Dar Williams@Workman’s Club. - Wed 19th Feb 2014

 

The Workman’s Club is a fine venue for acoustic evenings such as this. The warm sound of the room is perfect for an artist like Dar Williams, whose literate and wise observations on the human condition are received with hushed admiration and quiet reflection by all those present.

An enthusiastic visitor to these shores, Dar Williams commands the stage with a confidence borne of years perfecting her craft. She is a fine guitar player and a witty storyteller, but it is her gift of observation that inspires her loyal fan base. Her set tonight is relatively short due to illness in her family on a few days holiday to include this Irish show. However it is all about the quality and not the quantity, so we are left with a warm glow as the single encore ends and she makes her way back to the hotel and nursing duties.

It is a true testament to her enduring talent that Dar Williams celebrates the 20^th Anniversary of her debut release, The Honesty Room, a collection that still sounds as fresh as the day it announced her artistry to the world. Tonight it could be argued that the two highlights of the set are taken from this debut with both The Babysitter’s Here and When I Was a Boy beautifully performed and greeted like old friends returned from afar. It is the vocal delivery of the former that absorbed the audience, sung with a sense of the fragility of youth from the perspective of childhood innocence; the latter is quite simply one of the great songs of the last decades, written with a great poignancy but also the ultimate celebration of life and being who you are.

We are treated to other gems from her back catalogue such as ‘As Cool As I Am’ together with a very funny story about an experience with an American Football team who took the chorus to say “ I will not be afraid of winning”, instead of the actual refrain “I will not be afraid of women”.. All told with a wry grin and a wink to the infinite absurdity of life.

Two other songs from the same Mortal City release (1996) are delivered with great emotion and breathing new wisdom into both The Ocean and February seem less about the personal relationships now and more about forgiveness and understanding.

Taken from the latest release, we are given Storm King and I Have Been Around the World both displaying ample proof that the creative flame still burns deep within this sublime artist. It is the however a flawless performance of The One Who Knows which resonates mostly with me and the beauty of her selfless message to her child and the love contained in the words; “I’ll shine the light that guides you down the road you’re walking on” – a beautiful moment captured with grace and gratitude.

Dar Williams is a real treasure, a genuine keeper of the flame and long may it burn brightly for her.

Review and picture by Paul McGee     

Lindi Ortega @The Sugar Club, Dublin Jan 11th 2014

 

Returning to the Sugar Club in support of her latest album Tin Star Lindi Ortega again impresses with her spirit take on country music. This time out she is accompanied only by mvp Champagne James Robertson on Telecaster and acoustic guitar. It doesn't take long to realise that this duo are as entertaining as the full band that she had backing her on the previous visit. What the sound lacks in deeper textures it makes up in vigour. She opens with the title track of the new album. It is a song about struggling singers playing for tips in the bars on Lower Broadway in Nashville. She then greets the assembled crowd with a "How Y'all Doing Tonight?" before announcing that the next song All My Friends was about "a little debauchery". Ortega played selections from her three recent albums while obviously concentrating on a selection from her latest release. A spiky take on The Eagles' Desperado was played, it was she told us, a song that was one of her Mother's favourites. She dedicated it to her and said she was not with us before realising the possible implication. Laughing she explained that her mother was still very much alive, rather that she just wasn't here tonight.

 Sometimes she just sang and at other she changed her acoustic guitar for a electric. "My Shiny Black Beast" she told us she had christened it. Together she and Roberston made some noise on the two electrics. At one point she brought her friend Dave Danger onstage to play acoustic guitar but otherwise it was the duo who commanded attention. Ortega has a twang to her voice that is ideal for the songs she sings. Songs that are never retro but unlike many of her mainstream contemporaries are obviously rooted in the music she grew up listening to. 

She was happy to be back in Ireland and told us of her love for Cadburys Chocolate, especially the Snack bar which she had been able to find so far. There's in an obvious charm to the between songs patter and moments of spontaneity  such as when she stepped on her guitar lead at the end of the song and pulled it out with a loud thunk making it she said "the most rock 'n' roll ending.

Others songs included Demon's Don't Get Me Down, Bluebird and Voodoo Mama. All proved that as well as being a captivating vocalist and guitar player Linda Ortega is also a compelling songwriter. But praise again to the inventive playing of James Robertson. I'm not sure how she would be received over an entire set purely playing on her own, but it would doubtless be entertaining. On this occasion the duo delivered something special and Lindi Ortega live is something that should be a regular occurrence at least once a year - in line with her equally star rated albums.

Review by Stephen Rapid.  Photography by Ronnie Norton

Kimmie Rhodes @ the Seamus Ennis Centre– Saturday 19th October 2013

A regular visitor to these shores, Kimmie Rhodes takes to the stage with a radiant smile that lights up this intimate venue. She is joined by her son, Gabriel Rhodes, multi-talented musician, guitar wizard and producer; together with Ruth Trimble, an Irish singer songwriter of great pedigree.

The capacity crowd is very much a loyal fan base and they laugh and applaud Kimmie’s stories between songs and her funny observations on life. So, playing to the proverbial home crowd, Kimmie appears both confident and comfortable in all aspects of the performance. The beautiful layers of guitar and keyboards fuse effortlessly with the vocals, as Kimmie selects songs from her latest Covers recording.

It is somewhat strange to hear so many cover songs in a Kimmie Rhodes set, as she is famed for her own song-writing talent across fifteen recordings; but her individual style is always to the fore as she effortlessly weaves the songs into her own particular vision.

Gabriel Rhodes colours the arrangements with some stunning fret work as he swoops and dives in and out of the rhythm to lift and ease the dynamic in the music. Listening to the songs, I am taken with the talent of Ruth Trimble on bass guitar, keyboards and percussion and the way in which she compliments the arrangements. Kimmie also gives Ruth the opportunity to feature a number of her own songs taken from her debut recording and we are witness to an emerging talent on the Irish music scene, as she sings and plays with a seasoned maturity.

The concert runs into 2 hours with an interval between sets and in addition to songs from Townes van Zandt (White Freight Liner) and Jagger/Richards (Moonlight Mile) we are treated to old favourites such as  Hard Promises to Keep, God’s Acre and a beautiful rendition of I Just Drove By.

