indie clubs than twangy tunes, but you wouldn't know it from the packed house at the House of Blues last night. The Dead South, Saskatchewan's premier progressive bluegrass outfit, turned the venue into a proper hoedown, proving that good music knows no geographic bounds.

The evening kicked off with a delightfully unexpected treat in Henry Wagons, who brought a perfect blend of outlaw country and Australian wit to the stage. Joined by collaborator Lachlan Bryan, Wagons commanded the room with the confidence of a headliner, achieving what few opening acts manage – genuine audience engagement rather than polite tolerance. Drawing from his freshly released album "The Four Seasons" while peppering in favorites from his decade-deep catalog, Wagons set the perfect tone for the evening ahead.

When The Dead South took the stage, they brought with them their signature instrumental lineup that defies conventional bluegrass norms. The four-piece ensemble's unconventional approach – featuring guitar, a sideways-played cello functioning as a bass, banjo, and mandolin – creates a sound that's both familiar and freshly modern. What's most remarkable is how this drummerless outfit manages to keep the entire venue's feet stomping, effectively turning the audience into their rhythm section.

The band's set demonstrated their evolution from their early days to present, featuring tracks from their recently re-released 2014 album "Good Company" alongside cuts from their latest studio effort, "Chains & Stakes." Of course, no Dead South show would be complete without their breakthrough hit "In Hell I'll Be in Good Company," which, eight years after becoming a YouTube sensation, still ignites the same fervor in the crowd as it did upon release.

Throughout the night, The Dead South proved why they've transcended their viral video success to become a formidable force in modern folk music. Their unique brand of prairie-grown bluegrass had Bostonians stomping and hollering like they were in a Saskatchewan barn, proving that sometimes the best country music comes from the most unexpected places.