Fred Eaglesmith is one of those rare musicians who can take the traditional themes of love, loss and heartache found in country music and give them a whole new life of their own.
Of all the bands who have played Twangfest over the last 14 years, the Deep Vibration is one of the most controversial. Not because it took the stage and preached politics (that would be another band), berated the audience (yet another band) or destroyed the backline (one mic stand fell over, not a crime).
A Monday night rock & roll show in St. Louis has the potential to be an uncomfortable experience on both sides of the music; especially if it happens in the long, slate corridor of the Firebird, where Monday-night crowd members might feel isolated standing in that gaping space before the stage.
The exact year is debatable, but shortly after the plug was pulled on the '90s, punkers had their genre stolen from right under ‘em. The Sum-182 mall brats were popping up left and right, and punks felt cheated. Some went along for the ride, some abruptly jumped ship and some took refuge with another genre that was deeply rooted beneath punk soil: country. Except, naturally, when a bunch of punks play it, it’s going to sound a little more distorted and jarring.
American Aquarium creates heedful alt-country where piano and pedal steel guitar circulate along a background of steady drums and electric guitars. The Raleigh, N.C. band fuses its lyrics of heartaches, mistakes and forces of nature with emotionally charged melodies.