Saint Louis – Page 4 – Zachary Mule

HEARTLESS BASTARDS/ALBERTA CROSS

(September 29, 2015; OFF BROADWAY, Saint Louis MO)

Waiting on line for the show (photo credit: DARREN TRACY)

A couple of notes regarding life waiting for a show (and this show in particular) to start… specifically, a bit about the above picture, as well as the randomness of meeting and interacting with other music lovers before the doors to the venue are opened. The gentleman in the picture above happened to be in front of me, just hanging out in front of Off Broadway. I watched this mantis for quite awhile before deciding to take the photo; he didn’t move, didn’t twitch… nothing. I was beginning to think that the critter was dead or, mayhap, it was a plastic toy placed there by a demented prankster; there were, of course, a couple other options: The mantis was, in fact, lost deep in prayer or, he was inscrutable as all get-out. Curiosity eventually got the better of me and I tapped the wall about an inch from his perch. The bugger was very much alive and quite annoyed that I had disturbed his meditation; his head swiveled in my direction and his glare seemed to bore into my very soul for the next twenty minutes. Boys and girls, you have no idea the depth of the despair one experiences when being stared down by such a creature. Now, in this line of work, I don’t usually have too many opportunities to talk to a lot of people (or soul-devouring giant green beasts) before a show. Sound check for the show pushed doors back about twenty minutes, so there was a lot of hanging around waiting for them to open. Things can get a little goofy (to wit, my encounter with the praying mantis) when a group of strangers are standing about with nothing to do. Usually, though, everyone is genial, cracking jokes, asking where everyone else is from… that sort of thing; tonight was no different. One of the more humorous exchanges took place between myself and another man… a man much larger than me: I was leaning against the wall, close to the door; he asked, “So… are you a security guard?” “No. Why? Do I really look that imposing?” “Uh… no. Not really.” We all had a good laugh. Eventually, things got around to, “Who are you here to see?” I told the little group that I really liked Heartless Bastards, but I was really looking forward to seeing Alberta Cross. Apparently, I was the only one familiar with the group, as the questions then became, “What do they sound like? Why do you like them?” Shortly after guaranteeing everybody that they would love Alberta Cross, the doors were opened and our little group scattered to our various vantage points for the show.

Alberta Cross (Dave Levy; Petter Ericson Stakee; Rene Villanueva) (photo credits: DARREN TRACY)

Over the past couple of years, Alberta Cross has undergone a transformation; the duo (guitarist and vocalist Petter Ericson Stakee and bassist Terry Wolfers) has been halved, with Stakee becoming – for all intents and purposes – Alberta Cross. With a new, self-titled album still a little over two weeks away, Stakee and “friends” brought the new show to Off Broadway, leaning heavily on music from the new album. Petter’s new band featured a childhood friend from Switzerland, drummer Fredrik Aspelin, guitarist Dan Iead (who also played a bit of pedal steel), trumpeter/keyboardist (at the same time, by the way) Dave Levy and bassist Rene Villanueva, on loan from the band Hacienda. Most of them have been playing together live since earlier this year, honing the new material to a rock and roll sheen and giving the tunes an overall tougher sound than the studio versions.

Alberta Cross (Fredrik Aspelin; Petter Ericson Stakee; Dan Iead) (photo credits: DARREN TRACY)

A couple of things were evident from the beginning: Petter’s voice, while a bit reedy on record and during acoustic performances, has a huskier – dare I say – a heavier rock quality that fits this band and this material quite well; likewise, his guitar playing takes on a bluesy quality (amidst a few insane rave-ups) that brings to mind such players as Keith Richard and, yes, even the late ’60s trinity of Eric Clapton, Jimmy Page and Jeff Beck. The rhythm section more than held their own, with Aspelin proving to be an adept timekeeper, as well as delivering some well-placed, occasionally adventurous fills and Villanueva’s sonorous bass lines holding everything together nicely. Levy added his trumpet (and synth-produced brass parts) primarily to the newer material, which has a soulful, Memphis feel about it. With Iead matching Stakee in the intensity market on guitar and adding the occasional plaintive strains of the pedal steel, the Memphis vibe was even more evident. The material from the ALBERTA CROSS album – “Western State,” “Ghost of Santa Fe” and “Isolation” among them – has set a new standard for Stakee and Alberta Cross (in whatever form) to build on for future live appearances, while the new, beefed up sound has also infused songs like “Money For the Weekend (Pocket Full of Shame)” with a renewed vitality. This show was everything I had envisioned it would be… and more! Though I would certainly have preferred a longer, headlining set from Petter and his group, I must admit that they were the perfect opener for Erika Wennerstrom’s rampaging Heartless Bastards.

Heartless Bastards (Kyleen King; Erika Wennerstrom; Mark Nathan) (photo credits: DARREN TRACY)

The Bastards took the stage with Jesse Ebaugh on pedal steel, Mark Nathan on bass and super-utility player Kyleen King on second guitar for a hard-hitting version of “The Mountain.” Nathan and Ebaugh returned to their “natural” positions (Jesse on bass; Mark back to guitar) with Wennerstrom taking up an acoustic guitar for the first of several tracks from the recently released RESTLEES ONES, “Gates of Dawn,” which has a bluesy, sloppy, occasionally glammed-out Pretty Things meet Mott the Hoople vibe. Erika’s vocal style has been likened to Grace Slick but, I also get a touch of Bonnie Raitt… maybe that has more to do with her bluesy guitar and the strong Midwestern ethos she evokes through her lyrics. Whether she’s strumming or picking a beautiful melody or blasting jagged shards of noise and feedback, it is obvious that Erika Wennerstrom is a guitar player to be reckoned with… a force of nature, barely restrained by the confines of a simple pop tune; the fact that she makes it all seem so effortless merely adds to the mystique of Heartless Bastards‘ live sound.

Heartless Bastards (Dave Colvin; Erika Wennerstrom; Jesse Ebaugh) (photo credits: DARREN TRACY)

Erika’s bandmates proved they were no slouches themselves, as evinced by their beefy, Zepplinesque playing on “Got To Have Rock and Roll,” with drummer Dave Colvin and bassist Jesse Ebaugh adopting the heavy, funky groove of Bonham and Jones and Mark Nathan delivering monster power chords and a brilliantly conceived solo. New music, including the atmospheric “Pocket Full of Thirst,” the sludgy hard rock of “Wind Up Bird” and the fragile balladry of “Into the Light,” dominated the set to great effect; generally speaking, veteran bands are lucky to be able to incorporate two or three new songs into a set of old favorites without causing undo anxiety among their fans. It is a compliment to the Bastards and their fans that at least half of the evening’s set comes from an album that is barely three months old. The show ended with an incredible version of the anthemic “Parted Ways,” from 2012’s ARROW release, which, as the tune morphed into the pseudo-psychedelia of “Tristessa,” saw the band lean their guitars against their amps before exiting the stage, leaving Erika alone at her microphone amid the throbbing feedback. With emotions running high throughout the set, this finale was like an emotional bloodletting, like a launderer ringing out the last vestiges of dampness from a favored shirt. And, that, dear friends, is what a night of great music should be like, with artist and audience investing every ounce of their beings into a performance, drawing off the emotions emanating from both the stage and the floor.

