Along with a crowd of relatively young, vibrant fans, an unusually rainy evening in downtown Phoenix welcomed The Criticals to the city’s beloved Valley Bar – the second time the Nashville-based group would find themselves onstage beneath the Valley of the Sun. As I took my position off to stage right, I took a moment to survey my surroundings, which I found to be just as claustrophobically cozy and welcoming as I had during many previous visits to my favorite underground gathering space. I studied the meticulous and well-rehearsed exchanging of stage setups as the opener cleared the way for The Criticals, who, on this particular Saturday night, were two weeks into the release of their self-titled album, the second full-length the band has released since 2020.
They took the stage around 9:15pm, gliding gracefully and effortlessly from the green room onto the stage as they began with a rather electrifying rendition of “Good Lookin,” one of several tracks from their latest release, which debuted for the Phoenix audience that night. The band appeared fresh and invigorated, returning the energy that the audience had been building since entering the venue, all while demonstrating the preparedness and steadiness of a band who were excellently rehearsed and seasoned.
Following the sequence of their newborn LP, the band continued into “Here Comes My Doll,” maintaining a level of energy that kept even the eyes of first-timers such as myself glued to the stage. By this point, I had begun taking note of the band’s sound and style. “Doll” took me as a rather Casablancas-like tune, mimicking memories I had of songs like “Under Cover of Darkness”. The undeniable danceable nature of the song, however, I must say, delightfully complemented the shot of Tito’s that my nervous system was becoming acquainted with.
I’d be remiss not to give credit to frontman Parker Forbes, who, incidentally, while celebrating a birthday on the night of the performance, reveled in a touching “Happy Birthday” serenade, courtesy of the Phoenecian audience. “Nowhere I’d rather be today,” chimed Forbes, before launching into a performance of the novel “Danish Eyes.” As it happens, The Criticals’ previous appearance at Valley Bar had taken place only two days before Forbes’ birthday a couple of years prior. It was Forbes who seemed to command the attention of the audience, most notably during a captivating rendition of Nine Inch Nails’ Closer, during which Parker’s exuberantly haunting stage presence wonderfully complemented the similar nature of the tune.
After expressing a heartfelt admiration for our “sexy city,” the band continued with the unreleased “Junk TV,” a cut from their next album, the writing of which Forbes claims to be “almost done.” It’s a fun, dancey tune with a dissonant undertone, giving me the impression that the band is finding inspiration among the likes of Marilyn Manson. Additionally, given that they borrowed a tune from the one and only Trent Reznor for their set, I’d imagine that the Nails are up there as well.
The Strokes-esque Clever Girl would be one of two tracks off of the Front Door Confrontations EP the band continued with alongside Belmont. These two selections demonstrated the band’s stylistic and sonic development when paired with their latest work, despite having been released only two years prior. Regardless, the band’s sound was lush, dense, and full of sonic joy, which I attribute at least partially to the three guitarists onstage, each of whom having also provided backup vocals throughout the set.
The Criticals debuted “Reba” as a faux-finale, which, despite my initial (and perhaps wishful) belief, was not a cover of Hole’s “Celebrity Skin.” Nevertheless, “Reba” proved to be yet another demonstration of The Criticals’ ability to fill Valley Bar to the brim with the electrifying spirit of musical communion. The audience danced and sang as frontman Forbes returned the energy with a captivating presence.
Following a relatively brief intermission, Forbes and Co. returned to the stage to encore with fan-favorite “Treat Ya Better,” to which Parker suggested the audience “dance your asses off.” Unsurprisingly, the crowd followed suit, providing The Criticals with the vigor of a freshly rained-on Sonoran metropolis. The tangible exchange of energy resulted in a climax that blew the proverbial roof off the technically roofless venue.
All told, The Criticals’ second appearance at the Phoenix Valley Bar was everything we could have imagined: lively, charming, and danceable. And, for those who were simply taking shelter from the rain, a delightfully funky accompaniment to a passing storm, and perhaps a cocktail or two. While we anticipate another visit from the band, perhaps after the potential release of more music, we can remember this fateful night not from the record-breaking amount of pouring rain but instead the love, the energy, and the delightful music that The Criticals shared with our city that evening.
