Concert review: Blind Pilot’s ‘We are the Tide’ tour rolls into St. Louis with style, at Plush, Friday, March 2

Blind Pilot at Plush in St. Louis, March 2, 2012

Meghan McGlynn

Why do I even care what a few strangers from Kentucky think of a St. Louis crowd? Why would it bother me when one of them tells me about the Blind Pilot show they attended earlier in the tour at Headliners in Louisville?

Or why would I care that the Louisville crowd had quieted down so obediently during the encore of “Three Rounds and a Sound” that the only noises besides the unplugged band and Israel Nebeker’s sincere voice was the clink of the bartender as he dropped ice into a glass? I’ll never understand why someone shouts “f&%*ing Frat Boy Shut Up!” while trying to get another person to quiet down, but I do know one sure way to silence a few loud talkers — sing louder.

Which I’m proud to say is exactly what a packed house full of rapt music lovers did at Plush in St. Louis on Friday night. Mr. Louisville, you keep quiet, ’cause this rowdy St. Louis crowd knows how to party, and apparently, how to join in on a sing-along.

Beyond the touching encore, there were many great moments in this KDHX-welcomed show: such as when Dave Jorgensen played trumpet for “I Buried a Bone” or Kati Claborn pulled out the dulcimer, or Israel set up a pump organ for “New York,” the final track on their latest album, “We Are the Tide,” and a perfect example of just how earnest their songwriting can get. The ancient-looking organ breathed with the song, exhaling sounds digital organs only approximate.

I have no song favorite: the eponymous “We Are the Tide” became an instant road-trip repeat on a recent drive to Memphis; “The Colored Night” is an all-day-you-must-hum-if-you-can’t-sing-along kind of song; and their opener “Keep Her Right” gave Israel a crush-worthiness that leant Blind Pilot an appeal much wider than just the beard-and-belly set which can dominate the folk music scene.

If you’ve never heard of Blind Pilot, then I’ll take full credit here and now. Go Spotify them as soon as you can, because they just might be your next favorite band.

Wait. Do something even more odd, actually go to a record store and buy the CD, so this fantastic band of six from Portland can keep filling their straight-up awesome blue vintage ’71 Crown tour bus with gas and keep playing great shows. That’s right: How does a six-piece band lugging a pump organ from venue-to-venue and city-to-city travel? The blue bus is a kitsch mobile of the highest order. I’d be surprised if it doesn’t run on recycled cooking oil and happy thoughts. But of course, you can’t travel to a place where only real feelings happen and everyone plays banjos and dulcimers in a commercial luxury coach bus.

But I digress. I’m fawning over them a little, and clearly, I have a man crush on this band (perhaps not as enamored as my girlfriend when she first saw Israel take the stage), but it’s not like I drove all the way to Louisville to see a band.

Still, you probably get my point: Blind Pilot is worth the trip, because Blind Pilot is a band that’s going places.

Posted by | March 4, 2012 | Concerts | 1 Comment 

Concert review: Guy Clark masters the Old Rock House, Wednesday, February 29

guyclark.com / Senor McGuire

The appellation “legend” tends to be more of a marketing term than a description of an artist’s importance. Often, it serves only to mark someone who’s been lucky enough to get old without succumbing to too many vices and pitfalls along the way, and doesn’t necessarily reflect the scope of their contribution to their art form.

No one, however, deserves the title of “legend” more than Guy Clark, a progenitor of multiple splinter factions of Americana music and a songwriter without peer, and last night at the Old Rock House, he proved this in spades to the sold-out crowd.

Accompanied by longtime collaborator Verlon Thompson, Clark hobbled onto the stage while John Lennon’s “Imagine” played over the PA. He leaned heavily on a cane — the result of being recently, as he put it, “laid up with bad legs” — sank slowly into his seat and gingerly took his guitar from its stand.

“We’ve come here to sing you some songs,” Clark said. “Some of which we know.”

The duo had no set list. Instead, the selection of songs were decided upon on the spot with a little bit of discussion and the help of a few audience requests.

The evening started with “Cape,” possibly the finest ode to the importance of keeping your inner-child alive into adulthood ever penned, then moved on to fan favorites “L.A. Freeway” and “Homegrown Tomatoes.” But the set wasn’t just a rote run through of greatest hits. Clark announced early on that he’d be trying out some new material, and these new gems, like “My Favorite Picture of You” — another musical tribute to one of Clark’s frequent inspirations, his wife Susanna — and “I’ll Show Me” were proof positive that while Clark may physically be a bit worse for wear, his skill at laying the heart of the matter bare and distilling the truth from it hasn’t been blunted a bit.