 However it is on the covers of Donovan (Catch the Wind) and Lennon/McCartney (Little Help from my Friends) that we get to the true essence of the gig with Kimmie surrounded by an aura of grace as she invites the ever willing crowd to sing along and enjoy the spiritual experience and purity of a shared live experience.

Always a joy to see an artist at the top of her game and a lesson to so many aspiring musicians to keep it real, keep it true and feel it from the heart.   

Review by Paul McGee. Photograph by Sarah Koska from Kimmie Rhodes website

Slaid Cleeves @ The Queens Pub, Dalkey

 

Texas based troubadour Slaid Cleeves played his first Irish date in some time at this Dalkey venue. Appearing solo he was promoting his latest album Still Fighting The War. From that fine album he sang the title track, Welding Burns, Whim Of Iron, God's Own Yodeler and Texas Love Song - the latter he played for promoter Liz Hurley whose birthday it was that night.

Cleeves is a storyteller of the old school and his songs soon seep into the collective consciousness of the audience and he has them listening to every word. Not all the songs are written by Cleeves, many are co-writes and others such as Lydia and Flower Dresses were written by Karen Posten. Another co-writer and longtime friend is Rod Picott. Cleeves told how they grew up together and formed a garage band The Magic Rats. The band, he told us, made up for a certain lack of skill in sheer volume. Picott's father's job was the subject for the song Welding Burns. Since that time both have established careers as singer/songwriters to critical acclaim if not yet a means to large monetry gain.

Along with a selection of some 22 songs he told us about his Aunt Prudence who once appeared on network tv. He lauded one of his heroes Don Wasler and as well as his personal song tribute God's Own Yodeler. A little later he reckoned he introduced his yodel, he played Walser's Texas Top Hand and reckoned his voice had warmed up enough to tackle a full on yodel attack. He delivered it with a passion.

He used to live next to a graveyard at one point and noted how he'd "got to know the neighbours". He was inspired to write the song Temporary based on epitaphs on tombstones he saw or researched.

The location of the venue and it's association with James Joyce prompted him to play three songs in which he had made references to Joyce's writing. He offered a free CD to anyone who spotted them. No one did so he made the aside that there were "no Joyce scholars in the audience" which brought out the reply that the author was "over-rated" - which elicited much laughter. On the poignant side were such standouts as Quick As Dreams about the old-time jockey Tommy Luther. Cleeves and his wife Karen had visited his wife Helen and found her full of "piss and vinegar" as well as stories. The show closed with the dramatic song Breakfast In Hell a seven minute plus song about a log jam in Ontario and a man named Sandy Grey who died clearing it. For this he got the audience to sing a "who/ha" section in the middle of the song to give it some additional drama.

It was a fitting climax to a two set evening that emphasised what a compelling writer and singer Slaid Cleeve is.Cleeves albums are full of great musicians but live and solo he is effective in getting the songs across in this stripped down format. He sings of the human condition and those who dwell on the fringes of society. With so much superficiality around (not least on mainstream radio) these days he is a welcome counterpoint, as are many of his (often little-known) contemporaries on the Americana circuit. He will be welcomed back when he next returns to these shores.

Ed Romanoff @ Whelans, Dublin - Wed 25th Sept

 

Back at Whelans Ed Romanoff this time out played in the downstairs room. He again brought with him some accomplished players - Deni Bonet on violin and backing vocals, Seth Woods on cello as well as the ever excellent local boy Clive Barnes on steel and electric guitar. Clive will be familiar to may through his own solo work. All three added a subtle but highly effective atmosphere to balance with Romanoff's voice and guitar centred songs. He will freely admit the limitations of his voice but gigging has definitely improved his tone and timbre. He appeared earlier in the evening to sing a song with his special guest Rachael Yamagata during her short set. She returned the compliment and joined Romanoff later in his set.

The songs were mostly taken from Romanoff's debut album. Between the songs he told some stories and anecdotes about the backgrounds and inspiration for the songs. He told us how while on a cab he had come across a dead man lying in the street who had a small dog who was staying beside the unfortunate man and he wondered who would look after the dog but that neighbours had come out to take care of the dog. This led on to how he had found his own dog Freckles and how he brought him back into the States from Costa Rica. There is a mix of humour and warmth along with some darker tones in his tales of what is the human condition that features in Romanoff's music. He is an entertainer who is on this chosen journey of expression, using words in different forms to tell the real and imagined stories.

For the song Two Yellow Roses he was joined by a singer Sharon, a singer he had encountered while walking round Dublin on his last visit to Dublin and who he had asked to join him onstage. She repeated her vocal harmony again tonight. He related a story of a singer who had been sent a letter from John Lennon telling the singer to always pursue his dream but that the letter never got to him at the time but turned up years later. It is this sense of the storyteller that is at the heart of what Ed Romanoff does. He is further exploring that aspect of his own life with a book that will tell the story of his adaption. That tale is the subject of St. Vincent De Paul on his album and here live. 

Rachael Yamagata joined him then for a song and used Romanoff's guitar and they sang together Lost And Gone. A new song not on the album. She later came back on stage at the end of the set and played piano and added vocals. There was an obvious rapport and friendship between the two. Less Broken was written for a friend that Ed had visited in hospital who was recovering and who had said she was "a little less broken now". Which shows again a songwriter always needs to have a ear open for little expressions or phrases that can spark off a song.

The show ended with a version of Orphan King, a song that Romanoff had written with Mary Gauthier, which he has subsequently rerecorded with Rachael Yamagata and released as a single to benefit the Chernobyl Kilkenny Outreach Group. It was a fitting end to an intimate and warm show and was followed by Romanoff coming off stage to meet those in the audience who wanted to speak to him.

There's no doubt that Ed Romanoff will be back in Ireland before long as he feels a strong affinity with the country and those who have heard his music will likely be happy to have him back here to.

Review by Stephen Rapid. Photography by Ronnie Norton

Buddy Mondlock @ Whelan’s - 6th September 2013

On a return trip to Dublin, this talented artist and song writer talks about the special community of musicians, touring his songs and living it from the heart. A view that pretty much sums up the special vibe that is created at a Buddy Mondlock gig, with the connection between musicians and audience creating a warm feeling that lingers long after the show has ended.