THE EDUCATED GUESS/SYNA SO PRO

(August 21, 2015; OFF BROADWAY, Saint Louis MO)

For whatever reason, the tag “local band” is anathema in these parts; unless, of course, you’re talking about a cover – oh… I’m SO sorry… I meant a “tribute” – band playing in the corner of a bar somewhere. I’ve never quite understood that mentality, ’cause every band is local SOMEWHERE… right? Now, obviously, there are exceptions – bands and artists who offer a sound so unique or simply too good to be ignored… even in their hometown. The Educated Guest is one such band. This Friday night saw a packed house at Off Broadway, there to see the self-proclaimed symphonic pop brainchild of Charlie Brumley rock the rafters. And, as we’ll impart later, they most certainly did!

Syna No Pro (Syrhea Conaway) (photo credit: DARREN TRACY)

The evening kicked off with Syrhea Conaway, a solo artist doing business as Syna So Pro. Initially, I thought, “Oh, great! Another singer/songwriter with a keyboard! How imaginative!” Man, was I wrong! Syrhea picked up a guitar, punched a couple of buttons on her keyboard and tapped a pedal or two with her feet and played a series of power chords while intoning a line or two of lyrics into a mic; she then hit another few buttons, looping everything, before picking up a violin and repeating the process. The piece eventually brought her back to the guitar, where she played a rather intricate progression of notes that, once looped and re-looped, brought the whole thing together. The really cool thing about the way Conaway works is the fact that most of her songs seem to emerge fully realized BEFORE she starts adding layer after layer of guitar, vocals, keys or violin; watching her basically produce a new piece of music on the spot was mesmerizing. Aside from the digital trickery, it is quite apparent that Syrhea Conaway possesses a massive amount of talent as both musician and composer. Another quirky aspect of the live set was the stage banter, with Syrhea holding a conversation with herself, via pre-recorded comments, questions and jokes; they didn’t all work, but it was still a neat touch. At one point, her digital recorder misfired. A lot of performers would have had a major meltdown; Syrhea’s incredible stage presence and self-effacing humor came to the fore, as she kept the crowd entertained while fixing the problem. As ultimately enjoyable as this performance was, I would kinda like to see Conaway in a full band context (she has played in several over the years), creating these mind-boggling soundscapes while bouncing ideas off a group of like-minded musicians. Even if that never happens, I will still have this six-song set by Syna So Pro stuck in my head as one of the most imaginative performances I’ve ever seen.

The Educated Guess (photo credit: DARREN TRACY)

Charlie Brumley’s eleven piece (yes… I said eleven piece!) band worked as a well-oiled machine, delivering a show that was part Motown Soul, part Vegas spectacle, all 1960s-style pop brilliance. An Ike Turner/mad genius type (without the violence and mounds of white powder that not-so-mysteriously disappear up his nose), Brumley acts as lead vocalist, keyboardist and musical director, leading a four-piece brass section (Devin LaRue and Kenny Summers on tenor and bass trombone, respectively; Zack Hall on trumpet; Jim Scheffer on alto sax), three background singers (Arrika Rayburn, Jess Speropulos, Jamie-Lee Green) and a soulful rhythm section (drummer Brian Pincus, bassist Jon Venegoni, guitarist Grant Alexander) through what one would imagine an early ’60s pop or Motown live extravaganza would look and sound like… without a feeling of nostalgia or the kitsch generally associated with such endeavors.

The Educated Guess (Charlie Brumley, Jon Venegoni, Arrika Rayburn) (photo credit DARREN TRACY) — The Educated Guess (Charlie Brumley, Jon Venegoni, Arrika Rayburn) (photo credit: DARREN TRACY)

The tone for the show was set from the get-go, with the wonderful “Sweet On You (and Getting Sweeter).” Brumley’s deep, soulful voice plays well off the backing and harmony vocals of the three ladies, while the horns add a warm, rich layer that many like-minded bands cannot hope to recreate. As the band (and the crowd) loosened up, their sound took on an even funkier groove, interspersing – of course – the poppy dance tunes with a slow jam or two. One such song, “The Best Part,” taken from the group’s new album (get it here), is a kind of Righteous Brothers ballady thing. That number was followed up by another track from THE EDUCATED GUESS, a Sunshine Pop confection called “Saint Monday (Love, Love, Love).” Later, another pair of songs from the new recording highlighted, not only Brumley’s writing and arranging abilities but, the talented members of the ensemble; “Get You Girl” has a loose sorta “I Can’t Help Myself” (the Four Tops song commonly referred to as “Sugar Pie Honey Bunch”) with a pumping bass, beautiful backing vocals and a nice solo from saxophonist Scheffer, while “Maybe” is a slow building tune that again features Scheffer, this time as singing counterpoint to Brumley, who adds his own amazing piano signature.

The Educated Guess (Arrika Rayburn, Jess Speropulos, Jamie-Lee Green) (photo credit: DARREN TRACY)

The twelve song set ended with an absolutely stunning “remix” of R Kelly’s remix of his own “Ignition.” Other highlights of the set proper included “A Good Kisser (Don’t Kiss and Tell),” “Wandering Eyes,” and “Playing For Keeps.” Not close to having their fill, the audience demanded – and received – an encore of “Tell Me Honey” and “Missin’ Me Some Kissin’ Blues.” Most of the Educated Guess’ recordings and previous performances featured the Emperor Norton Orchestra, so one would have expected the sound to be… uh… a little thin. Far from it, the musicians and singers filled any void that may have occurred due to the (relatively) smaller pop-oriented group. This was, simply stated, an evening filled with fun music, meant to evoke the warm fuzzies and to get toes tapping and butts shaking. If you haven’t seen (or heard) the Educated Guess, you owe it to yourself to do so at your earliest convenience.

The Educated Guess (Zack Hall and Jim Scheffer; Brian Pincus, Grant Alexander and Jon Venegoni) (photo credits: DARREN TRACY)

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | August 24, 2015 | Arrika Rayburn Brian Pincus Charlie Brumley Dance Music Devin LaRue Electronic Music Experimental Music Grant Alexander Improvisational Music Jamie-Lee Green Jess Speropulos Jim Scheffer Jon Venegoni Kenny Summers Live Music Music Off Broadway Pop Music Rhythm and Blues Rock and Roll Saint Louis Soul Music Syna So Pro Syrhea Conaway The Educated Guess Zack Hall

RASPUTINA/DANIEL KNOX

(August 9, 2015; OLD ROCK HOUSE, Saint Louis MO)

Pretty much everybody has a bucket list. The bucket lists of people who write about music looks a whole lot different than other such lists; my list probably looks unlike anyone, anywhere, in any profession. Unfortunately, at least two-thirds of my list would require a time machine, so… what about that other third? Well, on a Sunday night in August, I was able to cross one item from my list: Rasputina live, with yours truly front and center. I have, occasionally, been disappointed after accomplishing something from my list; this one more than lived up to my expectations. The fact that the show took place at Saint Louis’ Old Rock House was a bonus.

