By Emma Weidmann | Arts and Life Editor
If the Beach Boys and Beastie Boys songs that book-ended Colony House’s performance at Touchdown Alley on Wednesday night tell you anything about the band, it’s that the Nashville natives are a direct musical descendant of the West Coast legends — with an East Coast edge.
The band played 20 songs in a little under an hour and a half, and it all kicked off with “Landlocked Surf Rock,” a great opener that starts low and mellow and hits hard in the chorus.
Next, “Would Ya Could Ya,” another song from Colony House’s fourth and latest album, “The Cannonballers,” was just so much fun. Lead vocalist and guitarist Caleb Chapman took a second before the bridge to say “hello” to Baylor before going back to swishing around his mop of blond hair.
His brother, drummer Will Chapman, had his time to shine before the third song of the night, “Silhouettes.”
“Silhouettes” is the perfect indie-pop bop, an older favorite from 2014’s “When I Was Younger.” The crowd clapped along, and a long break toward the end had the audience waiting in anticipation before Caleb pulled the rug and played one more chorus.
Fourth, “Learning How to Love” showcased a grumbly bass from Parke Cottrell. With a strong heartbeat from the drums, “Learning How to Love” trudges on and feels like putting one foot in front of the other — very hopeful and optimistic.
You have to trudge on with energy if you’re Colony House. The band has been on tour since the beginning of the summer as they take “The Cannonballers” on the road, but Baylor and Waco hold a special place in each member’s heart, so stopping at Alpha Chi Omega’s Block Party was a no-brainer.
Caleb explained to the crowd that their first out-of-state show as a band was at Common Grounds right here in Waco. What’s more, the Chapmans’ sister was a Baylor Bear, as were Will’s and guitarist Scott Mills’ wives.
Next, they played “Trying to Survive,” a song about wanting things that last, like good friends, and wishing money wasn’t so hard to come by. It starts deceptively smooth, but Caleb showed off his growly vocals that almost read as emo. Unlike a lot of Colony House tracks, this one, with lyrics like “tired of trying to survive, tired of fighting for my life,” take a more frustrated approach. It’s a note on life in the modern era being so complicated, expensive and confusing.
The song’s polar opposite, “Looking For Some Light” came next. It was the peak of the optimism of Colony House, as they belted loud to “carry on, sing it like a soldier.”
During “Where I’m From” there was a noticeable drop in energy, but the song was a loving note to Tennessee and the band’s families. Speaking of family, the lyrics seem very influenced by something Will and Caleb’s father, Steven Curtis Chapman, five-time Grammy-winning Christian artist could have written.
While much of Colony House’s music isn’t overtly religious, there’s no escaping the influence of religion and their upbringing on their sound.
“Where I’m From” is all about “praying … holy war … night and breaking of day.” It climaxed at the end with flashing lights, booming drums and an impassioned belt from Caleb.
“Don’t Give Up On Me,” the next song, contained more imagery from their Christian music roots. Chapman sang “I am the prodigal, not so honorable,” expressing the need for a love that strengthens.
After jamming through “One of Those Days,” Caleb proposed to play a brand-new song, one that has yet to hit Spotify. But, they couldn’t jump in immediately, as Caleb had to wait for a string on his guitar to be replaced after one snapped.
“Bear with me,” he joked.
Caleb’s explanation for “Payphone” was that “no longer do we remember phone numbers, and this is a tragic loss.” He reminisced to the crowd on a time when it was necessary to memorize a number written on your arm when you ask someone out because there were no cell phones.
“Payphone” is completely fresh, but it’s packed with nostalgia for a simple time, with lyrics all centering around a bygone method of communication. On this new track, the band yearns for connection but recognizes the cost. They sing, “Could you call me on a payphone, do you even know my number. … Is it safe to say that there’s a price to pay?”
A fun surprise halfway through the night was when the band played “Bad Habit” by Steve Lacy. It had the audience audibly and visibly perked up before they took a break for a minute.
Then, a dramatic trap beat played, and the “Twilight Zone” theme created an atmosphere of tension and suspense. Out of nowhere, a grungy bass line led into “O Ya.”
Caleb stood on top of the drum set when he wasn’t running around stage with the entire microphone stand raised in the air with one hand. “O Ya” immediately hits you that it’s like Beastie Boys’ “Sabotage” in nature. If you had wondered if you’re listening to indie or rock, this sells it. You’re listening to rock. Alright, if you were still wondering, Caleb’s shredding — that gnarly Nashville sound — was evidence enough.
How do you top that? The answer is “This Beautiful Life.”
“This is a song I like to play, especially outside,” Caleb said. “When the wind’s blowing, it feels right, and somebody asked for it.”
“This Beautiful Life” was sweet and mellow. The crowd stood still and listened intently until Caleb urged them to sing along. A chorus of voices chimed in to shout, “There must be more to this wonderful, terrible, beautiful life.”
It’s a beautiful life, indeed. Caleb reflected on the nearly 10 years since their first album came out. “Moving Forward” barely made the cut, he said, but he sings it to celebrate life and those they’ve lost. It was the only song to be played on an acoustic guitar all night, and Caleb found himself alone on stage until the second chorus when the other members joined him — but not with instruments. The four gathered around one mic and sand in unison during the touching moment.
“Do You Ever Feel” is a favorite of the band’s, and a particular favorite of Cottrell’s. Emotional and sentimental, it really packs a punch as the lyrics hit your ears. “Do you ever feel like you’re out of time, like you’re losing touch, like it just doesn’t mean enough? Do you ever feel like I do?” It’s a cry for something relatable in a world where people are more isolated than ever.
“The Cannonballers,” the newest album’s title track, is The B-52’s in a bottle. Carefree, Caleb sang, “Let the whistle blow from the Wabash,” a reference to an old folk legend of a train that takes its riders to the afterlife. The Wabash Cannonball, a ride at the now-closed Opryland theme park in Nashville, was an inspiration from the Chapmans’ youths. It’s evocative, too — you definitely feel like you’ve entered a different state after “The Cannonballers” make their splash.
Finally, Colony House’s iconic surf rock hit, “You Know It,” which made big waves on TikTok recently, was a natural closer. The group ended on a high note, leaving the crowd with hearts racing from the jumping and the head banging. Caleb tossed his guitar in the air and caught it like a bride, a great relief after the moment hung in suspense of cracking wood and popping strings.
Ringing ears, sore feet. Was it a good show? You know it.
