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Friday, Sep 26, 2008

Beginning appropriately with “The Night Starts Here”, Stars commenced to play their hearts out for ninety minutes. Torquil Campbell and Amy Millan filled the air with their usual lush male/female vocals, which alternate and culminate in swoons, creating a lullaby effect that’s filled with a soothing kind of chemistry.


Amy Millan of Stars

Amy Millan of Stars


This time around, Stars dropped their usual angst for a much more hopeful vibe. Missing from the setlist were politically-fueled songs such as, “Set Yourself on Fire”, “He Lied About Death”, and “In Our Bedroom After the War”. “Take me to the Riot” was the closest the band came to touching on this element. Even “Going, Going, Gone”, a song previously filled with personal vs. political anger, was reworked and slowed down and replaced with a much more melancholic feeling.


Torquil Campbell of Stars

Torquil Campbell of Stars


Though the five-piece hails from Montreal, they had much to say about how “happening” Chicago is as a city. Appearing humble, Campbell thanked the audience for coming out during hard times, saying how much the band appreciated it. He appeared just as moved by the experience as the starlit set of young eyes gazing from the front row, staring in awe at their favorite band playing on a stage adorned with roses.


Amy Millan of Stars

Amy Millan of Stars


Lyrically, the songs often come across as very intense and personal stories. Yet, they manage to transcend the inner personal domain and venture into the world of shared anthemic experience. Mainly, they accomplish this task by addressing issues that many can relate to. Such is the case for “What I’m Trying to Say”, which was a clear highlight of the set along with “One More Night”. Though at times the songs can take on an edgy tone, they are often sentimental and romantic, especially when the vocals shine strongly via dynamic duets.


Torquil Campbell of Stars

Torquil Campbell of Stars


Amy Millan of Stars

Amy Millan of Stars


It should also be mentioned how well rounded the band’s setlists are. Stars have been releasing music since 2001 with three full lengths and two EPs, and yet they always revisit that first release even while seeming eager to debut new songs. There’s an energy to them that is searching for progress but at the same time understands that it’s futile to ignore the past.


Amy Millan of Stars

Amy Millan of Stars



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Friday, Sep 26, 2008
Words and Pictures by Thomas Hauner.

As a revered musical institution of sorts I was expecting nothing short of great from the Dirty Dozen Brass Band. Pioneers of the contemporary New Orleans second line and brass band funk sound, they’ve traveled the world over exporting Bayou brass playing. But it seems that they are coasting these days, riding on the coattails of past successes.


Guitarist Jake Eckert, actually one of the strongest players in the group, opened the show with some funky guitar licks before the rest joined in, kicking off a marathon funk vamp that never seemed to quit. Its players did, though, at various intervals throughout, looking exhausted and more like they were begging coach to rest up on the bench rather than go out for another play. Only trombonist Revert Andrews showed enthusiasm, with unbridled energy and honky-tonk stomping.


Overall it was an awkward funk scenario where meandering solos were atonal and lacked any coherent theme, direction or melodies. Instead the players would only focus on the long ball—stratospheric notes—and get burned out quickly from the exertion. Rhythm (the bedrock of funk) was desperately lacking as the group derailed several times with each brass player playing in a different meter. Adding to the polyrhythmic implosion was a ubiquitous and dependably late wood block and a whimsical empty beer bottle.


When the monotonous funk machine ground to a halt—literally, the ending was as smooth as Manhattan cab ride—an onslaught of unremarkable covers ensued. “Get Up Stand Up” and “Superstition” (which we had already heard in its finer form on the house PA directly before the band went on) had the support of the crowd, but the band sounded disinterested. Some of the players appeared so apathetic—particularly trumpet and flugelhorn player Efrem Towns—that they didn’t even play in the finale “Dirty Old Man”—an awkward funk piece whose feature was a gaggle of uninhibited girls grinding with dirty old men. I guess I wouldn’t want to play either.


The only highlight of the evening was watching a congregation of old men who, despite the band, managed to boogie like caffeinated pogo sticks, albeit with a head of snow-white hair. And the biggest disappointment was that during “Dirty Old Man”, they weren’t even invited on stage! It was too bad they didn’t headline from the get go.