What transpired at Hickory and 7th last night wasn’t so much a “show” as a version of one of Clark’s famous kitchen-table guitar pulls. There were flubbed lyrics, missed cues and more than a few sour notes.

“Y’all should get your money back,” Clark said, chuckling, after one misstep.

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Posted by | March 1, 2012 | Concerts | Comment 

Guy Clark’s greatest 15 songs — a very challenging list by Ed Becker

facebook.com/guyclarkmusic / Jim McGuire

Picking favorite tunes by Guy Clark is more an exercise in what to leave out, rather than what to include. The songwriting legend is entering his seventh decade, still at the top of his game.

He’s got new knees, plays homemade guitars and has that road-weary voice that blends perfectly with his wonderful observations on life. Guy, accompanied by sideman extraordinaire, Verlon Thompson will grace us with his presence three times in the near future: February 29 at the Old Rock House in St. Louis, March 4 at Richardet Floor Covering in Perryville, Mo. and September 12 at Wildwood Springs Lodge in Steelville, Mo.

Five — it could have been 10 — of my favorite songs come from Guy’s masterpiece “Old No. 1″ — in my opinion the best debut album ever. Guy was already 34 when he released this gem, and a lot of his friends were already doing his songs. The album would have been amazing with just Guy and his guitar, but add Emmylou and Sammi Smith’s vocals, future stars Rodney Crowell and Steve Earle, guitar wizards Chip and Reggie Young, piano player David Briggs, Mickey Raphael on harmonica and master fiddle player Johnny Gimble, and you have an instant classic.

1. “Desperados Waiting for a Train” Of all the songs Guy has had covered he says his favorite is character actor Slim Pickins’ version of this song.

2. “Texas 1947″ Vivid recollections of Guy’s childhood.

3. “Like a Coat From the Cold” There might be better love songs, but I’ve never heard them, especially when sung with Emmylou.

4. “She Ain’t Goin’ Nowhere” How can you not include this one when Guy often mentions that it’s his favorite song, about “10 seconds in a woman’s life.”

5. “Let It Roll” As a music fan you know how you have those magical moments. One of mine would be with Guy from years ago at the Sheldon Concert Hall. He stepped forward and off-mic recited this classic. I’ve never heard anything more emotional or a room that quiet.

Usually when a debut album is so fine the followup is disappointing. Not so with Guy Clark. “Texas Cooking” again included a stellar cast and was almost as good. I could have included more songs from it on my list, but I just picked one.

6. “The Last Gunfighter Ballad” Guy was really proud and honored when this modern-day western ballad became the title song to a Johnny Cash album.

7. “Randall Knife” Guy’s emotional tribute to his father first appeared on 1983′s “Better Days.” A lot of people sing better than he does, but nobody recites a song like Guy.

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Posted by | February 24, 2012 | Music | Comment 

Concert review: Frank Turner delivers sweat, ire and song at Off Broadway, Tuesday, February 21

flickr.com/photos/apartmentlife/4369264324 / Melanie Parker-Levi

Cory Chisel warmed up the packed Off Broadway with a set of seven songs that conjured the lonely American countryside.

Keyboardist and backing vocalist Adriel Harris accompanied Chisel on a Nord synthesizer, providing haunting, southern-styled, churchy arrangements and dulcet harmonies. Highlight “Born Again” filled the venue with hooks, creepy organ and gritty, Midwestern grace.

Before I proceed, I want to make it clear that Frank Turner normally sells out Pageant-sized (and bigger) venues across the pond with ease, so the crowd’s hum and buzz of anticipation was more than appropriate. It was clear they were ready for exactly what they knew they’d get: a very rare and intimate show from this British, punk-folk troubadour.

The crowd tightened around the stage as Turner’s crew (personal sound guy included) performed a quick set-up and sound check. Soon, Turner appeared on stage with his backing band, the Sleeping Souls, and quickly leapt into “Eulogy,” from 2011′s “England Keep My Bones.” Turner proclaimed, “Not everyone can be Freddy Mercury,” before drummer Nigel Powell dropped a spacious drum fill and propelled the song from singer-songwriter balladry to a full-blown, nigh-Irish sounding, punk-infused rock-out.