Daniel Knox (photo credit: DARREN TRACY)

A second bonus was the opening act, Daniel Knox, a quirky, disheveled singer/songwriter with a pen tucked behind his left ear and a penchant for rummaging through a stack of crumpled notebook paper, looking for the lyrics to his next song. It wasn’t hard to keep track of how many songs Knox performed… you just had to follow the bouncing wads of paper. You see, as he finished one song, he would crumple the lyrics and drop the paper at his feet. Accompanying himself on electric piano and the occasional backing track or kazoo (on “You Win Some, You Tie Some”), Knox relied heavily on his new, eponymous third album, offering up the new single, “Blue Car,” a song about a near-deserted mall in his hometown (Springfield IL) called “White Oaks Mall” and a “song about my imaginary friend… my Mom wouldn’t allow him in her car, he wasn’t allowed in the house” called “David Carmichael.” Daniel’s odd, mumbling stream-of-unconsciousness intros were almost as good as the songs themselves. He introduced “Blue Car” as, “A song about time travel. I wrote it when I was ten… ten years from now.” The lyrics to another, called “Chasescene,” includes the macabre couplet “I love you in the ground/Your naked and cannot make a sound.” As stark and bleak as the studio versions tend to be, they take on a whole new creepiness with the minimal, solo approach, especially stuff like “Get To Know Your Neighbors” and “Ghostsong.” This performance was totally unexpected and very much the perfect table-setter for the headliners.

Rasputina (Melora Creager) (photo credit: DARREN TRACY)

Melora Creager may forever be linked to Nirvana as the cellist on the European leg of their IN UTERO tour (the final tour, a couple of months before Kurdt shuffled himself off this mortal coil) but, to an ever-growing fan base, for the past twenty-some years, she is the musical and visual mastermind behind Rasputina. Creager’s backward-looking, forward-thinking music and fashion-sense glorifies the forgotten women and near-apocalyptic events of history, primarily highlighting the Victorian Age; her aesthetics have been a major contributor to the rise of the Steampunk phenomenon. And, of course, her music and Rasputina fill a big hole for people who miss the anything-goes quirkiness of the mid-to-late 1960s. A quick look around the room shows that the enigmatic three-piece reaches everyone from old hippies to young alt-rock punks, all of them rapturously soaking in the sounds of the past two centuries. Melora’s current bandmates – Carpella Parvo, who also plays cello, and Luis Mojica, who adds some well-placed keyboard elements and anachronistic beat-boxing – are equally important in bringing her vision to the stage. Covering a wide range of material (from 2002’s CABIN FEVER! to the recently released UNKNOWN, as well as some cool covers), Rasputina’s set was a slow-burn affair, relying more on lyrical emotion than musical crescendos, though there were enough intense moments and interaction between the players (especially Creager and Parvo) to keep the uninitiated (including me) involved and captivated by the show.

Rasputina (Melora Creager; Carpella Parvo) (photo credits: DARREN TRACY)

The majority of the material came from the last three Rasputina releases, with four from 2010’s SISTER KINDERHOOK and three each from 2007’s OH PERILOUS WORLD (including the frigid set opener, “1816, the Year Without a Summer,” which name-checks Mary Shelley – the inclement weather forced her and her friends to stay indoors, where Shelley wrote FRANKENSTEIN, OR THE MODERN PROMETHEUS during the prolonged exile – among others) and UNKNOWN. A frantic “Holocaust of Giants” kicked off a trio of …KINDERHOOK tunes, followed by an operatic “Sweet Sister Temperance” and “Humankind, As the Sailor,” which featured Mojica’s persistent Native American percussion to great effect. An oddly appealing cover of Goldfrapp’s “Clowns” put an end to the first portion of the recital.

Rasputina (Melora Creager; Luis Mojica) (photo credits: DARREN TRACY)

The three new songs made up the set’s middle section, with a tale of a famed lady-in-waiting in the Court of Queen Elizabeth, “Bridget Manners,” “Indian Weed,” which allowed Melora and Carpella a bit of a break, with Luis looping the rhythm part of Creager’s cello, and a fever dream paean to Melora’s poltergeist called “Psychopathic Logic.” The latter led into a very cool take on Ray Davies’ “I Go To Sleep,” an early demo of which appeared on a “kitchen sink” compilation called GREAT AMERICAN GINGERBREAD. Other highlights of the evening – of which there were too many to tell you about – included the final SISTER KINDERHOOD number, the fragile “This, My Porcelain Life,” another historical piece called “Rats,” which recounts the time Bolivians asked the Pope to declare the vermin to be fish to alleviate starvation and featured a squalling, slide guitar-like solo from Melora and fan favorite, “In Old Yellowcake,” which not only featured hauntingly visual lyrics about the vagaries of war but, rocks pretty hard, too, with a fairly awesome instrumental section with the cellos coming in with a rather dissonant sounding counterpoint before sliding into a nice harmony bit. And, of course, what Rasputina recitation would be complete without their brilliant take on Pink Floyd’s ode to broken friends, “Wish You Were Here?”

Rasputina (Carpella Parvo; Melora Creager; Luis Mojica) (photo credits: DARREN TRACY)

I will admit that this was an exceedingly different show than I usually go in for but, by the end of the night, I was taken by the sheer theatricality of Melora Creager’s music and lyrics and the performance of all three members of Rasputina. Luis Mojica, in particular, comes across as a sort of super utility player, with his beat-box percussion, his use of the occasional hand drum and other percussive instruments and, naturally, the variety of instruments programmed into his simple keyboard. As in most great musical pieces, this performance proved that it isn’t only the notes played but, sometime, it’s the notes not played. Even though I can now cross Rasputina live off my bucket list, that doesn’t mean that I wouldn’t revisit that particular item if given the opportunity.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | August 12, 2015 | Acoustic Music Carpella Parvo Chamber Music Daniel Knox Folk Music Gothic Music Live Music Luis Mojica Melora Creager Music Old Rock House Post-Punk Music Rasputina Rock and Roll Saint Louis Singer/Songwriter Theatrical Rock

THE HILLBENDERS

(August 1, 2015; OLD ROCK HOUSE, Saint Louis MO)

What a weird and amazing weekend this was! Friday night saw me at Pop’s for the crushing metal frenzy of Coal Chamber, Fear Factory and others; Saturday was my introduction to a venue (Old Rock House) and a bluegrass band (the Hillbenders), both of which more than lived up to their hype. With former Mississippi Nights (a moment of silence, please) booker and manager Tim Weber at the helm of the House, I knew that the sound and the experience would be exceptional. Granted, there is a different feel, a different ambiance in the House compared to the grittier vibe of the Nights, but that could just be because of the wine-sipping crowd of aging hipsters (I may be aging but, I’ve never been accused of being a hipster). Once the music started, however, the place came alive… not as raucous as one of those nights on the Landing, but fun, nonetheless.