A regular visitor to these shores over the years, Buddy Mondlock displays the writing sensitivity of a true poet and the self- effacing humour of a gentle spirit who smiles, both broadly and often, in sharing his gift of song writing and playing with a very appreciative audience.

We are introduced to Mark Lindaur on vocal harmonies and a fretless, five string Bass, playing an understated and impressive accompaniment to these vignettes of life and love. We learn that this talented musician is a schoolboy friend of Buddy Mondlock and has played side by side with him through a lifetime of various experiences.

It is in the telling of the stores surrounding the songs that we gain a true insight into of the pedigree of Buddy Mondlock  as he speaks of collaborating with Guy Clark, Garth Brooks, and Tom Kimmel, Jim Tullio, Nanci Griffith and others, in a way that is not meant to boast but rather just telling it like it is.

The songs are truly captivating, displaying humorous, empathetic and wry observations on life and an understanding in the fragility of humankind as we try to rise above the daily challenge.

We are treated to songs such as The Holes You Leave, Coming Down in the Rain, No Choice, The Kid, I Count You My Friend, The Cats at the Coliseum, Poetic Justice, Magnolia Street, Nobody Knows Nothing, Fence in a Storm... No end to the quality of the words and music.

It is all very understated in a ‘less is more way’ and the new recording, The Memory Wall gets a decent airing with new songs like The Ugly One, What Do I Know,  Some Kind of Hope and Central Park, a song shared with his Dad in the writing.

A Canary’s Song is prefaced by a story of sharing the same manager as Garth Brooks and the vagaries of the music industry that have seen one artist rise to the top of the commercial tree while the other continues in smaller venues, in service of the eternal flame of creativity.

Who is the poorer I ask myself at the end of it all -especially when it is all about the heart – right?

For all the years served in the trenches and all the shows where his constant good humour and supremely honed songs and words have taken flight, I applaud Buddy Mondlock and urge you to check him out when he is next in your neighbourhood.

Just a final word for local artist Josh Johnston who opened for Buddy and played  brief but heartfelt set on keyboards, displaying a fine talent with his personal songs and view of life and relationships. It is always good to see local talent given an opportunity and Buddy Mondlock was very generous in inviting Josh up on stage to sit in on one of the encores.

All told, this was a special evening of music, stories and song.

Review and photo by Paul McGee

Sam Baker @ The Seamus Ennis Centre - 14th Sept 2013

 

This gig was a perfect example of why I would always prefer to be in a small intimate venue (like the Seamus Ennis Centre) than in a much larger location even with a commercially bigger act brings in a bigger production. It is the economy of scale of course, but that scale balances when you are at close quarters with a performer.

On this occasion Sam Baker is accompanied by Chip Dolan a seasoned sideman (and recording artist in his own right) playing electric piano and accordion and singer/songwriter Carrie Elkin. (Incidentally Elkin's last album Call It My Garden was recorded in Sam Baker's house). This trio had an obvious ease with each other that encouraged their playing and how they delivered the songs.

Elkin mainly added harmony and counterpoint vocals but she also played clarinet (an instrument that she only took up in the last few weeks) and guitar. Dolan excelled on the piano and on the accordion.

At the start of the show Sam Baker tuned his guitar through his tuner but wryly told us that he didn't need it as he only had to look at the expression on the face of either of his companions to know if he was in tune or not. Throughout the evening there was many asides and stories that enhanced the evening. An evening that included songs from across his four albums. Among them Slots, Pretty  World, Change and, naturally, from the new album came Say Grace, Ditch, White Heat, Migrants. The latter a song that featured to great effect Dolan's accordion and was based on a story that Baker had read and was in the same vein as his hero Woody Guthrie's classic song Deportees. In other words an event that only barely gets mentioned in the press as the victims in the song were themselves migrants, Isn't Love Grand, The Tattooed Woman and the closing song Go In Peace. 

He did a trio of songs that related to love, something he said he doesn't do that often, jokingly telling us "when you hear it you'll know why". Like all his material it took us through a window and into the lives of the song's subjects. Tattoos and teenage abuse were more often on his radar he commented. As are the terms of endearment between couples which may not actually be what the words spoken seemed to mean. There is a great deal of humour in his songs that balances with the occasional more tragic consequence that reveal themselves as a particular story unfolds.

Anyone who knows Sam Baker's music knows that he would not likely pass any "formal" audition voice test. He has a limited voice range. But that voice is who Sam Baker is and with that voice he connects. In fact his delivery, like that of a poet, allows every word to be savoured and understood. His crafted songs tell of hard times full of, more often than not, people who are not hard. They're making the best of their lives. He is an astute observer of life. Pictures painted with words, which here (and on record) are enhanced by the contributions of his fellow performers. Elkin's crystal voice is a delight throughout while Dolan's piano playing is also integral and when he delivers a solo his skill and dexterity are obvious.

At one point tour manager Rebecca joins Elkin for a short unaccompanied song. Another vocal highlight was provided by the audience who joined in on several occasions and completely broke down the barrier between the artist and audience. Not that Baker ever allows one in any real sense. He never puts himself above his fans. After the show he allowed the audience as much time as they wanted to say hello, and goodbye.

Review by Stephen Rapid. Photograph by Ronnie Norton

Peter Bruntnell @ Whelan’s – Sunday 18th August 2013.

 

On a short Irish tour to promote his ‘Retrospective’ CD release, Peter Bruntnell takes to the stage with his band of merry men. Playing with great energy and impressive array of talent, Steve Prior (drums), Dai Godwin (bass) and Dave Little (guitars) provide the perfect backdrop and beat for the excellent songs of this great songwriter.

With a recording output that stretches back to 1995, Peter Bruntnell has produced a body of work of the highest order that stands quite comfortably alongside any of his peers. This show contains many of his favourite songs and he sings with an engagingly sweet voice that wraps the rhythm and melody of the arrangements into a beautifully compelling gift for the enthusiastic crowd on the night.

