Festival review: MerleFest turns 25 with Americana stars small, big and massive, April 26-29

Béla Fleck at MerleFest 2012. flickr.com/photos/cpthornton/7154846982

It’s easy to underestimate the impact that MerleFest has on Americana music, and for anyone who hasn’t attended, it’s perhaps equally easy to overlook.

Initially a tribute to the late Merle Watson, Doc Watson’s son and musical partner, the festival has evolved into one of the biggest of its kind, on par only with Hardly Strictly Bluegrass in San Francisco, both of which draw between 70 and 80,000 people each year.

One of the many things that set MerleFest apart is that it is the first large-scale event of the season. Jerry Douglas has played at every festival since it began 25 years ago, and he noted from the stage this year that it’s like coming out of hibernation, a chance to see how so many musical friends have wintered. For everyone who arrives from anywhere north of Wilkesboro, N.C. — as I do each year — it’s the first time to wear shorts, sneeze at the pollen and get a good burn.

It’s also a community festival. Wilkesboro is as far from San Fran, and indeed any metropolis, as you can get. Four thousand volunteers work the grounds, take the tickets and run the shows, North Carolina’s answer to the Oberammergau.

Still, there is a kind of an industry trade show vibe, which is nice too, as it feels a bit like being in the center of something big — and, well, you are. The new names on the roster are often ones to take note of, if only because this is a venue that has brought so many artists to larger audience recognition. (This is the festival that gave first big breaks to Gillian Welch, Old Crow Medicine Show, Martha Scanlon, Tift Merritt, and indeed many others.) And the big names are also out in force, this year including Douglas, Alison Krauss, Vince Gill, Punch Brothers, Los Lobos, Dailey and Vincent, Sam Bush, Peter Rowan, Béla Fleck, Claire Lynch, Marty Stuart and Tony Rice.

Ultimately, there’s a lot going on. And while everyone has their own tastes, and bring their own perspectives, here are some thoughts on the events of this year:

Run, don’t walk, to see Blind Boy Chocolate and the Milk Sheiks.

There is a growing interest in the music of the ’20s and ’30s, though this is a band that seems to have arrived via time machine from that era. Complete with banjos, fiddle, ukes, scrub board and a singing saw, the novelty actually comes in how fun and vibrant the music is. Recordings don’t do it justice, and in any case it’s a bit of a job to get a hold of the band’s two releases. They started out busking on the streets of Asheville, though for the last two years they have rocked MerleFest.

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Posted by | May 8, 2012 | Concerts | Comment 

‘It’s kind of divine reverb’ An interview with Ray Wylie Hubbard

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Ray Wylie Hubbard‘s latest record, “The Grifter’s Hymnal,” has been in constant rotation in my truck for the past week. Living with it as I did, many questions arose, and I was lucky enough to be able to run them by the esteemed Mr. Hubbard recently via phone from his front porch in Texas.

Matt Sorrell: In the song “New Year’s Eve at the Gates of Hell,” you say you pawned a 1959 Gibson ES-335. True?

Ray Wylie Hubbard: No, you can’t believe everything on that record! Actually, it was a ’56 Stratocaster, but it just didn’t rhyme. That was really kind of a metaphor for all of the guitars I’ve lost. I tell my wife I don’t want a Porsche or a younger girlfriend. I want all of these guitars I used to have.

Is the whole story relayed in “Mother Blues” autobiographical?

Pretty much all of it is true. My wife Judy was the door girl and checked IDs at Mother Blues when she was 16. I didn’t really know her at the time — I used to come in the back door. It was a great, funky little club in Dallas. Like I say in the song, Lightnin’ Hopkins played there, and Freddie King and Mance Lipscomb. After the club would close there’d be poker games upstairs and the girls from the strip clubs would come over and it was a party till dawn. I did meet an old girl there and we went around together, and she ended up going to Hollywood, and I met Judy again 23 years ago and we had our son Lucas. He plays guitar and he’s got that gold top Les Paul.

Is that the guitar Lucas plays on the record?

Yeah, that’s him on “Coricidin Bottle,” “Red Badge of Courage” and “Mother Blues.”

A lot of the record seems to be about you looking back and going over some of your decisions, good and bad. How do you feel about Lucas starting to play and go out on the road?

Well, I’m very grateful to share the stage with him. He says, “I play the music for free, but you gotta pay me to ride in the van with you and a bunch of old guys.” He’s in school now, doing really well, and I’m proud of him. I’m not pressuring him or anything. It’s still just fun for him. I’m just letting him see what happens. Like I say in the song ["Mother Blues"], I don’t know if he’s gonna hang his life on a guitar or not. I’m very proud of him.

Is he playing with you when you come to St. Louis?