The Hillbenders (Gary Rea, Chad Graves) (photo credit: DARREN TRACY)

The five-piece Hillbenders, hailing from Springfield MO, are not bluegrass traditionalists, though they do doff their collective caps in acknowledgment to the heroes and legends of the past; the band also has their feet firmly planted in their own rock and roll roots. By using “traditional” bluegrass instrumentation, vocal harmonies and arrangements, the Hillbenders (mandolin player Nolan Lawrence, banjo player Mark Cassidy, guitarist Jim Rea, his cousin, bassist Gary Rea, and dobro player Chad “Gravyboat” Graves… the only thing missing is a fiddle) are creating a niche genre that bluegrass, rock, even country purists can all enjoy, finding common ground in an otherwise contentious musical climate.

The Hillbenders (Gary Rea, Jim Rea) (photo credit: DARREN TRACY)

The Old Rock House show, advertised as “an evening with the Hillbenders,” promoting their new album – a reworking of the Who’s classic rock opera, TOMMY, subtitled “A BLUEGRASS OPRY” here – began with a nearly hour-long set of originals spiced with several well-chosen traditional and unconventional covers, effectively meaning that the band acted as their own opening act. With Lawrence taking the majority of the lead vocals (though Jim also took his fair share of leads), the group tore through the catchy “Radio” and the Swiftian (as in Taylor… forgive me for evoking such a name, oh vengeful gods of music) “Done Wrong Love Song,” as well as such other originals as the Gothic murder tune “Red Stains” and the dreamy “Spinning In Circles,” as everyone joined in on harmony. While each musician took leads or solos, it was the histrionics and majestic facial foliage of Graves and the brilliant banjo playing (and good looks) of Cassidy that became focal points, particularly with their fiery interaction on a wicked cover of the Romantics’ “Talking In Your Sleep.” Other notable covers included a faithful “Roll In My Sweet Baby’s Arms,” the Flatt and Scruggs classic from 1951, and a hauntingly beautiful take on the Beatles’ “Oh! Darling.” Though the dance floor remained – for the most part – incomprehensibly empty, there were a few couples tripping the light fantastic, one gentleman who was merely tripping (take that as you will) and one unafraid, totally adorable little girl (maybe four or five years old) who took to the floor, melting the hearts of everyone around her.

What a cutie! The Hillbenders' fans come in all shapes and sizes. (photo credit: DARREN TRACY) — What a cutie! The Hillbenders’ fans come in all shapes and sizes. (photo credit: DARREN TRACY)

A ten minute break turned into close to a half hour wait before the band, rested and sporting fresh duds, took the stage for TOMMY. I had yet to hear the new record, so I wasn’t exactly sure how this one was gonna shake out. However, from the first notes of the opening “Overture,” I was completely sold on this concept. Not because of any kind of kitsch or PICKIN’ ON… approach to what is, arguably, Pete Townshend’s first great work but, rather, because the Hillbenders are very serious about this project, which serves not only as tribute or homage, but as a superb re-imagining, as well. Again, Nolan, as “narrator,” handled the majority of lead vocals, though – with a number of songs that were specifically written in the voices of several of the story’s characters – there were opportunities for all five ‘Benders to take a lead or two. While the group played the original TOMMY album in its entirety, the holes in Townshend’s plot demanded a bit of clarification; Jim Rea filled in those dark areas with spoken expositions, moving the story along nicely. Likewise, Rea’s acoustic guitar gave a note of authenticity, as much of the Who’s original featured layers of acoustic rhythm and lead guitar, with either John Entwistle’s bass or the occasional electric guitar solo offering depth and power to the music. Nolan’s nimble mandolin work managed to weave its way into and through the arrangements, playing parts that were originally written for guitar or piano, even punctuating certain parts with a percussive flair. As with the earlier set, most of the heavy lifting was done by Mark and Chad, with Gary carrying Entwistle’s beefy bass lines throughout on his upright (an estimable feat, to be sure).

The Hillbenders (Mark Cassidy, Chad Graves) (photo credit: DARREN TRACY)

Like the original 1969 offering from the Who, the Hillbenders’ live version of TOMMY was ripe with highlights, including the trippy “Amazing Journey,” and forceful instrumental, Sparks,” one of the best one-two punches in rock and roll history. “Sparks,” in particular, allowed each of the musicians to flex their solo muscles. “Eyesight To the Blind,” by the second Blues legend to use the name Sonny By Williamson, fit in nicely and worked as a powerful introduction to the seductress/prostitute/dealer “Acid Queen” later in the narrative. John Entwistle’s two songwriting contributions introduced us to Tommy’s mischievous “Cousin Kevin” and, in “Fiddle About,” his wicked Uncle Ernie, both performed with a sort of sick glee. Of course, the one song that just about everybody knows – even those who don’t like rock music or the Who – is “Pinball Wizard,” with its refrain of “That deaf, dumb and blind boy/Sure plays a mean pinball.” The acoustic lead guitar and the two-note bass punctuations made it an adventurous commodity for a group like the ‘Benders but, like everything else, they made it their own and breathed new life into a classic.

The Hillbenders (Nolan Lawrence) (photo credit: DARREN TRACY)

As the lead character moved into self-realization and became a messiah to the masses of disenfranchised youth, the music started to take on a brighter feel, beginning with the wistful, wishful “Tommy Can You Here Me,” with its haunting harmony vocals provided by all five Hillbenders. The narcissistically upbeat “Sensation” eventually led to the celebratory tune “I’m Free,” visiting the home of “Sally Simpson” as she sneaks out to get a glimpse of her idol. As Sally attempts to touch Tommy, she is brutally asked to leave the stage by a pushy police officer, hitting her cheek on a chair; naturally, as she received sixteen stitches to close the wound, her father made sure she understood that that’s what happens when you disobey your parents. Keith Moon’s “Tommy’s Holiday Camp” was as loopy and loony as the mad drummer himself, with Cassidy, Graves and Jim Rea, in particular, furiously bending strings to approximate the whirling, kaleidoscopic frenzy of the original. Tommy’s followers have wised up, shouting “We’re Not Gonna Take It,” with the sudden realization that his family and corporate handlers had used them for dupes, leading to their former messiah seeking their guidance.

The Hillbenders (Mark Cassidy) (photo credit: DARREN TRACY)

There have been plenty of versions of TOMMY – most headed up, in some fashion, by the Who – but, this performance by the Hillbenders may be most honest, unaffected take I’ve heard since the original. The group doesn’t play it at every show on their current tour and if you are lucky enough to be in a town where they are playing it, you owe it to yourself to be there. Before the show, I joked that it would be cool if the Hillbenders would do an encore of Who tunes, like “Substitute,” “Won’t Get Fooled Again” and “I’m a Boy.” We didn’t exactly get that but, we did get a suitably creepy version of “I Can See For Miles,” with Mark Cassidy taking the lead vocals. Mark’s monotone delivery and piercing stare struck just the right chord for the tune and was a great way to end one of the best nights of music that I’ve ever had the privilege to attend.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | August 7, 2015 | Acoustic Music Americana Bluegrass British Invasion Music Chad "Gravyboat" Graves Classic Rock Country Music Gary Rea Jim Rea John Entwistle Keith Moon Live Music Mark Cassidy Mississippi Nights Music Nolan Lawrence Old Rock House Pete Townshend Pop Music Rock and Roll Rockabilly Roots Rock Saint Louis Sonny Boy Williamson Springfield MO The Hillbenders The Who Tim Weber TOMMY

BUNNYGRUNT/NERVOSAS/ROYAL HOLLAND/VEIL

(July 18,2015; OFF BROADWAY, Saint Louis MO)

4, 2, 1, 3, Go (photo credit: KENDALL BRUNS)

I know that none of you could ever conceive of this, but… yours truly has, upon occasion, been known as the perpetrator of some fairly boneheaded moves. Perhaps one of the biggest involves the band Bunnygrunt. You see, over my twenty-plus years in this business, I have never seen (or really even heard) one of Saint Louis’ most-beloved musical acts. Why, you ask? As odd as it sounds… I didn’t particularly care for the name; yup… that’s it! I simply did not think Bunnygrunt was a name befitting a rock ‘n’ roll ensemble. After Saturday’s show at Off Broadway (my first “grunting”), I come to you, knees bent and head bowed in an abject act of contrition for being such a name-hating idjit.

