Phosphorescent delivers a masterclass in atmospheric Americana at XPNFest

Phosphorescent’s performance on the River Stage for these years XPoNential Music Festival was a masterclass in atmospheric Americana, infused with the contemplative warmth of their latest album Revelator. Matthew Houck, the creative force behind Phosphorescent, brought an intimate yet expansive energy, reflecting the emotional journey his music often explores. Opening with “C’est La Vie No.2” from 2018’s C’est La Vie, Dominic Billett’s mallet sticks created a hollow, resonant sound while Bobby Hawk’s fiddle cried between verses. “It’s good to be here, thanks for having us… It’s a beautiful day out here, isn’t it?” Houck mused, before reflecting on his music. “My songs sound like nighttime songs, so sometimes it’s weird to perform them when it’s so light out.”

With the title track from Revelator, Houck delivered smooth-spoken verses, evoking themes of home, family, and existential musings that dominate the album. Phosphorescent’s transformation over the years — from folk-rooted beginnings to a more lush, emotionally resonant sound — has come to define Houck’s work since his breakthrough albums Muchacho and C’est La Vie. During “Impossible House,” keyboardist Scott Stapleton’s vocal layering guided the band into the first jam of the set, building an indescribable, immersive sound.

As Houck navigated themes of self-doubt, mortality, and the passage of time, the crowd seemed drawn into the introspective space his music created. “There From Here” shifted the atmosphere. A clean organ tone and bouncy drumbeat freed Houck from his guitar, letting him move around the stage with the mic in hand, while Ricky Ray Jackson’s steel solo earned a shoutout from Houck.

Phosphorescent | Ellen C Miller

On “Wolves,” from Phosphorescent’s third album “Pride,” his rasping vocals paired well with the steel’s overtones, before the keys took their own path, closing the song on a major scale. Throughout the performance, Houck’s storytelling, his ability to embody characters and narratives, was on full display. “Terror in the Canyons (The Wounded Master)” highlighted this, with lyrics like, “See, I was the holy writer then I was the page / I was the bleeding actor then I was the stage,”  his transformation from a creator of stories to a medium through which they flow.

The eerie ending of “The Quotidian Beasts” sent a chill through the audience. The song’s shrill sound waves seemed to cascade from the stage, the lyrics overwhelming in their intensity. Afterward, Houck stepped away from the mic and, upon realizing he hadn’t introduced the band yet, smiled as someone shouted, “That man on those keys!” and went on to give each member their own shoutout, showing that the band truly shined just as brightly as Houck. Phosphorescent’s ability to move from raw, stripped-down vulnerability to more expansive, collaborative energy was impressive. Jack Lawrence’s pulsating bassline intertwined with the lush string section as Houck began the closing song, “Song for Zula,” with the Johnny Cash-referencing lyric “Love is a burning thing.” (Appropriate for a festival date being closed by Rosanne Cash.) Billett added a shaker to the percussion mix, hitting the clash with it before the strings reassured the melody. Houck’s lyric, “So honey I am now, some broken thing,” gave way to an uplifting fiddle solo. As the set came to a close, Houck stepped aside, letting the band jam on their own, pointing to each member in turn, highlighting their skill and artistry, igniting the crowd’s enthusiasm.

Phosphorescent’s XPoNential set was a display of life’s quiet, mundane, and more joyful moments, leaving the audience with a deep sense of catharsis.