No, he’s got finals. It’s just gonna be me and [drummer/percussionist] Rick Richards. That’s what I’ve been doing lately. It’s just the two of us. Lucas will be traveling with me this summer, and Rick will be going out with Joe Walsh on some summer dates, so I’m gonna lose my sense of time.

The songs on this record lend themselves to all sorts of arrangements. A duo would work really well I imagine.

I’m kind of at that age where I get the gig and then get the band. All of the songs were pretty much written with an acoustic guitar, and then we got in the studio and just kinda saw what happened with them.

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Posted by | April 27, 2012 | Interviews, Music | Comment 

Concert review: Cowboy Junkies dive into the darkness at the Sheldon Concert Hall, Wednesday, April 18

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Wednesday night started rough for the Cowboy Junkies. Lead singer Margo Timmins was recovering from a week-long illness, pulling away from the microphone to quietly cough while sipping mug after mug of hot tea.

Not that it showed in her vocal performance; Timmons has maintained her languid, lush vocals. On opening song “Sing in My Meadow,” her voice nearly overwhelmed the Sheldon‘s usually spot-on sound system. It took several songs to get the system tweaked to honor her formidable skills.

Timmins announced that the band would be performing two sets. The first set taken from “The Nomad Series,” a four-disc series they wrote and recorded over the last two years.

The next two songs — “See You Around” and “West of Rome” — came from “Demons,” the second “Nomad Series” album. Recorded in tribute to the late Vic Chestnutt, both songs embodied the darkness and angst of the musician’s suspected suicide in 2009. Between the somber songs, the band ignored one fan who hollered, “Let’s go Blues!” to the Canadians. Mid-eulogy might not be the best time for hockey trash talk. Instead the band indulged in soaring pedal guitar and the right mix on Timmins’ vocals.

“3rd Crusade” returned to the heavy drums and guitar of the opening song. Both are from “Sing in My Meadow.” After the song, Timmins talked about the recording process, saying that the men in the band went to their “smelly” garage studio and created “evil-sounding noises” while she sat in the house, wondering how she was going to sing with the music they were making. She managed well, keeping up with the blast of blues rock that sounded more rambunctious than evil.

From “Renmin Park,” an album inspired by songwriter-guitarist Michael Timmins’ three months in China, came “I Cannot Sit Sadly By Your Side,” a cover of a Chinese pop song. Margo explained that the translation proves “they’re just as depressed as we are.” Sure enough, a murder ballad translated from a language halfway around the world proved to me as atmospheric and brutal as the ones born in the Mississippi delta. “Stranger Here” from the same album was solid.

Margo introduced the fourth album, “The Wilderness,” by calling it “quintessential Cowboy Junkies” and “their mom’s favorite,” as it’s rooted in their folk singer-songwriter tradition. “Damaged From the Start” indeed carried the band’s early work forward, managing to be quiet and moody without being sleepy. Drummer Peter Timmins provided a delicate foundation formed with controlled timpani mallets.

Before “Confessions of Georgie E.,” Margo confessed that, until a recent performance, she wasn’t sure what the song was about. She didn’t share her discovery with the audience, instead letting the drone of the pedal steel and her haunted vocals evoke the sparse tale. It’s the expected progression of Cowboy Junkies at their late-1980s best.

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Posted by | April 19, 2012 | Concerts | 1 Comment 

Album review: Lucero gets deep into Memphis soul with ‘Women & Work’

Lucero
“Women & Work”
ATO

With their latest studio record, “Women & Work,” the alt-country rockers known as Lucero have managed to harness fully the music of their hometown to make their most Memphis-sounding record yet.

The album, their second consecutive project recorded at Ardent Studios with producer Ted Hutt, presents the musicians at their polished best. In an interview last fall singer Ben Nichols told me that the group had “stumbled” into their last record “1372 Overton Park.” Here, the prior experience the band received recording at the historic studio completes the transition from a country band with punk roots to a rock outfit brimming with soul.

The title track begins with Rick Steff (piano/organ) providing rock ‘n’ roll boogie-woogie piano and some Chuck Berry-style guitar that harkens back to all those songs recorded across town at Sun Studios more than a half century ago. Yet, Nichols’ lyrics bring the song back to a modern punk-rock reality with the line, “The women and the work and the booze in between. Got ya puking in the aisles and smashing TVs.”

Newer styles, not previously found in Lucero’s repertoire, further enhance the quality of these songs. Though filled with elaborate instrumentation and warmth, the band still retains a raw feel. For example, “Juniper” is a bluesy stomp whereas the band goes full-on soul for “Who You Waiting On?” complete with a Booker T.-esque B-3 organ from Steff. Not just content to add horns to the sound with Memphis professionals Jim Spake and Scott Thompson, the outstanding background vocals from “the Ho-Moans” — aka Susan Marshall and Reba Russell — offer further proof that Lucero is comfortable with the Memphis sound.