Veil (Ashley) (photo credit: DARREN TRACY)

The evening’s affair actually encompasses two separate and very distinct shows: Bunnygrunt and Royal Holland were originally scheduled with another act at the venue but, when the third act had to cancel, the ‘Grunt’s Matt Harnish asked a couple of punk bands, who had a house show scheduled, if they would like to join forces for the Off Broadway show. It certainly looks odd on paper but, it makes a certain amount of sense, as Ashley Hohman, from the Saint Louis group Veil, had already been penciled in as Bunnygrunt’s bassist-for-the-night.

Veil (Gabe) (photo credit: DARREN TRACY)

The music of Veil is old school, a cool blend of the Damned and early Misfits. The reverb and echo sometimes got in the way of Ashley’s vocals and, somehow, managed to seep into every aspect of the performance. I mean, seriously… how do you manage to get reverb on a drum kit? Ashley’s bass and Gabe’s primal skin-beating fueled the group through a set that was, though technically short (about 20 minutes), filled to the brim with punk goodness. With Chris and Leo’s grinding, slashing guitar attack, the quartet played their latest six-song demo, MANIAC, in it’s entirety and tossed in a killer version of Patti Smith’s classic anthem, “Because the Night,” for good measure. Aside from the reverb overkill, Veil’s set was fun… a great way to kick off the night.

Royal Holland with Kendall Bruns (photo credit: DARREN TRACY)

Royal Holland is a scruffy-looking, soft-spoken, unassuming sort of guy; the kind of guy you may not even give a second look, except for his piercing eyes and friendly smile. If you’ve given a listen to his music (a pair of EPs), his voice is a lilting, calming thing; the tunes range from folky solo outings to ethereal doses of poppy Americana. However, once he took the stage, the soft-spoken, unassuming demeanor was gone, replaced by a confident, snarling singer and raging guitarist; the music took on a tougher patina, pushing the songs’ boundaries into a harder rocking vein. And, yeah… he did it mostly with an acoustic guitar, a notable exception being the freak-out/rave-up of set closer, “Flamingo,” from the recently released VOLUME TWO set.

Royal Holland (Margaret Darling; Matt Retherford; Wonky Tonk) (photo credits: DARREN TRACY)

Holland’s band, all top-notch musicians and as unassuming as the singer, may appear laid back in their approach but, they matched Royal’s incendiary performance note for note. Drummer Matt Retherford and percussionist Margaret Darling (who also provides some keyboard shading to the darker songs) expertly drive the music forward without overplaying or overshadowing the tunes with flashy displays. Kendall Bruns adds just the right amount of vocal support and his rootsy ukelele accompaniment keeps the music grounded in Americana. Jasmine Poole, who goes by the odd sobriquet “Wonky Tonk,” was filling in on bass and hitting all the right notes. As animated as she is off-stage, she tended to stay just out of the reach of the stage lights, pouring everything she had into her playing. Royal and the band started their set slow, with “Shore” from the first EP, VOLUME ONE, and built the tempo and the cascading emotional moments with strikingly brilliant songs like “Statues” and “The Grave,” leading into that final release on “Flamingo.” Lyrically, musically and emotionally, this is a thinking man’s band; in those euphoric moments, when word and melody and heart transcend the boundaries of what we call music, it stirs something deep in the soul. For me, on this night, Royal Holland stirred my soul.

Nervosas (Mickey; Jeff) (photo credits: DARREN TRACY)

If Veil reveled in punk’s more ghoulish, Hammer Horror side, Nervosas celebrated the early days of English punk, with equal parts Sex Pistols, Chelsea, Billy Idol’s Generation X and the Clash (with more than a touch of TSOL, Dead Kennedys and classic X thrown in for good measure); main vocalist and bass player Jeff even has Idol’s bleach blond punk cut, chiseled good looks and just the right amount of venom in his voice. The slash and burn attack of guitarist and second vocalist Mickey gives the tunes an air of chaos, punctuated by her backing vocals… more of a manic howl than anything else. As Nervosas’ sound occasionally threatens to uncoil, the group’s third member, Nick, manages to hold everything together with a thunderous – and surprisingly supple – approach to his drumming.

Nervosas (Nick) (photo credit: DARREN TRACY)

Seven of the set’s nine tunes came from the brand-spanking-new self-titled release from Dirtnap Records, which is more nuanced than the trio’s previous recordings. Even so, the buzzsaw guitars, pummeling drum attack and Jeff’s Ian Curtis wail on such graveyard ballads as “Night Room,” Quarantine” and “Arcadia” tended to tear at the jugular. Nervosas’ set proved to be as visceral an experience as that of Royal Holland but, where that seared the soul, this was more like a punch to the solar plexus… just like any punk band worth their salt should deliver. I look forward to each evolutionary advancement on future Nervosas records; I likewise look forward to more scorching, unapologetically balls-out live sets.

Bunnygrunt (Ashley Hohman, Eric Von Damage, Matt Harnish) (photo credit: DARREN TRACY)

And so, it was on to the headliners: Saint Louis’ mighty Bunnygrunt, feting the release of their first album in six years, VOLUME FOUR. Opening with the high impact couplet of “Big Fake Out” (the first track from 1998’s JEN-FI album) and “South Kingshighway Bubblegum Factory” (from 2009’s MATT HARNISH AND OTHER DELIGHTS), the modified trio (figurehead and de facto leader Matt Harnish, drummer Eric Von Damage and Karen Reid’s more-than-capable semi-permanant fill-in, Ashley Hohman) joked and played their way through a set that was long on songs from the new record, while still offering the fans a good dose of the songs they’ve come to love over the band’s twnety-plus year career. The house was rockin’, with the crowd singing along, holding a running conversation with Harnish between tunes and giggling like school girls at the stories and commentary from the stage. And, of course, who could not have a good time hearing bent little pop ditties like “Transportation Pants” (from the group’s first full-length, ACTION PANTS, which eventually devolved into the trashy, thrashy “1000% Not Creepy”), “Young Abe Lincoln” and “Chunt Bump?”