 


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Monday, Sep 22, 2008
by Sarah Zupko and Karen Zarker
Words by Karen Zarker and Pictures by Sarah Zupko.

The Mercy Lounge and its even bigger venue sister downstairs, the Cannery Ballroom, combine to provide great music venues. There’s lots of space on stage and off, but wear your comfortable shoes, as seats are few. Downstairs, you can sit on the other side of a brick wall to the Ballroom, a wall perforated with open windows to let the music through, and rest your aching mules while sinking in to a broken down vinyl seat at a table. There’s a whole string of ‘em along the wall.


We started our final evening of the American Music Fest diggin’ the Duhks, a powerfully talented stew of young Winnipegians. Watching this good looking group of young people started me thinking about how I (KZ of the SZ/KZ team, that is) like the food on my plate. (This will make sense in a moment.)  See, I like to mix things up. To the embarrassment of my mate when we dine at restaurants, I’ve gottta stir, swirl, and glop it all together—deee-lish!


That’s what the Duhks are like: a plate full of all the good stuff, all mixed up. You’ll get rock (with a violin that sounds like an electric guitar), cabaret (with that tinge of the dark, somewhat perverse, rather intellectual approach which makes for the best of cabaret), foot-stomping Celtic, and a spicy bit of Afropop (wherein the fiddle becomes a thumb piano). Sarah Dugas’ versatile pipes can belt out gospel with the best of ‘em, followed by some good ol’ Louisiana Cajun. Sarah and Tania Elizabeth will sing to you in French and sing to you in English, but the band’s instruments sing in more tongues than any mere multilingual human can.


Their rousing finale merged into Led Zeppelin’s “Whole Lotta Love”, no doubt a nod to Robert Plant, who’s been making the rounds at the American Music Fest this year. He and Alison Krauss won the Album of the Year for Raising Sand. As for “Whole Lotta Love”, we rather liked the Duhks version of this rock classic better. Sorry, Robert.


For those of you who like the piles on your plate all neat in their own places, think of the Duhks as a belly-busting buffet—you get it all, however you like it. Dig in.


Downstairs for the Glen Campbell tribute—with Jim Lauderdale, Chuck Mead, Raul Malo and many others—wherein the man himself came out and sang not only some of his own stuff—songs with that melted, gooey cheese dripping all over them—that is: songs that everyone loves (and everyone sings along with). The country star covered Green Day’s “Good Riddance (Time of Your Live)”, as well. The man looks and sounds good. Indeed, he seems like he’s hardly changed over the years - such is the nature of old souls, aged yet ageless, somehow.


We squeezed our way back upstairs for Buddy Miller, who’d bring on Bonnie Bramlett for some rocking harmonizing. Standing right up front, tempted to take a sip from that cool, bottled water at Buddy’s feet, we were experiencing the Mercy Lounge/Cannery Row at its best: hot, crowded, and friendly. (The guy behind me was a hootin’ and hollerin’ in the manner of fan appreciation. Now that’s good company, unlike the guys at Day 1 at The Basement.) 


At Mercy and Cannery, the bartenders are friendly, the fellow out in the parking lot collecting the $3 parking fee is friendly (swear it’s the same guy as last year), the musicians who make their way unassumingly amongst you, give a nod and let you through, or mutter a simple ‘scuse me, when making their way—all unassumingly polite. You are in good company in these places.


Day 3 at the 3rd & Lindsley, Jim White sang that a bar was just a church that serves beer. Well, down here in the buckle of the Bible belt, we never set foot in a church - technically speaking, that is—but we shared hours and hours of sweet fellowship with the music-loving faithful.


God looked down and saw that it was good.


* * *


Our wish list for next year’s Americana Music Fest:


Give Casey Driessen a showcase (we caught up with him on our volition).


Bring Trent Summar back, and give him a Friday or Saturday night showcase. The few who saw him on a Wednesday, we think it was, last year, enjoyed him mightily. More Dale Watson too, please. You can never get enough Texas honky tonk. Less quiet, mellow stuff and more barn burners would liven these nights up even more.