Nichols’ songwriting continues a theme to incorporate chasing love, pining for lost loves and the ever present references to having some cocktails. Not until the album closer, “Go Easy,” do the lyrics feature a protagonist that has the girl, but even then it’s tenuous as the opening line indicates, “Hold on, darling hold on. A storm is coming on. I’ll keep you safe.” With the background vocals, mournful horns and piano included, this track takes on a deep spiritual quality.

Lucero manages to slip back into their old sound for “I Can’t Stand To Leave You” and “When I Was Young,” songs with picked guitar chords and pedal-steel flourishes that could easily find a home on the band’s previous albums “That Much Farther West” or “Nobody’s Darlings.”

Steff’s boogie-woogie piano returns for “Like Lightning,” the most upbeat track on the album — a sure barn-burner in a live setting. Nichols belts his signature raspy vocals as he sings about chasing after the girl he’s head-over-heels for: “She’s got a kiss like a thunderbolt. Electric lips that shock me to the bone.”

Die hard fans of “1372 Overton Park” may lament the ratio of rockers to weepers, but what the band gave up in fury only earned them depth with a sound that suits their experience level. Like a new tattoo, they now wear the sound of their hometown proudly.

Posted by | March 20, 2012 | Album Reviews | 1 Comment 

Concert review and set list: Hayes Carll makes good on his debut at the Sheldon Concert Hall, Sunday, March 18

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Late in his set, Hayes Carll gave his appreciation to the audience as he said, “Thanks for coming out on a Sunday night especially after the official Super Bowl of drinking yesterday.”

From the way he looked and sounded at times, it seemed Carll had scored a touchdown or two himself on St. Patrick’s Day.

Presented by PNC Arts Alive and 88.1 KDHX, the Sheldon Concert Hall welcomed the Texas singer-songwriter and his band. Carll took the stage just before 9 p.m. alone with his acoustic guitar to begin a 100-minute show of his outstanding original country and folk material.

Even though the stage was set up for a full band, Carll advised that he was starting out solo to pace himself throughout the evening. “Live Free or Die,” a funny song about prisoners stamping license plates in New Hampshire from his first album “Flowers and Liquor,” was quickly followed by the melancholy “Grateful for Christmas.” This statement prefaced the rest of the show as he drank a lot of water and the vocals stayed slightly buried in the mix. Though, as a consummate performer, Carll powered through any difficulty he may have been experiencing to put on a solid performance.

When the band took the stage for “Hard out Here” from his latest record, “KMAG YOYO (& Other American Stories),” the venue transformed from a quiet folk club to full on country honky tonk. The only things missing to make the transformation of the venerable hall complete were a bar in the back and some neon beer signs hanging on the walls. Carll proceeded to chide guitar player Scott Davis and bass player Cody Phillips on their matching shirts dubbing them the “Gingham Twins,” a reference to the “Glimmer Twins” moniker of Rolling Stones’ leaders Mick Jagger and Keith Richards.

A two-fer from his 2008 break out record “Trouble in Mind” followed in the form of a couple of mid-tempo numbers, “It’s A Shame” and “Beaumont.” However, the former lacked the harmonies and Carll seemed to struggle to hit some notes. Outwardly, the audience ignored any negatives as the music remained strong and well-executed all evening.

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Posted by | March 19, 2012 | Concerts | 1 Comment 

Album review: First Aid Kit stings, heals and soars on ‘The Lion’s Roar’

First Aid Kit
“The Lion’s Roar”
Wichita

To single out one song for praise on the new First Aid Kit album “The Lion’s Roar” would be akin to extolling the beauty of a single stone in a mosaic.

With the help of producer Mike Mogis the Swedish sisters have given their sound and songwriting an overall brilliant polish.

For most artists convening in the Midwest to record their sophomore album the ac tmight be seen as a retreat into the hinterland. For Johanna and Klara Söderberg it was more of a pilgrimage. They got to record with Conor Oberst, the man who produced some of their favorite records and their self-described hero. Though he only appears on the closing song, his firewater spirit inhabits much of the album.

Separately and together the sisters also have a quality Conor always bemoaned he lacked: a fantastic voice. They bend notes into harmonies as if their vocal cords come equipped with whammy bars, and on songs like “To a Poet” their vocal melodies pitch and roll across the sky like biplanes trailing smoke. The voices intertwine and then break off into solitary loops only to find each other again at the apex or nadir.  

Just as the Stones lined their veins with blues records out of Chicago to pump out some of the greatest rock ‘n’ roll the world had heard, First Aid Kit has done Americana better than almost anyone currently dwelling this side of the Atlantic. Does it take outsiders to see the better picture through the details? Perhaps.

And perhaps someday someone will write a paean to Johanna and Klara much like their own plea to Gram and June on “Emmylou.”