Bunnygrunt (Matt Harnish) (photo credit: DARREN TRACY)

Von Damage and Hohman kept things tight but bouncy rhythmically, allowing Harnish the luxury of doing just about anything that came to mind melodically, including the occasional guitar freak-out, as on the Kinks’ “Last of the Steam-Powered Trains,” which morphed into “Led It Out,” a tune from the new record that‘s more than a nod and a wink to the dirigibly renamed New Yardbirds and their poppier predecessors. On “Frankie Is a Killer,” the bass and drums rolled and crashed underneath Matt’s dire warnings to protect your loved ones; the song, delivered wrapped in a pretty, jangly pop bow, featured a guitar solo that paid homage to the Saint Louis sound created by Johnnie and Chuck, lo, those many years ago. Ashley handled the vocals on the rambunctious “Still Chooglin’ (After All These Beers),” a number that’s equal parts Creedence Clearwater Revival swampy pop and early Stooges mayhem. “Don’t Forget Who Your Friends Are” turned into a purposefully sloppy train wreck, with a messed up kinda guitar solo that led to a full stop in the proceedings before charging back into the chorus.

Bunnygrunt (Ashley Hohman; Eric Von Damage) (photo credits: DARREN TRACY)

Matt, Eric and Ashley showed off their rock ‘n’ roll chops from the get-go and, seeking to please the rabid crowd, pulled out every trick they had in their magician’s hat of musical stage magic, ensuring that everyone – from the long time, diehard fans to the newcomers like me – would long look back on this night with the fondest of memories. Now, who could possibly ask for more than that?

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | August 4, 2015 | Acoustic Music Alternative Rock Americana Ashley Hohman Bunnygrunt Chris Eric Von Damage Folk Music Gabe Garage Rock Gothic Music Jasmine Poole Jeff Karen Reid Kendall Bruns Leo Live Music Margaret Darling Matt Retherford Mickey Music Nervosas Nick Off Broadway Pop Music Post-Punk Music Punk Rock Rock and Roll Royal Holland Saint Louis Singer/Songwriter Veil Wonky Tonk

BETH BOMBARA/LOOT ROCK GANG/RIVER KITTENS

(June 27, 2015; OFF BROADWAY, Saint Louis MO)

Window Time With Beth Bombara (photo credit: DARREN TRACY)

Words truly cannot express how much I like seeing a show at Off Broadway. Since I started reviewing live music again, I have found myself at this venue more often than not and I am totally enamored of the look, the sound, the staff and the overall vibe of the club. Of course, the fact that they are currently booking some of the most interesting shows in town doesn’t hurt; so I was more than willing to make another visit for Beth Bombara’s record release show.

River Kittens (Mattie Schell, Martha Mehring, Allie Vogler) (photo credit: DARREN TRACY)

River Kittens are an old-school Country Western vocal group; think the Carter Family… Mother Maybelle with Helen, Anita and June huddled around a single microphone. Or, maybe, a more accurate approximation would be Dolly, Emmylou and Linda, a la their TRIO album… only bawdier. The ladies mixed some well chosen covers (Wayne Raney and Lonnie Glosson’s 1949 classic ode to the “love bug,” “Why Don’t You Haul Off and Love Me” and Aretha’s slinky, funky “Baby I Love You” from 1967) in with solid originals like set opener “Trouble,” “On My Way” and set closer “Praise Be.” The bulk of the leads were taken by Martha Mehring, though multi-instrumentalist Allie Vogler and mandolin player Mattie Schell added the occasional lead part to the group’s magnificent harmonies. There-in lies the strength of these Kittens: Three strong voices blending together beautifully.

River Kittens (Mattie Schell; Martha Mehring; Allie Vogler) (photo credits: DARREN TRACY)

If it wasn’t obvious before, it became quite evident that Mehring was the “Mama” Kitten with her intro to “Dressing On the Side.” She mentioned that she wasn’t in a very good mood because she’d had a bad day at her other job, as a waitress, and then went through a litany of weird demands and rude comments she’d heard and little (or nothing) in the way of tips from the customers at the little cafe where she works. At the end of her hilarious tirade, she seemed contrite, finishing with, “So, if you were one of those customers… you look familiar, sir. Fuck you and please come again!” An old pal, Tim Gebauer, told me that River Kittens were the real deal; now, I’m here to tell you that he was spot on with his assessment… River Kittens are definitely the real deal! If you have a chance to see them, don’t pass it up; you will be thoroughly entertained.

The Loot Rock Gang (Stephen Inman; Kevin O'Conner; Little Rachel) (photo credits: DARREN TRACY) — The Loot Rock Gang (Stephen Inman; Kevin O’Conner; Little Rachel) (photo credits: DARREN TRACY)

The Loot Rock Gang followed with their rootsy Hot Jazz vibe – spiced with liberal doses of true Saint Louis Blues. The melting pot of musical styles was the perfect compliment to both River Kittens’ opening shot and Beth Bombara’s celebratory closing set. The playful vocals of the husband and wife team of Mat Wilson and Little Rachel set the feel of the music; Mat’s acoustic resonator guitar, Stephen Inman’s upright bass and the baritone of guest sax blower Kevin O’Conner (on loan from the Seven Shot Screamers, where he mans the drum throne) filled in some of the bright spots. Starting with the band’s mission statement, “Loot Rock Boogie,” Rachel was an always-smiling dervish of kinetic energy; she wore me out just watching her. She has one of those voices that leaves me thinking that she should be performing in an Old West saloon, which easily compliments Wilson’s smooth-as-silk delivery.

The Loot Rock Gang (Mat Wilson) (photo credit: DARREN TRACY)

The Gang’s set was heavy on material from the recent THAT’S WHY I’VE GOT TO SING release – and… can you blame them? From front to back, it’s full of great originals from Mat, including the fun, countrified boogie of “My Gal Friday,” the joyous title cut (which saw Mat really cut loose on guitar) and the twin anthems to their hometown, “Bank Despair” (“a song about a certain river around here”) and “Love For My City.” Sprinkled amongst the originals were such gems as Blind Blake (real name: Alphonso Higgs) and His Royal Calypsos’ 1952 song, “The Goombay Rock” and the 1920s novelty hit “Kansas City Kitty,” performed with the same aplomb as Wilson’s tunes. As a nearly-last-minute replacement, O’Conner should definitely receive a mention for his spot-on performance, offering up great renditions of Kellie Everett’s wailing, bleating bari parts. As with River Kittens, a great time was had by all.

Beth Bombara (photo credit: DARREN TRACY)

Beth Bombara is the Saint Louis music scene’s tiny secret weapon; she has a folk singer’s head and a rocker’s heart… her lyrics are definitely as heartfelt as any songwriter’s and I would pit her guitar work and vocal prowess (imagine Joan Baez, Brandy Johnson and Linda Ronstadt meeting up at the back of Aretha Franklin’s throat for a good ol’ fashioned hoedown) against just about any roots rock or Americana performer out there. Congregating for a release party for her new, self-titled album (which featured prominently in the evening’s set list… nine of the ten songs made up the bulk of the fifteen tune set list), the eager Off Broadway crowd humbled Beth with their enthusiastic welcome and accepting reaction to the new material. She is – rightfully – proud of the new record and the songs she and husband Kit Hamon have written. She told the Mule in a recent interview, “This album was definitely the first time I really sat down, focused and said, ‘Okay, I’m really gonna do this and I’m gonna do it in a certain amount of time’ and, really, just try to give myself deadlines, which I’d never done before… Some people might think that’s kind of counter-intuitive for creativity but, I think it can be a really good thing.” And, to these ears that enforced schedule worked; this new work ethic forced Beth, Kit and her band to up their already considerable game. “Yeah. I feel like it did… well, for one, it made me kind of take writing a little more seriously than I had before, taking myself more seriously as a writer.”

