Nearly a year ago to the day, I was wedged into a sold-out Hobo Johnson show at The Hi-Fi in Fountain Square. On Wednesday, July 31st, Hobo returned to the Circle City with a vengeance and a lovely set of supporting acts.
Opening the show was So Much Light, a solo artist whose music can best be described as whimsical indie dance pop.
Still I’m Working in Service to My Old Friend Despair
Remo Drive is an “emo revival” band hailing from Minnesota. The band, primarily consisting of brothers Erik and Stephen Paulson, captivated the Egyptian Room with energy, passion, and a dash of nostalgia.
Erik Paulson took time between songs to interact with the audience, sharing stories and expressing gratitude for the support. His earnestness and genuine appreciation for everyone coming out was super sweet and extremely Midwestern of him (this, as well as his use of the word “anywho”).
The stage was completely devoid of set dressing, though the use of lights was well timed and successfully added to the ambient moodiness.
The setlist was a well-curated mix of the band’s hits, like “Ode to Joy 2” and “Yer Killin Me”and songs from their recently-released album Mercy. My favorites of the latter are “Please, Please Be Smart” and the title track “Mercy”, which the band described as “if ABBA was evil”.
She’s Like a Skrillex Song That Never Drops
Known for his unique blend of spoken word, hip-hop, and indie rock, Hobo Johnson gave the audience an intimate look into his world, filled with humor, vulnerability, and emotion.
Dressed casually and with his characteristic awkward charm, Hobo immediately connected with the audience, ultimately making the experience feel less like a concert and more like a conversation with an old friend—one who isn’t afraid to be brutally honest and bare his soul to a room full of strangers.
Backed by his band, The Lovemakers, Hobo’s sound was fuller and more dynamic this go-around (if I recall correctly, he was solo at the Hi-Fi). His vocals swing between spoken word, rapped verses, and strained, emotional singing, often within the same song.
The set was full of staple tracks, like “Creve Coeur 1” and the illustrious “Peach Scone”, but also included some newer music as well like “Dari#$%”, “FLOOD THE EARTH AGAIN”, and “Jansports”.
One of the most memorable parts of the night was when Hobo went off-script, engaging in impromptu conversations with the crowd. He told the audience about a black cat that he and his bandmates found by their Airbnb. Said cat was promptly named “Nox” (because it constantly knocks things over), and was chilling in their green room during the concert. A cursory glance at his social media for the cat didn’t turn up any photos, but I plan to keep an eye out for any updates.
Despite the size of the venue, the show was able to maintain an intimate vibe. Hobo’s honesty and openness created a space where the audience felt seen and heard, turning the concert into a shared emotional experience.
The staging was minimalistic, really only including a brown refrigerator at the back of the stage, which helped keep the focus squarely on the band. One concert goer brought a painting, which Hobo brought onstage with him. It did not stick with the included fridge magnets, so he paused the show until some gaffer tape was able to be tracked down for him to secure the art on the door.
For fans of Hobo Johnson, this concert was a powerful reminder of why they connected with his music in the first place. For newcomers, it was an eye-opening introduction to an artist who refuses to fit into any one genre or mold. If you have the chance to see Hobo Johnson live, don’t miss it—his performances are as raw, real, and heartfelt as they come.