Turner sustained the up-tempo action with “Try This at Home,” from 2009′s “Poetry of the Deed.” The song bounced along with heavy strumming, tight, articulate vocalization from Turner and bright organ accents from keyboardist Matt Nasir. Turner swayed his hips like a country star and waved at the crowd with a red, white and blue sweatband adorning his strumming arm. On “If Ever I Stray” the crowd howled along during the quieter, introspective verses and threw their fists into the air for the “1,2,3,4!” that proceeded the chorus’ drop.

Turner brought the tone down on “I Knew Prufrock Before He Got Famous” from 2008′s “Love, Ire and Song.” The crowd belted the ballad back at Turner with a gusto that would have made T.S. Eliot smile quietly from his muddy, English grave.

“I Am Disappeared” rang out with a light, yet rugged U2 vibe, while “Love Ire Song” sat firmly in the singer-songwriter mode, as Turner explored themes of growing up and politics, puffing off “fucks” with a grand glibness and well-timed strumming. On fan-favorite “Substitute” Turner called out, “Music is my substitute for love,” to cheers from the sweating crowd.

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Posted by | February 22, 2012 | Concerts | 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 

Album review: Ani DiFranco marches forward with ‘¿Which Side Are You On?’

Ani DiFranco
“¿Which Side Are You On?”
Righteous Babe

After four years without releasing a studio album, Ani DiFranco has returned with a matured songwriting craft, audacious lyrics and a challenge for pragmatic political and social change.

Since 1990, DiFranco has independently released over 20 albums and manages to sell out venues across the globe. Her style of music cannot be clearly defined; its borders are blurred somewhere within folk, indie, rock, soul — and specks of everything else. The greatest constant is her unwavering lyrical ability. She neither sugarcoats nor minimizes truths, yet she has a softer, poetic side depicting songs of love, leisure, acceptance and universal equality.

Her latest album, “¿Which Side Are You On?,” is comprised of 12 songs, all written by DiFranco. Her acoustic guitar playing is somewhat less aggressive than it has been previously. The first track, “Life Boat,” primes the audience with a slow, mellow sound. In passing, portions of the album could be described as musically monotonous or repetitive, but a closer look reveals the calmer, relaxed guitar work creates a nice backdrop for well-written, poignant lyrics. Do not be misled: true to Ani DiFranco’s form, other tracks, such as “Promiscuity”, “Splinter,” and “Mariachi” provide striking instrumentation and upbeat melodies. Healthy portions of an electric guitar add edge and mildly abrasive vigor when needed. Also, her life’s added perspectives as a mother and a maturing woman shine through on tracks such as “Albacore,” conveying her individual reality and what she believes the world could evolve to become.

The highlight of this album is the title track, “¿Which Side Are You On?” Originally written by Florence Reece in 1931, this song has been revisited by scores of artists over its 80 year lifetime, and it has resonated among activists for decades. Folk artist Pete Seeger, along with his banjo, performed a well-known version of “Which Side Are You On?” in the ’60s. DiFranco has supplied this tune with new life, reenergizing it with updated lyrics, yet her version holds the song’s soul and history intact by featuring Seeger on the banjo and background vocals.

The percussion ensemble only increases the classic song’s vitality, motivating the message even further. The snare drum in particular correlates with battlefield marches and patriotic references, fitting for this track. DiFranco has transformed this song into a fresh call to action. Her vocals were given a slight echo effect, which provides listeners with a sense they are presently witnessing her leading a crowd, microphone in hand, aimed to motivate the masses for justifiable action and positive change. She addresses the government, average workers, banks, consumers, men, women and voters of all types to reclaim the meaning of citizenship and what it’s worth.

Altogether, “¿Which Side Are You On?” pushes boundaries, accentuates affirmation and entertains musically — a pleasant return by Ani DiFranco.

Ani DiFranco: ¿Which Side Are You On? by ThatEricAlper

Posted by | February 6, 2012 | Album Reviews | Comment 

Video Premiere: Pretty Little Empire’s ‘All I Know’

Pretty Little Empire - "All I Know" Video

Video still by Joseph Fitzgerald

Pretty Little Empire is a force in the St. Louis music scene. The affable quartet’s sophomore release “Reasons and Rooms” was one of the best locally-produced records of 2010, and their inspired, rock-solid live sets have only been getting better over time, with no bound in sight.