Invite the stellar musicians that comprise BeauSoleil. Perhaps a Cajun night with the Red Stick Ramblers might be in order. Marcia Ball would fit in nicely there too to broaden the taste of the Louisiana stew.


And finally, we hope that Nashville doesn’t run out of gas at next year’s Fest. Driving downtown to meet up with folks, we passed lines of cars blocks long, waiting to fill at gas stations that were pumping painfully slowly. Cops were guiding traffic. People were standing outside their cars, waiting. It was a site reminiscent of the ‘70s gas crises, though unlike many of our compatriots who had to hitch rides to showcases, we were lucky that we had enough in the tank to get us to Kentucky, north of the crises, come the time we had to leave this lovely land that is Nashville, Tennessee.


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Saturday, Sep 20, 2008
by Sarah Zupko and Karen Zarker
Words by Karen Zarker and Pictures by Sarah Zupko.

We snagged the best table at the 3rd & Lindsley. This is a really good venue when you’ve got a table up close to the stage—that is, under the speakers that will, if aimed right at you, blast you to a pulp by the end of the evening. The lighting is harsh, but you’ll only notice that if you’re trying to photo shoot.


Jim White started us off this evening rather sweet and mellow. Or rather, a bit bitter and mellow (the tangy bite of his satirical lyrics are balanced with a mix of musical sugar). A master of the pedal last night, up there all by himself, he interspersed his songs with amusing storytelling. Intimate and comfortable.


A swift setup and in no time the Red Stick Ramblers dragged us kickin’ and hollering down to the Louisiana bayous. Consummate musicians, those of us stuck in our seats were doing the butt cheek dance while the women in the back grabbed one another and twirled. Just when your soul feels it might burst from all that Cajun-sustaining food, they bring it to a rousing end. Damn, that’s right—it’s a showcase, it ended about four hours too soon.


Time is a funny thing though, ain’t it? Jim White takes his 45-50 minutes with you and it’s like you were sitting on the porch all summer evening, enjoying the song of the crickets and the company of a good friend, while sharing a bottle. The Red Stick Ramblers made time go by faster than a speeding semi barreling down I-65 between Chicago and Nashville. And then Peter Bradley Adams and his band came on…


Set up takes a while, and we’re wary. Signifiers indicate this might be a… mellow set. Really mellow. A guitar case is opened and a Soviet-era looking poster is taped to the case for all to see. “HOPE”, it demands. Oh, yeah, that’s the latest Obama poster. 


Ironically, we spent more time writing over this set than any other, this evening—that is, passing notes back and forth to one another. “This is the sort of polite, mopey, singer-songwriter lite that sounds at home in a Starbucks line. Very sincere, slightly dazed-looking female back-up singer; even more seemingly sincere, deep lead singer. There are other musicians on the stage, but their sound is so muddy, one only knows from sight that they’re working… Rather depressing, really.” (That was a long note.) “I could help out that back-up singer, a few notches or 20.” “I could give the lead a decent haircut”, “Well, the bass player is cute” and so on. That’s a 45 minutes of our lives we want back.



Mike Farris and his amazing band answered our prayers and gave us more soulful sound in their all-too-short set than mere physical boundaries such as time and earthly bodies can contain. Lord, they resonate. If you see this man and his band once in your life, it will be music you’ll hear in your head when you’re clinging to the last vestiges of this mortal world—it is truly a joyful sound. It’s gospel, yes, but it’s that universal gospel that moves even the most cynical soul. Farris and the McCrary Sisters are singing their salvation—and yours—and you will be moved, no matter how firmly you keep to your convictions, wherever they’re grounded. Their Deep South sound heavily steeped in the sounds of New Orleans and Memphis will take you to Heaven and you won’t be able to sit down. Rarely do we, considered outsiders by many in this country, feel so welcome—and so damned happy to be human—than in the company of these highly talented people.



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Friday, Sep 19, 2008
by Sarah Zupko and Karen Zarker
Words by Karen Zarker and Sarah Zupko and Pictures by Sarah Zupko.