Beth Bombara with Kit Hamon (photo credit: DARREN TRACY)

You can call what Beth does “singer/songwriter,” Americana, Rock and Roll or any other term you can think of but, it was apparent, from the opening strains of “Found Your Way,” that she is the consummate musician and performer, a great storyteller and an amazing guitar player. Hers is a style and tone that demands your attention as much as the songs and the vocals. “I’ve played a lot of different guitars and a lot of different amps over the years but, I would attribute a lot of the tone to Kit. He’s actually built all of my guitar amps… he’s done a lot to build a couple different ones for different uses, whatever kind of song we’re trying to record. I’d say that a lot of that his fault.” As for the guitar in question, the one used most often for this show, Beth says, “That guitar, I’ve probably have had for a year, a year and a half. I’ve been playing it out at gigs a lot… even solo gigs and it seems to work pretty well, using that most of the time and then bringing out the acoustic guitar to balance it out a little bit. That seems to work good for the sound.” The solos range from pretty, melodic interludes to squalling, Neil Youngian blasts of feedback and sustain, each as memorable as the last for the passion and pure joy Bomabara displays, at times taken with the energy of the moment, others with the beauty of the melody and the lyric.

Beth Bombara (Karl Eggers; Corey Woodruff; JJ Hamon) (photo credits: DARREN TRACY)

Beth’s bright, powerful vocals and her incredible backing band come to the fore on songs like the slow Blues burn of “Right My Wrongs,” one of four tunes performed this night taken from 2013’s RAISE YOUR FLAG EP. Kit’s upright bass work adds a supple bounce to whatever tune they’re playing; whether playing the banjo or offering rhythm guitar support, Karl Eggers gives the music an additional layer that’s so subtle, you may not notice but, I guarantee that you would notice if it wasn’t there; Corey Woodruff’s drumming and percussion are impressively rock-steady, proving that a drummer doesn’t have to be particularly flashy to make a musical impression; Kit’s brother, JJ, is the group’s equivalent of a baseball team’s super utility player – a guy you can plug in anywhere and he can get the job done – playing mandolin, lap steel, some guitar (on “In My Head,” from the new record) and the occasional trombone.

Beth Bombara (Kit Hamon) (photo credit: DARREN TRACY)

One of the many highlights of the evening was “Long Dark Hallelujah,” performed by Beth and Kit alone; Hamon’s backing vocals add just the right plaintive tone to the song, a Woody Guthrie-like lyric that wonders aloud how far this country can fall and if we can find our way back to the promises it holds for its citizens and its immigrants. Lyrically, “Promised Land” has an “us-against-the-world” vibe and could well be the sequel to “Long Dark Hallelujah.” JJ’s trombone features on a few tunes, the best example being “In the Water.” A cover of the quirky Cake tune (but then, aren’t they all?), “Jesus Wrote a Blank Check,” slips comfortably into the set list. The set proper ended with Beth, solo, on “Greet the Day,” a number that she says, “almost didn’t make it on the album with lyrics. We recorded an instrumental version just in case I didn’t have time to finish writing lyrics. And so, it really came down to the last day we were recording vocals in the studio and I was trying to finish lyrics for this song and, I was like, ‘I don’t know if this is going to get done!’ They said, ‘Well, you have one hour to do it.” The story hearkens back to tales of Brian Wilson being told he needed one more song for the next Beach Boys album and Brian disappearing for fifteen minutes and returning with another pop masterpiece.

The evening ended with Beth and her band, joined by the Loot Rock Gang and River Kittens, in a circle on the floor, delivering the grand finale… no lights, no microphones. An absolutely stirring moment… even if I was too far away to make out what they were playing. One doesn’t have to be a rocket scientist to understand that this was a special night of music from three very different artists, each keeping the Saint Louis music scene and its rich history alive for new generations of dreamers and performers.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | August 2, 2015 | Acoustic Music Allie Vogler Americana Beth Bombara Blues Rock Corey Woodruff Country Music Folk Music Hot Jazz Jazz JJ Hamon Karl Eggers Kevin O'Conner Kit Hamon Little Rachel Live Music Loot Rock Gang Martha Mehring Mat Wilson Mattie Schell Off Broadway Pop Music Rhythm and Blues River Kittens Rock and Roll Rockabilly Roots Rock Saint Louis Singer/Songwriter Stephen Inman

STEELY DAN/ELVIS COSTELLO AND THE IMPOSTERS

(July 22, 2015; HOLLYWOOD CASINO AMPHITHATRE, Saint Louis MO)

Two long standing musical icons have joined forces for a blockbuster summer tour, with Elvis Costello and the Imposters opening for Steely Dan. The music from both acts was a lot of fun and, considering we were in the midst of a hot, humid Midwest summer, the weather was great.

Elvis Costello (photo credit: MARY MCCARTNEY)

Elvis supplied an hour’s worth of hits from his long, impressive catalog with “Pump It Up,” “Watching the Detectives,” “Alison,” “Veronica” and “Every Day I Write the Book,” ending the set with one my favorite Costello tunes, the Nick Lowe penned “(What’s So Funny ‘Bout) Peace, Love and Understanding.” His long time band, the Imposters, featuring two former Attractions – drummer Pete Thomas and keyboardist Steve Nieve – alongside bassist Davey Faragher, kept things in motion. Actually I wish we could have heard a little more from Elvis and his Imposters but, sometimes, that’s just the way it goes.

Steely Dan (Walter Becker, Donald Fagen) (photo credit: DANNY CLINCH)

Watching Steely Dan is like visiting an old friend. The duo of Walter Becker and Donald Fagen have a deep history with infectious, wonderful grooves and, on this tour, feature a great eleven-piece band backing them. Fagen reminded me of Ray Charles, sitting at the piano, with his shades and moving his head around. His partner-in-crime, the usually microphone-shy Becker, actually did a lot of the talking and, of course, played some great guitar. The hero of the show was the other guitar man, Jon Herington, who ripped off great solo after great solo all night. The set opened with “Black Cow,” from my favorite Steely Dan album, AJA, with the group delivering hits like “Peg,” “My Old School,” “Reeling In the Years,” as well as fan favorites like the slinky, funky “Daddy Don’t Live In That New York City No More.” The ladies providing vocal accompaniment and the brass section were terrific and drummer Keith Carlock had the versatility to keep the grooves loose and fluid throughout.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Bill Winer | July 27, 2015 | Classic Rock Davey Faragher Donald Fagen Elvis Costello Elvis Costello and the Imposters Hollywood Casino Amphitheatre Jon Herington Keith Carlock Live Music Music New Wave Music Pete Thomas Pop Music Progressive Jazz Rock Rock and Roll Saint Louis Steve Nieve The Imposters Walter Becker

TWANGFEST 19: CRACKER/MARAH/GRACE BASEMENT

(June 10, 2015; OFF BROADWAY, Saint Louis MO)

TWANGFEST 19 (photo credit: DARREN TRACY)

Nineteen years on and… I’ve finally made it to a TWANGFEST show! Sure, I was gonna go anyway; I mean… Cracker AND Marah, on the same bill, right? It had been some thirteen years since I last saw Cracker live (at the still-lamented Mississippi Nights) and longer still since I’d seen Marah (a very different version of the band onstage tonight opened for Union at Pop’s in 2000). The packed floor at Off Broadway signalled only one thing: Opening night of TWANGFEST 19 was gonna be one big party!

