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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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Tuesday, Jul 8, 2008
by PopMatters Staff
Pictures by Sarah Zupko / Words by Karen Zarker.

PopMatters trekked out to Fitzgerald’s annual American Music Festival to catch legendary Texas singer-songwriter Joe Ely play a smoking set with accordionist Joel Guzman. While waiting to soak up the sonic, soulful talent of Joe and Joel live—what a privilege and a pleasure—we caught a bit of traditional New Orleans jazz from the Salty Dogs and NOLA brass band music from the BS Brass Band, too. Eager to hear Ely and Guzman, we only caught part of Rosie Flores and the Pine Valley Cosmonauts, but Rosie joined Joe and Joel to perform the second encore. The stomping, shouting crowd just didn’t want to let them go.


We highly recommend this annual event held at one of Chicago area’s best music venues.


Click on image thumbnails below to view the rest of the photos.


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Monday, Jul 7, 2008
by Robin Cook

Louisville-by-way-of-NYC indie rockers Antietam flew to Austin to play four—yes, four—sets. Guitarist/singer Tara Key has branched out into solo albums, but as she explains, Antietam never broke up, even during a 10-year gap between albums. Their new album, Opus Mixtum, is now out on Carrot Top. Here, Tara provides a history of the band and her own musical influences.—Robin Cook



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Thursday, Jul 3, 2008
by Robin Cook

Originally, this was going to be an interview with just Mr. Bonebrake, but then Billy Zoom turned up. Two X members for the price of one. What luck! And what can I say about this band that hasn’t been said before? Well, for one thing, Billy Zoom is an amazing guitarist, and it’s great to see him playing again after a decade away from music. And DJ Bonebrake is a phenomenal drummer whose contributions to the band are usually overlooked. And finally, it’s an honor to interview them.—Robin Cook



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