Day 1


Seated way in the back, the Ryman’s notoriously excellent acoustics failed, somehow, for Levon Helm’s Ramble. Couldn’t hear the horns, couldn’t hear Helm’s singing all that well, either. Hope the folks who were filming that event for DVD had a better time of it than we. Several songs in, and we stepped out to see what else was shaking on the opening night of the festival.


We stopped at the Basement—a cramped, somewhat down-in-the-heels place reminiscent of some of Austin’s less than pristine venues (we’re talking about you Emo’s). But hey, we come for the music. Alas, we never got to hear it, as two big mouthed, drunken louts “Whooo hoo’d” at everything and everyone—and the music hadn’t even started. Some pretty little thing was setting up on the stage, her clingy dress showing her form rather nicely for anyone with eyes in their head. But the Louts seemed to feel compelled to assist anyone there who might be blind, and “Whooo hoo’d” her for our benefit, as well. Bet she felt flattered, boys, thank you very much. Impossible to hear one’s own thoughts in this tiny space with these damned fools bellowing, we knew we’d never get to enjoy the music, either. Sorry, the Belleville Outfit, the everybodyfields, the Dedringers and Patrick Sweany, but the Basement seemed content to indulge the Whoo Hoos, and not you. We moved on before the show even started, cursing under our breaths.


Soon after we were pulling up chairs to the long tables at the Station Inn (with a car, it’s very easy to get around Nashville for these showcases). Many years prior we’d stopped here for some bluegrass and the feel was as if we stepped into a revival tent. We’d best be converted, or perhaps move on. Rather intense, in that regard, on that day.


It’s in this modest and yes, intense setting that PopMatters’ favorite Mike Farris holds a regular Sunday night gig. We saw him live on a large stage at the Mercy Lounge at last year’s Americana Music Fest—with plenty of room for his band of won’t-be-denied New Orleans-style horns and his trio of gorgeous back-up singers, The McCrary Sisters. Lord, how their sound filled every square inch of space in that large hall, wrapped around us and gave us a squeal-inducing squeeze. Yow!  We’ll be seeing him soon back at 3rd and Lindsley.


But this night, we were at the Station Inn in to hear artists new to us. Donna Beasley is lovely, if you like your decaf in the morning watered down with skim milk and just a granule or two of sugar. Looks good coming to the table, but alas, the brew is weak. An early morning kept us from staying for what appeared to be a folksy line-up tonight.


The first day at the Americana Music Festival was, alas, a bust for us. Others with more endurance and tolerance might say otherwise.


Day Two


Day two started with the incomparable Casey Driessen at the cozy Douglas Corner Café. Now that’s a great venue for hearing really good music. You talk during someone’s set there, you’ll be hushed by the hard core, knowledgeable music devotees surrounding you. And get your butt in that chair, now, ‘cause the artists start on time. Ah!  Perfect.


We’re figuring that when Driessen was a young man he sought out and found the Devil. He said, “Mr. Devil, I’ll give you my soul if you let me play this violin like no other living man.”  The Devil looked him up and down slowly—didn’t take long, as he’s a little fella—sucked on the smoking piece of straw in his mouth and said, “Son, you can keep your soul. You’re gonna need it when you step out on that stage.  But I’m gonna make that violin play you.”


And indeed it does. That sassy violin grabs Driessen by the scruff of the neck and has him shaking on his toes. We swear it thinks it’s the smartest thing in the room, and dares you to try to keep up with it. Ever hear an instrument do a call and response, making it look so damned easy conversational-wise with itself?  Uh huh. Keep up with us, here. Any chance you get to see this man perform live- er, this violin play this man—go, and give yourself one hell of a treat.


Some head shaking appreciation of Driessen over a cocktail at the quiet, elegant bar at Maggiano’s, and then we made our way to the Ryman, again, for the Americana Awards show.


Thank you, Americana Music Festival, for those second row, center seats, where we were in good company with many notables. Joan Baez, on hand to receive the “Spirit of Americana” Free Speech Award, sat behind us and Robert Plant, Alison Krauss and Mike Farris were just to our left. No complaints about acoustics this night. We could hear the sweat flying.