The band adds texture to the songs and serves the arrangements with a perfect balance of passion and restraint. In addition to his literate, mature and self-realised song writing talents, Peter Bruntnell is also a skilled guitar player and he shapes the tempo of the set with all the experience of a travelled artist.

Americana for Europeans is a tag that does not do him justice, despite his close links with Son Volt, the celebrated roots rock band, led by Jay Farrar. Opening with 25 Reasons, Bruise on the Sky and London Clay, the audience is treated to wonderful melodic hooks and harmonies to savour. Matters of the heart and relationships; emotional and physical, platonic and sexual, are visited and handled in a fashion that channels the lost, yearning voice of the lonesome traveller in search of home.

Have you Seen that Girl again; By the Time my Head gets to Phoenix and Clothes of Winter are all played to an increasingly excited room in which the  atmosphere crackles, helped in no small manner by  the dextrous solo runs of Dave Little, a fine guitar player who really elevates the songs to exciting levels.

Brought back for two encores, Peter Bruntnell plays an acoustic version of Caroline, which highlights just what a fine singer he is and the band finish a real high with Fear of Lightning, before calling it a night.

Peter Bruntnell remains largely unrecognised in Ireland and given his trail of impressive releases, this remains a mystery to me. I urge any self- respecting music collector to seek him out and to watch for his next dates in our country. He stands as a rare jewel and shines a bright light of talent across an increasingly arid musical landscape. Long may you run Mr Bruntnell…!!

Review and phone photograph by Paul McGee

Joe Henry @ Live at Whelan’s – Thursday 28th August 2013.

This is the first visit to Ireland for an artist who started his recording career back in 1986 and has delivered 12 official releases over the succeeding 25 years. In recent years Joe Henry has been as renowned for his production talents and has worked with many great artists, including Elvis Costello; The Jayhawks; Mavis Staples; Solomon Burke and Brad Mehldau to name but a few.

Part of the reason for his appearance on these shores is the connection with Lisa Hannigan and his work on her Passenger release of 2012. Tonight Joe Henry is joined onstage by Lisa and her regular drummer Ross Turner, together with guitarist John Smith who has garnered a strong reputation over his three releases as a solo artist of some repute.

The band plays as a tight unit throughout, displaying a light touch in the interpretation of the song arrangements, given the short rehearsal time that they must have had. There is one more show to follow in Switzerland, but the impression is that the Dublin show is a key pleasure for Joe and this band of minstrels.

Opening with Sold from his Tiny Voices recording Joe Henry immediately establishes the mood for the evening in his laid back, ‘less is more’ approach to the song structure and establishes an immediate rapport with the audience, who listen in  restrained and interested silence.

Odetta follows from the most recent Reverie recording, swiftly followed by a new song, Grave Angels, which touches on the subject matter of marriage and commitment. Straight away one realises that we are in the presence of something special and the unique atmosphere of the occasion continues to reveal hidden treasures as the night unfolds.

We are treated to an old favourite in Monkey from the Fuse release in 1999 and this recording is revisited later in the set with a stirring version of Like She Was a Hammer. In between we get You Can’t Fail Me Now and Civil War from the Civilian recording; the first sung in honour of Bonnie Raitt who recently covered the song on her latest CD and the latter, joined on piano and vocals by our own Gavin Glass, who sings sweetly and plays beautifully.

Lisa Hannigan performs two of her own unique songs from the Passenger CD; Little Bird and A Sail, plus she sings a haunting version of Eyes Out for You from Joe’s Reverie CD. There are a couple more new songs tried out on the ever enthusiastic audience, Lead Me On and Plain Speak, coupled with a defining version of Flag from the sublime Tiny Voices CD. “Laugh or bleed, as you need to; who of us doesn't know already? Every flag flies like confetti now”.

Joe Henry does not write political songs as a rule but this song is delivered as a keenly observed statement in frustration at the abuse of power.

The interplay between musicians is never short of captivating as we witness the unfolding of great songs, insightful words and joyful acoustic connection in the arrangements. Ending with These Days, a Jackson Browne cover played with grace and majesty, Joe Henry returns to the stage for a final song, Kindness of the World which has the ecstatic crowd on their feet shouting for a fast return to build upon the great swell of joy he left behind this night in Dublin. 

Review and photograph by Paul McGee

Tom Russell @ Whelans 14th July 2013

Roll up; roll up for the great Tom Russell extravaganza! Hold tight as this train is travelling at top speed towards the recapture of the human spirit. What was once assumed lost has only been missing and the treasure hunt at Whelan’s begins with tales of Bob Dylan and his early Duluth beginnings; of Peter Pan and the sad descent of actor Bobby Driscoll into his own dark never, never land.

We are regaled with memories of Tom’s ancestors and their great journey west from the lands of Norway and Ireland. We learn of the new CD release Aztec Jazz with the company of the Norwegian Wind Ensemble and their live renditions of classic songs from Russell’s extensive back catalogue. Unfortunately all 32 members of the wind ensemble cannot fit on the simply lit Whelan’s stage, so we are left with the talents of two supremely gifted f travellers: Tom Russell and Thad Beckman.

Truly one of the last of a dying breed, the rebel in Tom Russell is never far from the surface as he recounts tales from his career as a songwriter, poet, painter and raconteur. He commands the stage with a larger than life strut and asks that we join him on a trip that invites on board cowboys, dreamers, lovers, renegades and true believers.

In Tom Russell’s eyes true Country Music died with the arrival of the big hat brigade, in the shape of Garth Brooks and Tim McGraw, but the true heart still beats on in the memory and inspired writing of this songwriter. You are bound to hear an old favourite with most of the first set this evening concentrating on the new release, along with songs from Mesabi and the more recent releases among his 28 recordings so far. Guadalupe and Goodnight Juarez conjure up imagery of life on the Mexican Border with his tales of El Paso, where Tom Russell lives, adding to the colour of the lyrics. Jai Alai, the Mexican ball game, is also played along with Stealing Electricity and Nina Simone. Spoken tributes are also paid to Ian Tyson, Johnny Cash and Dave Alvin, among the many greats that he has encountered along the way. 