The band is currently hard at work on LP number three, with recording taking place at Cherokee Street’s Native Sound studio. While we wait to hear what they’re cooking up, perched at the edge of the seat, they have been kind enough to temper our thirst by releasing a video for their non-album cut “All I Know.” The song has been a staple of their live shows and was released in 2011 on the “STL LOUD Vol. 2″ compilation.

This burning, mysterious track is a keeper, and it gets proper visual treatment thanks to a few of the band’s talented friends. I recommend that you experience it with headphones on, video set to full screen.

Posted by | February 3, 2012 | Local, News, Video/Film | 1 Comment 

‘I feel sort of different everywhere I go’ An interview with Samantha Crain

Samantha Crain at Off Broadway

Kate McDaniel

Samantha Crain is a traveling soul. Whether touring with her band the Midnight Shivers or lending her voice to another band’s recording (Small Houses, Night Reports), Crain will most likely be passing through your town.

Blending folk and indie rock, Crain’s music is made for taking on the road. I caught up with her as she was preparing for a state-side and international tour. We talked about her new John Vanderslice-produced release “A Simple Jungle,” vinyl records, her penchant for name dropping towns and other topics.

Matt Stuttler: What are you looking forward to on your upcoming international tour?

Samantha Crain: I’m only going to be over [in Europe] for about a week. I’m revisiting a lot of cities I went to back in November, but I am looking forward to playing in Paris. I’ve never played in Paris before. Also, I’m opening for a band that I’ve toured with before called First Aid Kit. They’re good friends of mine, so it’ll be priceless to spend some time with them, kind of hang out with them.

You’re playing at Off Broadway next week. Have you played there in the past?

Yeah, probably five or six times I think. We usually play at Off Broadway when we come through St. Louis. It’s a great venue. We’ve always been treated really well. It’s a nice size and a good sound. I like playing there.

What’s been your favorite St. Louis show you’ve played?

One of the most unique ones I can think of is last winter. We opened for Langhorne Slim and Bobby Bare Jr. It was such a cloudy night because our car had broken down on the way in, actually. We were trying to get towed into St. Louis. We had someone come pick us up, and we literally rushed into the venue and straight on to the stage and started playing. The night was really crazy, but it ended up being a really fun show. We couldn’t even get the whole band up on stage because we got there so late, but it was me and this guy that plays fiddle with me. Everyone seemed to like it and was really generous that we were kind of doing things different because of the circumstances.

You just released a 7 inch called “A Simple Jungle” a little over a week ago produced by John Vanderslice. What was it like working with him?

It was really great. He’s actually probably the nicest person on the planet. (Laughs) If you can’t get along with John, something’s probably wrong with you. I can’t imagine anyone not being able to get along with him. He really is kind of a genius as far as like analogue recording goes. There’s not a computer [for recording] in his studio. Everything is done analogue tape and he really knows what he’s doing with that. He’s got a studio out in San Francisco called Tiny Telephone. A lot of really great bands have recorded there. He’s like a complete joy to work with. We’re actually going to do the next full length with him producing. We’re kind of in talks about when we’re going to do that so it’ll probably be recorded this summer. We liked the project so much we just wanted to work with him again so he’ll be producing the full length too.

So you released “A Simple Jungle” online and as a 7″. Why did you decide to release it on vinyl?

I really wanted to do a 7″. That was the whole point of doing it. That was the point of the two songs, I wanted them to be released on a 7″ vinyl.

On the topic of vinyl, what’s your own personal favorite record?

I probably have kind of a tie. The two that get played the most at my house are “Déjà Vu” by Crosby, Stills, Nash and Young and the Paul Simon self-titled record.

Why did you name the release “A Simple Jungle”?

It’s a combination of the two names of the songs that are on the 7″. A lot of times when a single comes out, the name of the single is just the name of the side-A song. When I was doing the 7″, I didn’t necessarily think one song was more important than the other. We liked both of them a lot so instead of naming it the song that was side-A we just named it a combination of the two songs. Side A is a song called “It’s Simple” and then side-B is a song called “Cadwell Jungle.”

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Posted by | January 23, 2012 | Interviews, Music | Comment 

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