An era came to a close on Saturday night at Thompson’s Point, when Portland’s The Ghost of Paul Revere performed a passionate final concert in front of a sold-out audience.

Since forming in 2011, The Ghost of Paul Revere (comprising of Max Davis, Sean McCarthy, and Griffin Sherry) has grown to enjoy arguably the most national success of any homegrown act, touring the country many times over, appearing on national TV and recording original songs that have been streamed millions of times. The trio announced news of their breakup in April, and their final concert flowed with gratitude for the Maine-based friends, family and fans who encouraged and enabled their remarkable journey.

For those who have lived in Maine during that time, the Bonny Eagle High School graduates’ careers as The Ghost of Paul Revere also mirrored 11 years of profound local transformation. Their arc began with informal performances at the Dogfish Bar and Grille, just across the parking lot from the Children’s Museum & Theatre of Maine’s former location on Free Street. It ended before thousands of people at Thompson’s Point, a venue that did not exist 11 years ago, across the parking lot from the Children’s Museum’s new state-of-the-art facility.

The rapid evolution of the city within one band’s career is all a bit astonishing to consider.

What made their journey even more pointed, however, is how well their sophisticated and occasionally boisterous Americana music represented their home state and reflected the popular tastes of its people.

Indeed, in 2019, Gov. Janet Mills signed legislation naming their song “The Ballad of the 20th Maine” the official state ballad, and it was only appropriate that the Governor was on hand to introduce them to a Maine stage for the final time. With Mills cheering in the wings, they performed the official state ballad with great pomp and circumstance, including a horn section, an accordion player and two men waving the state’s flags (both the formal and informal ones).

From there, the band’s set served as an overview of their robust catalogue and an opportunity to promote their final album, “Goodbye,” which was released a few days before the concert. As if to prove that they were going out on a creative peak, songs from “Goodbye” turned out to be some of the highlights of the set, including the gentle swing of “Letters from the War of Love and Loss” and dingy ballad “In Deep.” These songs added a feeling of undiscovered freshness alongside favorites such as “San Antone” and “Little Bird.”

They also made sure to underscore career landmarks, performing “Montreal,” the song they played on Conan O’Brien’s show Conan in 2018, before playing “Wild Child” and noting that the latter was the song O’Brien actually wanted but they couldn’t trim it to the desired running time.

One of the band’s gifts to Portland culture is their annual Ghostland concert at Thompson’s Point, and it was fitting that the Ghostland stage served as their last.

Since 2014, Ghostland has grown considerably, roping in a blend of likeminded local acts and nationally known bands. This year featured the most robust lineup yet, opening with a set of chamber folk from Maine-based sibling duo GoldenOak.

They were followed by an energetic set by Marco Benevento, a pop songwriter and rollicking keyboard player who is most famous in the jam-band scene for his collaborations with drummer Joe Russo, particularly in Joe Russo’s Almost Dead. Finally, North Carolina band Hiss Golden Messenger warmed the stage for the headliners, playing a driving set of country rock that occasionally recalled the rhythms of Waylon Jennings and Willie Nelson.

All of the acts remarked on what a wonderful vibe was conjured at the venue, and fit that vibe beautifully.

As fabulous as the openers were, however, the crowd was there for The Ghost of Paul Revere.

The show’s encore was a celebration that featured friends, including Spencer Albee, members of bands Tall Heights and The Ballroom Thieves and numerous other singers and performers.

As if The Ghost of Paul Revere baked their conclusion into their origin, they encored with two songs from their first album that were written to reflect on a journey—“After Many Miles” and, finally, “This Is The End.”

In between, they performed a cover of the Beach Boys’ “God Only Knows” and its famous chorus, “God only knows what I’d be without you.” The sentiment seemed directed at each other, at their friends and family, and at their audience and community.

And it was reflected right back.

« Previous

Bedside table: A book to convert even the nonfiction reader

Next »

Sterling Lord, uniquely enduring literary agent, dies at 102