Posted by | February 20, 2012 | Album Reviews | Comment 

Concert review: Darrell Scott engages devoted fans at the Old Rock House, Friday, February 17

flickr.com/photos/24365773@N03/5136857592 / Phil King

Without regard for cold starts or protocol for warming up the crowd, Darrell Scott began his set last night with “River Take Me,” and immediately turned the entire Old Rock House audience attention to the stage. For the reminder of the night we were rapt by his song stories of life and love.

Scott not only stands out as a solo performer but also as a musician and songwriter called upon to contribute by some of the greatest performers of our time. He has performed live or in the studio with the likes of Robert Plant, Joan Baez, Del McCoury and Guy Clark to name a few. His songs have been recorded and performed by Brad Paisley, Keb Mo, Garth Brooks, Tim McGraw and a slew of other artists who could be considered the who’s who in country and Americana music. His album “A Crooked Road” received the 2011 Independent Music Award for Best Country Album and his performance of “Willow Creek” on the same album received a Grammy nomination for best country instrumental performance.

Darrell drove to St Louis from his home in Nashville for this show making it possible to bring along a bouzouki — or as Darrell put it, “an octave mandolin if you’re in the TSA line” — and a fretless banjo in addition to his guitar. The bouzouki went unused until the encore was performed but the banjo did come out about mid set for “Banjo Clark.” The familiar percussive banjo sound was present but the fretless banjo added sliding and lilting accents adding a dimension to banjo with which I was completely unfamiliar. It will definitely remain in my memory as some of the most interesting and enjoyable banjo playing I have witnessed.

The crowd at the Old Rock House was nothing short of devoted to Scott’s music, calling out requests and carrying vinyl copies of his new album “Long Ride Home.” From my balcony perch I had an exceptional view and felt as close enough to the stage to hold a conversation with Scott. His moving performance of “Mahala” was preceded by recounting how he wrote it when his daughter Mahala was about one and half years old and how he had recently visited her, now twenty one and living in New York. Darrell had the audience join in for the last chorus of the song. It was a wonderful experience being part of an audience who truly loved his music.

Darrell set about wrapping up his set with the hilariously funny and engaging “Spelling Bee Romance.” Before the song began we were given instruction on how to go about inciting an encore once he had finished. So we all clapped immediately — an entire song too early — and then repeated this immediately after the song and again after the following song and were thanked by Scott with two encores — finally using the bouzouki for the last song.

The night closed with Scott standing near the exit and engaging any of us who wanted to speak with him as we passed to leave. Fans lined up to buy albums and everyone was happily buzzing with excitement. I couldn’t help but feel it was a great night to be alive.

Posted by | February 18, 2012 | Concerts | Comment 

Concert review: Jump Starts, the Stingrays, Tenement Ruth and the Dive Poets blend diverse talents at the Duck Room, Saturday, February 11

The Dive Poets. Photo by Sara Finke.

You’ve seen it. I’ve seen it. We’ve all seen it. The band that employs an entire person just to play maracas. Last night at Blueberry Hill’s Duck Room the Jump Starts were having none of that.

The pop two piece — featuring Justin Johnson on guitar and vocals and Sarah Ross on drums, maracas, and vocals — kicked off a rollicking night. Did I mention that Ross never sat down? No matter whether she was holding a maraca, keeping the beat and/or singing. Her counterpart meanwhile connected positive and negative electrons as he used his body to channel the electric emotions into acoustic melodies.

With the stage sufficiently warmed to host out-of-towners, the Stingrays from Columbia took up their instruments next. They wasted no time in upping the musical ante. With a bass player that had more pedals this side of Les Claypool and a most expressive-faced drummer, the band did not disappoint visually. Their pop verses and choruses were interspersed by Built to Spill-esque guitar solos with a little Queen sprinkled on top. The five boys played so tightly together you could probably flip to any page of their songbook and they would still be on the same letter and corresponding note.

Local mainstays Tenement Ruth followed the Stingrays. The band seared through a set of both originals and covers, including songs by the Rentals and Guns ‘n Roses. Melissa Anderson’s voice did its best to keep Dave Anderson’s frenetic lead guitar in check; he probably could have endlessly soloed for hours on end. While entertaining, Anderson seemed almost constrained having to fit within the confines of a four piece.

The Dive Poets took the stage around 11 p.m. to close out the night properly. The later night revelers easily related to lyrics detailing travails of lying, cheating, stealing and drinking. The Poets played to their faithful by sloppily pouring out emotions on stage — like whiskey drunks who sway back and forth but never seem to spill a drop.

On the floor, one dancer who resembled a rasta robot grooved on his own until others slowly got in the spirit with him. As the crowd slowly dwindled, the dancers multiplied. As is usually the case, those that stayed the latest had the most fun.

Posted by | February 12, 2012 | Concerts | Comment 

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