In the second set we are treated to Navajo Rug, Blue Wing, East of Woodstock, West of Vietnam,  St. Olav’s Gate, Tonight We Ride and two songs from a new folk opera, yet to be completed. A love song written for his wife, Finding  You is beautifully performed and the equally touching Where Love Abides follows in a similar vein.

The wonderful solo runs of Thad Beckman lift the songs throughout and never more so than in a section that pays tribute to the legendary blues players of old, with Lightning  Hopkins and Mississippi John Hurt featured in a bottleneck display of the highest order. A medley of US Steel and Veteran’s Day closes the show before a second encore pays tribute to Johnny Cash with two songs that tip a hat to the past and the inspiration of former artists; a very generous way to say goodnight to an ecstatic Dublin audience.

Tom Russell speaks of no limitations and of free thinking. He is a natural storyteller and one of the greatest songwriters of his generation. Full marks to Roadworks Tours for bringing this great talent to our shores and they deserve great credit for promoting quality artists that need to be heard. Check out future gigs on www.facebook.com/RoadworksTours.

Review by Paul McGee. Photograph by Ronnie Norton

JD Wilkes & The Dirt Daubers @ The Grand Social 25th June 2013

Ubangi Stomp presented another great night in the Grand Social with JD Wilkes & The Dirt Daubers. Ubangi had previously promoted the previous incarnation of the band which was the more old-timey acoustic based trio of JD, Jessica Wilkes and Mark Robertson. This was the line-up that recorded their debut album Wake Up Sinners. JD and Mark were founder members of Th' Legendary Shack*Shakers.

This current incarnation of the Dirt Daubers has plugged in and gone electric and while not quite the full on audio assault of the Shakers they still back a mighty punch. Jessica has now moved over to playing the upright bass while still sharing the lead vocals with JD. He takes over the bass when Jessica steps up to the lead microphone. They have now added Rod Hamdallah on electric guitar, Rod was also a member of the Shack*Shakers in their last line-up. The drummer is the brooding bearded but engine room ready Preston Corn. They are an integrated and exciting quartet who cover their fusion of southern gothic roots, delta blues and urban punk.

After some small problems with the sound the Daubers soon settled into a groove that built through a set of songs that will appear on their next album to be released later this year as well as songs from the Shack*Shakers and Dock Boggs. The sound mixes Wilkes' excellent banjo and harmonica playing over the solid bass and drums bedrock that drives the music along at the pace of a midnight train. Over this is Hamdallah's Silvertone guitar playing. He crosses blues, rockabilly and rock 'n' roll influences into a distinctive sound that perfectly complements JD's contributions.

JD Wilkes is still one of the best frontmen around. A showman of the old school who performs the songs like a vaudeville entertainer of bygone times, using his body and face as much as his voice to emphasise the song themes and to hold the attention of the audience. But that doesn't in any way take away from Jessica Wilkes own delivery or Hamdallah's strong presence stage left. When Jessica completes her first vocal set JD in mock disappointment states "they like you better than me". Truth is this audience likes this band period.

What is strange is that they haven't picked up a bigger audience. There may be some confusion between the Shack*Shakers and Dirt Daubers. Whatever name that JD Wilkes performs under he is worth catching live. He has always made his live performance something that stands on its own apart from the recorded versions of his songs, something that personally is important to me as when I go see a band play live I don't want to hear a flawless rendition of a recorded track. The Dirt Daubers give you that. They deliver the full live experience. One that should be seen in it's natural setting. 

So come on, wake up sinners - redemption is at hand and will be available again before too long.

Review by Stephen Rapid. Photography by Ronnie Norton

Cara Luft @ Whelan’s. Sunday 9th June 2013

Tonight is the third date in a UK & Ireland Tour that sees Cara Luft visit eighteen different venues in just over twenty one days. A hectic schedule that sees this gifted Canadian talent joined by Scott Poley on additional guitars and the two musicians display a great chemistry in their playing and their onstage presence. Blessed with amazing musicianship, this is the first time that Cara Luft has played in Dublin and her enthusiasm is energizing as she plays an impressive set across a diverse range of songs.

With a confident onstage presence, Cara regales the audience with stories of her right wing aunt in Idaho, her bust up with American Customs and her song-writing collaborations with co- writer, Lewis Melville, by e mail. There is plenty of fun and laughter when she breaks a string mid song and continues singing, while attempting to change the broken string, all with hilarious consequences and a sound engineer who saves the day (you had to be there.)!!

A founder member of the much feted, Wailin Jennies, who rose to great heights in the North American folk/roots scene, Cara Luft has released three wonderful solo recordings that would grace any discerning music collectors armoury. Her skill on guitar and banjo is of the highest quality and with an ability to switch between traditional arrangements, English Folk songs and country tinged tales of love and loss, Cara Luft shows an impressive musicality and deep knowledge of tradition.

There are a few cover versions, notably ‘Bring ‘Em All In’ by Mike Scott and a beautiful arrangement of the Bert Jansch song ‘Black Water Side’ which she prefaces with a tale concerning the influences of certain songs that appeared on Led Zeppelin records in the day.

However, it is on her latest release, Darlingford, that Cora really shines and we are treated to a number of the selected tracks during this ninety minutes of warm and wonderful music. Scott Poley serves each song with an impressive playing technique that never sees him clutter the arrangements, instead adding subtle nuance to the dynamic on display.

Cara Luft has a great gift in taking the personal and turning it into a universal feeling and message that reaches out to all who listen. Long may she reign.

The opening act, Polly Barrett from Kinsale, played an interesting set of songs that bodes well for the future of this talented singer songwriter. Having busked to gain experience Polly is about to release her second recording and she displays a quiet confidence onstage. Her final song ‘Almost Friend’ was particularly arresting.

Congratulations to the music promoter, Roadworks Tours, for bringing interesting and original artistic talent to these shores. Gerry Rickard, owner of Roadworks, ably assisted by Denis Goodbody, deserves greater support in their activities and with Tom Russell due to play on 14th July next, a full house is the least that can be expected.  

