Drugdealer at Crystal Ballroom, 11/18/22
“If you know music theory, it's on sight,” Somerville-born “ringleader” of the LA-based project Drugdealer laughed to the home crowd, knowing their proximity to the several conservatories around town. The banter on Berklee and the stereotypical Music Theory Guy immediately drew me to Michael Collins’ humor, for I too, share similar outlooks towards this trope of the average Crystal Ballroom concertgoer.
Before this 3-act show at the ballroom, my expectations certainly did not include the newfound allegiance staging off the knowledgeable music theory scholars. My first impression of the band came from their 2019 collaboration, “Honey,” with Weyes Blood’s Natalie Mering. But before the technicals and perhaps music theory, the name Drugdealer did lead to a few chuckles whilst announcing the credits live on college radio (under FCC regulations). Through the lush and velvety arrangement to Mering’s signature dreamy vocals, my introduction to the band was covered underneath the graceful veil of its collaborative nature. In fact, the song’s lasting imprint on me was so heavily centered around Mering’s enchanting voice that I was surprised to discover its credits to Drugdealer whilst announcing it live on my radio show.
Since that initial discovery, I found comfort and acceptance in the band’s new album, Hiding In Plain Sight, and its meaning to Collins in his struggle for confidence and existence. An honest reckoning with his insecurities, Drugdealer’s 2022 album continued to feature Collins’ friends' vocals, but the ringleader’s musical identity shone through on songs like “Madison” and “Valentine.” If it wasn’t for the self-discovery during the strenuous pandemic, the ringleader admitted to the possibility of an indefinite end to the project. With the new album, the band shows off their talents and training through various instruments that immerse the listeners in a cinnamon-tinted old-timey lounge.
Starting the show off in front of the keyboards in a blazer suit, Collins embodies the feeling one gets walking down LA night streets fighting the temperature drop with a lone body against the dim street lights. Perhaps settling the nerves for the hometown show on this tour, Collins jumped right into the title track of Drugdealer’s first-ever album: The End of Comedy. Almost immediately, the ballroom in Davis Square was transformed into some sort of reunion for longtime friends, companions, and lovers. With instruments that melted away all the worries in the moody venue, and colors jumping in the projection behind, the band sang sweetly of past bitters.
As Collins transitioned to the tracks off of the new album – “Someone to Love” and “New Fascination” – the thickly settled nostalgia jumped into the audience’s hair waving from all the dancing and grooving. Weaving in and out of the rich and sentimental 70s-inspired tunes from Hiding In Plain Sight and earlier tracks, the band transformed the velvet curtains inside the ballroom into an energy shield; enclosed in the wine-tinted stage, Collins sang of old miseries and new paths.
During the performance of the aforementioned “Honey,” Collins spoke of collaborator Mering as an old friend, which was nicely accompanied by another long-time collaborator Sasha Destree’s delicate voice. Clearly closely connected with his touring band, the performers on stage softly emitted warm beams of genuine love and care toward the crowd, returned by equally loving gestures and dance moves from the audience.
Following the main set was a two-song encore, “Suddenly” from The End of Comedy and “Posse Cut” from their newest release. Seeing not only my introduction to the band and later favorites sung on stage with such passionately intimate energy was truly gratifying, as this experience acknowledged my journey since playing Drugdealer on the air last spring. If one needed a reminder of all the abundant and pleasing feelings of loving or being loved, they would find solace in Drugdealer’s newest album and their live performance.