Written by DCist contributor Daniel White

Country music, more than most genres, provokes reactions in its listeners that are rarely ambivalent. You love or you hate country, and there seem to be few people that would earnestly argue a position in between.

Phosphorescent’s Tuesday night show at the Black Cat constitutes one of the strongest arguments for loving country music that this reviewer has ever witnessed. Essentially the project of lead vocalist and guitarist Matthew Houck, Phosphorescent has undergone a number of aesthetic reincarnations through the past five years, developing from ethereal low-fi rock on debut album A Hundred Times or More to the classic Willie Nelson covers of this year’s To Willie.

This show was a strong representation of the entire range of Houck and the band’s discography, but with an energy, volume, and general rock sensibility that doesn’t come through on tape. In short, this was Phosphorescent with balls. Starting out with some slower original tunes, including the heartbreaking break-up ballad “A Picture of Our Torn Up Praise,” Houck and company defined the Americana parameters for the rest of the show.

The middle of the set was a string of beautifully executed Willie Nelson covers from their latest album, culminating in a rendition of “Reasons to Quit” that Willie and Merle would be proud of. Though at times Houck would verge on a crackling whine that was almost (and tragically) reminiscent of Conor Oberst, he ultimately succeeded in channeling the brooding and remorse of Willie’s country without giving over to indie pendantry. His guitar helped a lot too: Houck evoked a mournful growl from what seemed to be a very old and very beautiful Gibson ES-125 archtop, which looked appropriately versed in the hard knocks of the road.