Review and photograph by Paul McGee

Lucky Bones @ Whelans, Dublin - 22 May 2013

This gig was the launch of the band's second Texas recorded album Someone's Son. The band, bolstered by drummer Binzer Brennan, were in fine form considering this was their first full band show in a long time. They were amiably led by singer/songwriter Eamonn O'Connor with his lieutenant, guitarist Peter O'Grady, providing the firepower  and vocal harmonies. The band was ably rounded out by keyboard player Conor Miley and bassist Leon Kennedy. The latter also appeared with interesting support band The Edisons.

The band opened with She Don't Know, Baby Please Don't Pull Me Down and Forever With Wings from the new album. All demonstrated what a fine set of the songs they have produced for both albums. The debut album was not neglected in the set with Frank Sinatra, the title track Together We are All Alone and a fiery build up on Commercial Presentation, which closed the show. The band know have a sound that is robust and memorable and had some reminded of mid-period Fleetwood Mac as well as touches of melodic roots rock. The most 'country' sounding song in the set was the title of the first album which feature Miley on banjo to good effect. The current single Who's Gonna Follow Me Down was a highlight too towards the end of the set.

O'Connor switched between acoustic and Fender Telecaster and for one song played a solo Passion Played with the electric guitar which show both his strength as a singer and rhythm guitarist. The band, as mentioned, gelled and all worked hard to give the songs a good first outing and one hopes that from here on they will have a lot of gigs to further develop their live sound. 

Born To The Holy Land was early song written around the time of the Iraq invasion and included on the current album. It shows that O'Connor is aware as much of political attitude as he is of the more inter-personal politics that form the basis of many of the songs. The fifteen song set was applauded by the appreciative audience and the calls for "one more song" had to go unanswered due to the venue's curfew, however all involved left in good spirits.

Lucky Bones, like any new, upcoming, band have their work cut out to get there music across but with such a strong album and a live performance to back it up they're heading in the right direction. You should make the effort to follow them down if they play near you.

Review and photograph by Stephen Rapid

The Kennedys @ Whelan’s Sunday 19th May 2013.

Husband and wife team, Pete and Maura Kennedy, have been producing compelling music since their debut release back in 1995. We find them in Dublin on a Sunday night, ready to deliver a stripped down set across their ten studio releases, with matching Gibson guitars at the ready and big smiles all around…

They really are a tonic to experience live, with the unbridled energy of Maura shining through in her strong playing, while Pete dazzles with his fret work and imaginative soloing throughout a most enjoyable 90 minutes. Maura has been blessed with a beautiful voice and her singing is both distinctive and sweet. She is a very literate and warm person and handles the pace of the performance in a confident, yet understated manner.

Their new release, the first in four years, titled Closer Than You Know is featured and there are a number of cover versions chosen from favourite songs. So, we get Bob Dylan, The Byrds, Richard Thompson, U2, Nanci Griffith and some virtuoso guitar instrumentals which weave Bach pieces into variations on Over the Rainbow.

However, it is on their own tunes that Maura and Pete really shift into top gear and the spark they generate in playing off each other leads to plenty of great musical moments. Standing shoulder to shoulder they build the tempo of the songs into celebratory and exuberant finales which leaves the audience cheering for more.

If the new release looks to the future, then the other CD on the merch desk nods nostalgically to the past with a 16 track retrospective that is packed with great songs and a must-have for any self respecting country music collector. 

Midnight Ghost features some wonderful guitar playing from Pete and he displays a masterly command of his six string. River of Falling Stars, written at the Olympia in Dublin while on tour with Nanci Griffith back in the ‘90’s, is a memory of where it all started for the Kennedys and we get a steady stream of memorable tunes with Life Is Large, Half a Million Miles, Stand and I Found the Road all reverberating with a positive energy.

Stories of playing at two separate Bill Clinton inaugurations are told with great charm, as is the time when they first met as a couple. We are also treated to a song from a solo record that Maura released in 2009 having experienced the illness of a family member when she channelled her emotions into the compelling tracks that appear on Parade of Echoes.

The night was kicked off in some style by an Irish couple who perform under the stage name of B & the HoneyBoy. About to launch their second release, this husband & wife team are confident performers and seem to channel the vibe of the Civil Wars with their on stage chemistry and the excellent guitar work of Mr HoneyBoy. They join the Kennedys on stage for the final two songs of the evening and the joy of four voices singing in harmony to a driving guitar beat sums up the experience perfectly and leaves me waiting for a speedy return tour

Review by Paul McGee

Mary Gauthier @ The Venue, Ratoath, Sat 11th May 2013

 

This was the last night of a long tour,  but Mary Gauthier was happy to be playing in this intimate venue. She was joined throughout by violinist Michele Gazich who added some strong additional textures to the songs. The set was drawn from across Mary’s albums and she open with several songs played back to back, including the much loved I Drink as the third song, before she declared she was warmed up and then started her dialogue with the audience. Mary told us she would like to play us a happy song but couldn't as she hadn't written one yet. She said her songs are not miserable, but rather more bitter/sweet. Mary said that happy songs on the radio tended to make her miserable.

That certainly wasn't the case here as the audience picked up on the passion, pain and perception of Mary Gauthier's songs. She explained the origins of many such songs, as the execution of Karla Faye in the song of that name. Mary spoke of walking around on Christmas day in Key West, Florida and seeing a bunch of homeless men with a Christmas Tree celebrating the day under a bridge, an experience which produced Christmas In Paradise from her Filth & Fire album. She read about Steam Train Maury in a New York Times obituary which became the inspiration for The Last of the Hobo Kings. Can't Find the Way is a lament for the people who were displaced, and worse, by Hurricane Katrina. Gauthier draws from many sources for her finely crafted songwriting and is, above all, a gifted storyteller who can engage and hold an audience with ease. Mary also has a distinctive voice, one that she has learnt through experience to make the most of and it is now a strong instrument that perfectly captures the nuances of her writing.Other songs in the set included Between the Daylight and the Dark and Our Lady of the Shooting Stars.

Support for the tour was the talented singer/songwriter Ben Glover whom Gauthier called back to the stage for the last part of her set. Their two voices blended well and with Gazich's playing they created a very compelling sound. There were a couple of new songs included in the set too, one of which was written to explore the legend of Robert Johnson and the effects of selling one's soul; Oh Soul is a future classic. Glover also returned for the encore of Mercy Now and traded verses with Glover on the song.

