The Hold Steady Live @ the Bristol Anson Rooms 12.12.08

The Hold Steady are frequently described as 'the best bar band in America'. That isn't a back handed compliment, it instead alludes to what they do best: traditional, good-time, honest rock and roll; a party band graciously sparred of stylised trappings, their massive riffs are perfectly designed to be heard on a Friday night. Beer at a Hold Steady show isn't essential but it's certainly recommended and over the course of four albums, the first two released on independent labels, they've established a loyal following with mounting critical acclaim.

Tonight's show, re-scheduled due to illness, has kept original ticket holders waiting for months and as Craig Finn enthusiastically bounds on stage, he's greeted with welcoming applause. Grinning with a beer in hand, he looks rather unlike the archetypal rock star; a short, casual thirty-something with glasses - there's an everyman quality that defies the pedigree of his band.

The Hold Steady begin in high gear, launching into a raucous 'Constructive Summer', the entire band are wildly animated with seemingly enough onstage charisma to fill significantly larger venues. Finn just seeps this wired vitality, a mesh of Costello and Springsteen riding a big caffeine buzz; working the crowd effortlessly, every so often he side steps his mic and repeats his last line to the front row, his limbs flailing as if to punctuate his last lyric. He also treats us to what I'll call 'The Hold Steady Shuffle', a wonderfully unembarrassed dance technique that could alternatively be used to mimic a locomotion picking up steam. Uninhibited 'white guy dancing' has rarely looked better. Whilst the Hold Steady are no strangers to the UK, particularly over the festival season, this was mine (and I imagine many others') first HS gig and the level of magnetic showmanship initially hits you hard; there's no pretence, it's a full on party.

'Sequestered In Memphis', the lead single from the latest record is next; it has one of those sing along choruses that characterise so many of this bands best songs and on-stage, they look to be having as much fun as the crowd. This in itself is worth mentioning, it seems sadly customary for bands to adopt a pre-meditated stage persona, as if forlorn detachment equates to some sort of MTV prescribed idea of cool. Actually watching the Hold Steady performing their songs, and finding so much joy in doing so, is infinitely more engaging. There's a stunning rendition of 'Hornets! Hornets!' quickly followed by 'Your Little Hoodrat Friend', both proving to be undeniable fan favourites and, played in succession, provide the show's high point. Their lyrics, breathless and urgently delivered, amount to a bleary eyed and intoxicated appropriation of the American Dream. As with all Hold Steady songs, they feature repeating characters, well-meaning but lost in the fog of last night's excesses. They all have a story to tell and with just a cursory glance around the front rows, it's clear that the faithful know each and every word.

'Lord I'm Discouraged' offers the audience a rare opportunity to lower their heart rate, if only until Tad Kuler begins to wield a duel headed guitar for a rousing solo at the song's climax. Predictably, many of the set's most well received songs are lifted from their breakout LP 'Boys & Girls In America'. There's 'Chips Ahoy', a tale about an ex whose pharmaceutical excesses are afford by good fortune at the races, former single 'Stuck Between Stations' and 'South Town Girls', the latter featuring Franz Nikoli and his glorious moustache on harmonica.

Material from their debut album sadly goes a little neglected, there's no 'Positive Jam', 'Knuckles' or 'The Swish' but with so many gems stretched across all four records, there would always be some notable exclusions. After 'Magazines' provides the night's final sing-a-long, a happy crowd empties on a chilly Friday night. There are a lot of broad smiles after partying with the very best bar band.