Courtesy of the AMA

Courtesy of the AMA


Ryan Bingham’s voice sounds like a truck tire on a gravel road, complete with rocks flying up and hitting the fender—it’s a good country sound.


Courtesy of the AMA

Courtesy of the AMA


When Steve Earle walked out we thought it might be the ghost of Allen Ginsberg, such is his middle-aged resemblance. Mr. Earle, please leave New York. It’s softened your sound and taken the edge off the anger that makes us wanna listen.


(You can see the awards results listed below.)


All the while there was Buddy Miller, sweet and modest, playing with the band. You’ll see this talented man everywhere, in the band, with nary a notice ‘til he steps up the mic and makes you smile so broadly.


Courtesy of the AMA

Jason & The Scorchers - Courtesy of the AMA


So, too, Joe Ely (a personal favorite) gives his all, every time we see him, every venue—from a room full of the reverent to singing over the fools blathering in the back, too damned ignorant to know what they’re missing. The man is pure, raw talent, and he makes you zero in on his songs and listen close, the rest of the world be damned.


Earlier in the day, on our way to Jack’s Bar-B-Que, we think we saw a construction crew on the roof of the Ryman, applying reinforcements in anticipation of Mike Farris (another personal favorite) and his kickass band. One song, “Oh Mary Don’t You Weep” had the crowd testing the integrity of the Ryman’s construction. We swear that building was jumping. Wonder if they taped the stained glass windows, lest they shatter.


Speaking of building-shattering performances, Jason & The Scorchers did not hold back even for the sacred old Ryman—damn near twirled and leapt off the stage right into our second row laps. Tommy Womack has a write up in the program about Jason & the Scorchers that is high caliber music writing. If we find an online link to it, we’ll plug it in here for your reading pleasure. Heck, if we had a scanner…


After a lengthy chatty Awards ceremony, we headed south to 3rd and Lindsley for the Joe Ely set. Yep, Ely is one of those people we’re almost willing to follow to the ends of the earth. We were exhausted by this time, but 3rd and Lindsley has lots of tables and chairs (hallelujah) to rest our weary bones.


The always delightful Rosie Flores was dazzling the crowd with her sassy vocals and mean guitar when we stepped into the cozy place. James Intveld joined her for a few duets of pure honky tonk.


That set the stage nicely for Ely, who mostly played solo. Favorites like “All Just to Get to You” and “Me and Billy the Kid” roused the crowd and a new number “Homeland Refugee” proved equally compelling. The real treat of the evening was Ryan Bingham appearing on stage about halfway into the Ely set to sing a few songs with the Texas legend. They reprised their duet, “Southside of Heaven”, from early in the evening at the awards show and sang a few more off Bingham’s debut release.


Bingham’s dry, crusty Texas twang rests ever so nicely next to Ely’s more polished tones and they clearly feed off each other’s energy. Here’s hoping these two form a more permanent musical partnership and head out onto the road together. They just need to be sure to bring along ace accordionist Joel Guzman (Ely’s frequent musical partner) as Ely’s tunes—anyone’s, really —benefit enormously from the fiery, soulful solos and flourishes of this instrumental master.


AWARD WINNERS


  • Album of the Year: Alison Krauss & Robert Plant/Raising Sand
  • Artist of the Year: Levon Helm
  • Duo/Group of the Year: Alison Krauss & Robert Plant
  • Instrumentalist of the Year: Buddy Miller
  • New Emerging Artist of the Year: Mike Farris
  • Song of the Year: “She Left Me for Jesus” by Hayes Carll and Brian Keane Additional Lifetime Achievement Honors were given to:
  • Spirit of Americana Free Speech in Music—Joan Baez
  • Lifetime Achievement / Songwriting—John Hiatt
  • Jack Emerson Lifetime Achievement / Executive—Terry Lickona
  • Lifetime Achievement / Performance—Jason & The Scorchers
  • Presidents Award—Jerry Garcia
  • Lifetime Achievement / Instrumentalist—Larry Campbell
  • Trailblazer / Nanci Griffith
  • Lifetime Achievement / Producer / Engineer—Tony Brown

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