It was a good way to end to what had been another enjoyable show. Mary Gauthier always gives what she has to any audience that really listens and an evening with a songsmith of her calibre is not going to disappoint. and she hasn't yet. So here's to the next chapter in the unfolding story.

Review by Stephen Rapid. Photograph by Ronnie Norton

Eilen Jewell @ Whelans 30 March 2013

The trio of guitarist Jerry Miller, bassist Johnny Sciascia and drummer Jason Beek, Jewell's long term road and studio band opened the show with a Miller instrumental Round 'em Up. This was a consummate showing of roots-rock riffing that immediately let you know just how good these guys are if you haven't caught them on previous visits or on foreign shores. Then straight into Where They Never Say Your Name followed by Sea Of Tears as Eilen took the stage. She then wished everyone a Happy Easter and thanked us for choosing to spend the evening listening to them before she plugged guitarist Miller's new solo album New Road Under My Wheels. Jimmy’s playing should have been enough to point you in the merch table’s direction.

From then on the quartet played songs from all their albums, although Back to Dallas (from debut album Boundary County) was the sole song from that album and came as part of the ‘special request’ section of the show. They played covers like Deep as Your Pocket by Loretta Lynn "the honky tonk queen", Twelve Gates to The City by Rev. Gary Davis and Arthur Alexander's The Girl That Radiates That Charm. Billie Holliday’s Fine and Mellow  brought the information that as singer Holiday was Eilen’s  her first love and influence. Jewell also said listening ‘while very young’ to Howlin' Wolf ‘probably explained a lot’. She also sang Stonewall Jackson’s lovely That’s Why I’m Walking while Charlie Rich's Thanks A Lot was the cue for trying out her cod Irish accent - "tanks a lot" -to much amusement.

Throughout Jewell radiated good humour and charm as well as displaying her undeniable qualities as a vocalist (and rhythm guitarist).Though she had been suffering from a throat problem it didn't affect her performance or enthusiasm. This however is an integrated and close-knit unit and Jason Beek added his backing vocals throughout the evening as well as being a part of a dexterous rhythm section. Johnny Sciascia played a short bass solo in If You Catch Me Stealing that emphasised his proficiency on the upright bass. Miller is Jewell's foil, never letting his amazing skill and dexterity overpower a song or Jewell's delivery.

Nor should Jewell's talent as a writer be underestimated. Her songs stand tall alongside the occasional classic or outside gem included in the set. Her songs in the set this evening included Back To Dallas, Rain Roll In ( a very 60s sounding song), In The End, Heartache Boulevard and Final Hour, a bluesy song with Miller reaching for his inner B.B. King. The 24 song set covered different textures, tones and tempos that grabbed the partisan audience from the first notes to the final encore song High Shelf Booze. Eilen was toasting us mentally she said until a pint of beer came up from the audience. "Sláinte" she said and that greeting about sums up the evening: music that's a cure for just about everything from the many who are there to witness another memorable performance from the extraordinary Eilen Jewell.

Review by Stephen Rapid. Photography by Ronnie Norton

The Avett Brothers live @ The Button Factory 18th March 2013

It's clear that the Avett Brothers live are quite a different beast to the current recorded version. From the first bars of the first song they exuded a wired, punky energy that saw Seth, Scott, bassist Bob Crawford along with celloist Joe Kwan pogoing. Drummer Jacob Edwards remained seated but was no less enthused. The site of Mr Kwan jumping up and down while playing his cello was to say the least, somewhat unusual. 

 

The songs were often delivered at a frantic pace with the drums and bass very prominent in the sound mix. As was the banjo of Scott Avett, it was the lead instrument along with brother Seth's guitar. Both attacked their instruments with vigor that saw strings break with abandon. There is a philosophical leaning in the recent songs but the merry stomp that was there for most of the set was the real driver. Before Mumford & Sons there was the Avett Bros.

 

There were moments that showed a more reflective side such as Through My Prayers from their new album The Carpenter. Here the twin acoustic guitars and sibling harmonies shone. But for the most part it was the faster songs that had the packed audience singing, jumping and raising hands. It was a predominantly younger audience - for the most part under forty and at odds with the age of the audience for most roots/bluegrass gigs except perhaps for the Old Crow Medicine Show.

 

This was the final night of a 3 week European tour and was the band's second visit to Dublin. Seth said that he was very happy to be closing the tour in Dublin. The talk was though kept to the minimum as the music spoke louder. They played just under twenty songs in just over ninety minutes on stage and left everybody wanting more. The set featured a lot of songs familiar to the gathered fans but was, naturally, heavy with songs from the current album. Scott also played keyboards and harmonica during the set which added some sonic textures. But the overall mood was one of celebration despite the songs having darker sides. There was an almost evangelical tone to the performance; lots of outstretched hands to the sky and bearing witness. On this showing The Avett Brothers show is dispensing the right kind of medicine to the masses.

Review by Stephen Rapid & Paul McGee. Photograph by Gareth Averill

Vince Gill @ Olympia Theatre 13th March 2013

Once the poster boy for mainstream country music, Vince Gill now plays music for his audience and himself. This performance marked Gill's first visit to Dublin since he played the Point Theatre back in 199? Times have changed and one would only have to compare Brad Paisley and band playing the same venue last year to see how much they have changed. Paisley is the current model and his loud, unsubtle version of country music undoubtedly has its devotees, but few here tonight would have swapped the two nights.

Gill and band are built for comfort not for speed. It was loose casual clothes all the way with all but Vince and second guitarist Tom Britt sitting on stools which  did not effect the music one iota. These players deserve individual mention in their own right as they excellently served the songs played on the night. They include long-time band members Pete Wasner on keyboards, the aformentiioned Tom Britt on guitar, David Hungate on bass with Tommy White on steel and Bill Thomas on drums and harmony vocals. These guys do exactly what they are supposed to and solo superbly when the song calls for it. They easily accommodated elements of blues, jazz, folk and rock into the countrified centre of the set.

 But front and centre is Vince Gill, a consummate singer, songwriter and guitarist. He's also a fine raconteur with a line in self-deprecating humour that took in everything from his weight, stating that he will be as big as Elvis if he goes in one more buffet line,  to the fact that he has made a career "singing like a woman"  and the fortunes of fame.  He related being in a mall and hearing two women passing, one of whom said ‘That that looks like Vince Gill.’ to which the other replied "He wishes". He also talked about his father, whom he described as being a combination of Clint Eastwood, John Wayne and General Patton,  a real old school,  non touchy-feely father whom he both feared and admired. Later in life his father came to him with a song idea which many years later Vince turned into a song with Rodney Crowell and recorded as the Notorious Cherry Bombs as It's Hard to Kiss the Lips at Night that Chew Your Ass Out All Day Long. He realised later the song was about his mother and father's relationship. The song went down well with the audience and was balanced with the more poignant songs in the set which included Bread and Water, a song about his late brother. 

Between those two emotional points in the two and three quarter hours set,  Gill covered many of his classic songs.  Never Alone, Never Knew Lonely, Liza Jane, Pocket Full Of Gold and I Still Believe In You were among a set that ran to 28 songs including two encores and an acoustic set where it was just Gill alone holding the packed house in the palm of his hand. The whole show was a reaffirmation that,  although country music has either moved to popper fringes or further underground,  it should be about the telling of stories and Vince Gill did this both in with his between song talk and with the songs themselves. 

There may be a strong amount of sentiment in Gill's songs, but it rings true and serves as a reminder of what country is losing. There is still an audience for the real thing and Vince Gill and his band are exactly that. Gill is a consummate player and singer who is very much at ease with himself, his music and his audience. So much so that I think we all felt "I still believe in you".

Review by Stephen Rapid. Photograph by Ronnie Norton

Petunia and The Vipers@Seamus Ennis Centre-Saturday 8th February 2013

The Vipers open with an instrumental that immediately lets you know that these guys mean business. This is the second to last date on a tour of the UK and Ireland and they are tight. With players like Jimmy Roy and Stephen Nikleva   (both veterans who played with Ray Condo) in the band you wouldn’t expect otherwise. Add to that a subtle, swing rhythm section and you have one hot band;  a band fronted by the man known as Petunia - a legend in the making. He draws inspiration from his travels and all the music he has heard and funnels it into a meaty stew of country music that leaves a lasting impression. In a two hour set they played 29 songs, including encores, that covered songs like the yodel fuelled The Cricket Song, the hopped up Maybe Baby Amy, The Ballad Of Handsome Ned - all self written - alongside classics like Stardust, including  all the tracks from their self-titled album. This master class also included Petunia solo and turns at the mike from each of the band members bar drummer Marc who sang harmony throughout.

Steelie Jimmy Roy sang a wonderful Crazy Arms, a song "written by one of my favourite steel players Ralph Mooney" he informed us. He also sang White Lightening with Petunia and the audience joining in on the chorus. Bassist Patrick Metzger sang a song that Petunia had written with his first band, a bluegrass band as it happens, while the versatile Petunia played the upright bass. Other songs in the set included Folsom Prison Blues for which Petunia placed a bank note under the strings of his acoustic guitar for that authentic boom-chick-boom Cash sound. His voice adapted to a lower range with ease. He also gave us a great version of Marty Robbins Big Iron as well as versions of   Fever and Hadacol, the latter about the infamous Hank William-touted cure-all mixture. Their song choices suggest that these guys could do anything from the canon of good traditional country music with ease and panache. Marc L'Esperance’s drumming show exactly how you can drive the music without dominating it, something a lot of drummers now playing country music can't do. 

More than once Petunia encouraged the audience to get up a shake a tail feather as it would "help us out and help you out". That didn't happen, but the audience was very receptive and loved the show, which ended with a five song encore that had Jimmy, Marc and Stephen all taking turns on lead vocal. The songs included Can't Find the Doorknob,   the Jimmy and Johnny hit as well as Hank's My Bucket's Got A Hole In It and they finished with their own Mercy.  A great night,  a great band and great music.

Calexico @ Olympia Theatre -Thurs 14 Feb 2013

Making their Olympia debut the seven piece band played a seamless and absorbing mix of song from their new album Algiers along with favourites from their previous albums. This was a partisan audience here for the first night of their European tour and to celebrate St. Valentine's Day. Calexico proved a suitable band for the occasion as there is more than a hint of border romance in their music. While it may not have been the most memorable gig that longtime Calexico fans would consider - that would, arguably be either The Button Factory against the backdrop of western movies and their gigs at The Kilkenny Rhythm and Roots Weekend. However it was still a special show.

The twin founders of the band are guitarist/vocalist Joey Burns and master percussionist John Convertino. They were joined by regulars Paul Niehaus on pedal steel and guitar and Martin Wenk and Jacob Valenzuela on trumpets, keyboards, guitars and sundry percussion. They were rounded out by two additional members on upright and electric bass and keyboards. These players moved between several instruments often in the space of one number however the overall texture applied to their songs were an important part of the atmosphere of each song. There is a filmic quality to their music that is readily apparent live as it is on record.

There wasn't too much between song conversation although Joey Burns told the assembled fans that he was "really happy to be in Ireland on Valentine's Day". He wished us a "Happy Valentine's Day" at the top of the show but largely let the music do the talking. It lived up to the band name delivering aired psychedelics of California with the hot flavours of Mexico's musical heritage. The spanish guitar sound and twin trumpets conjured that image. Though at one point with Niehaus and Burns both played electric guitars and added a heavier element to the sound.

The songs featured several songs from Algiers like Fortune Teller and Maybe On Monday alongside selections from the albums The Black Light, Hot Rail amongst others. The penultimate song in the main set was a cracking, faithful rendition of Arthur Lee's Alone Again Or, whose band Love who undoubtably were an influence on Calexico in their formative years. Few would have been disappointed with their night out. Burns and Convertino have led this band since it's inception and have grown with the band. Burns vocals have grown into a vital and powerful asset and Convertino is an outstanding drummer. Calexico are a unique and purposeful band and the Olympia was an ideal place to start a tour. The applause throughout was real and both sides of the stage seemed to enjoy the experience.