Grace Basement (Kevin Buckley and Greg Lamb) (photo credit: DARREN TRACY)

Local group Grace Basement were a surprising party favor… not simply because I didn’t know that there would be a third act on the bill, but also because I liked them so much. Spiritual leader, singer, songwriter and guitarist Kevin Buckley’s background in folk music is definitely on display in a live setting, but his voice has a bit more bite and his electric guitar is a bit more explosive than anything from Grace Basement’s latest recorded output, 2013’s WHEEL WITHIN A WHEEL. This night, Buckley was ably augmented by guitarist Marc Schneider, bassist Greg Lamb, keyboardist Tim Sullivan and the group’s not-so-secret weapon, drummer Jill Aboussie. The band ambled through – more than they tore through – a set that featured as many new tunes as songs from the three previous Grace Basement releases, with Aboussie, Sullivan and Lamb supplying a rock-steady underpinning over which Buckley and Schneider could weave their rather unique, rocking guitar sound.

Grace Basement (Jill Aboussie; Kevin Buckley; Marc Schneider) (photo Credits: DARREN TRACY)

It would have been easy for the group to rein in their sound, giving the crowd more approximate versions of the familiar songs but, when emotion and the reaction of a packed house kicked in, the vocals became gruffer, more immediate and the guitars louder and, at times, snottier than the gentle, lilting tones and melodic voices generally associated with Buckley’s more recent studio work. It’s obvious that Kevin’s dream of turning this outfit into more of a classic guitar rock band – at least in a live setting – is, if not fully realized on this night, close to a reality. That’s not to say that there weren’t gentler moments; the bouncy, happy “Summertime Is Coming” and the Irish folk balladry of “Tilly Lingers” still offered glimpses of Buckley’s work with fellow multi-instrumentalist Ian Walsh. I rather like Buckley’s new, brash configuration of Grace Basement; from the response from the floor, the audience liked the sound, too.

Marah (David Bielanko) (photo credit: DARREN TRACY)

As suprising as Grace Basment were, perhaps the most surprising set of the evening (for me, anyway) came from David Bielanko and his group, Marah; this is a far different band than the one I saw open for Union (the band that featured guitarist Bruce Kulick and vocalist John Corabi) in 2000. Though Bielanko’s brother Serge is no longer by his side on stage, the band’s music really hasn’t changed all that much but, I suppose, opening for a group with a hard rock pedigree like Union’s, you tend to play more of the loud, guitar-oriented numbers. Tonight, there were no such restrictions, with Bielanko moving deftly from acoustic to electric guitar to banjo; the band (Christine Smith on piano, vocals and accordion; Mark Sosnoski on bass; Chris Rattie on drums) were definitely up to the task, no matter what he asked of them or where he led them.

Marah (Christine Smith) (photo credit: DARREN TRACY)

The Appalachian stomp of “Faraway You” (from KIDS IN PHILLY, the band’s 2000 sophomore release) followed by the rollicking barrel roll of “Fever” (the opening track from the debut release, LET’S CUT THE CRAP AND HOOK UP LATER ON TONIGHT) are as powerful an opening salvo as you’re likely to hear anywhere. The intensity and raw emotion on display was unlike anything I’ve ever witnessed. The emotional musical hotbed saw Bielanko and Smith trading heartfelt vocals on a tune like “Formula, Cola, Dollar Draft” one minute, delivering a plaintive version of “The Falling of the Pine” from the audience the next; one minute, David was putting the band through their paces on the incendiary guitar rave-up of “Catfisherman,” the next stretching out on a muscular “Limb.” Bielanko’s passionate performance (and the band’s equally fiery backing) was rewarded with the crowd’s insistent call for an encore, which led to an emotional outpouring (and a pretty funny story about the first time playing in front of a paying crowd sober) from David before diving into a fittingly ramshackle take of “Barstool Boys” (or that coulda taken place earlier in the evening or it coulda been a different story and I’m fairly certain I remember hearing “The History of Where Someone Has Been Killed,” but… then again… ). Though I’m unable to identify each song Marah played that night, the pure passion emanating from the stage was real and palpable; if not the particulars of the evening’s set, I will long remember the visceral high of what was happening on the intimate stage of Off Broadway on June 10, 2015.

Cracker (Johnny Hickman) (photo credit: DARREN TRACY)

While Grace Basement were indisputably great and Marah were brilliant, it was obvious that these people were here for a little Cracker. And, so… it was on to the evening’s main event. From the outset, vocalist/guitarist David Lowery and lead guitarist/vocalist Johnny Hickman, the band’s only constants and focal points, took control of the crowd, holding most enraptured and hanging on every word, every note. One of the more entertaining things happening onstage was the disappearance and subsequent reappearance of pedal steel player Matt “Pistol” Stoessel, as dictated by the quirky set list, which relied heavily on last year’s BERKELEY TO BAKERSFIELD and, naturally, the “hits,” which were kinda lumped all together mid-set. Pistol started onstage with the rest of the band for “One Fine Day,” from 2002’s FOREVER album and was prominently featured on most of the new material which has more of a countrified vibe.

Cracker (David Lowery) (photo credit: DARREN TRACY)

For the most part, the rhythm section of keyboard player Robbie Crowell, bassist Bryan Howard and drummer Carlton “Coco” Owens were content to lay back in the pocket, allowing Lowery, Hickman and Stoessel to shine in lead roles. The Hickman sung “California Country Boy,” a rollicking Bakersfield stroll, shone the spotlight on both Crowell and Pistol, with great solos from each. Johnny added just the right amount of twang to his guitar on “King of Bakersfield,” a seeming paean to Buck Owens and Dwight Yoakam. The voices of both Lowery and Hickman sounded a bit ragged on this night, at the end of a long tour; that only added to the rough, take-no-prisoners approach to the music, especially on the 1990 “alternative” tunes. Those songs – “Low,” “Sweet Potato,” “This Is Cracker Soul” and “Euro-Trash Girl” – sound as alive and vital as they did the first time we heard them, allowing Howard and Owens to stretch out a bit, especially on the slinky “Euro-Trash Girl.” As always, Johnny Hickman’s guitar work was impeccable, bordering on the sublime, regardless of musical style and it was more than obvious that he and David Lowery were truly enjoying themselves.

Cracker (Johnny Hickman; Carlton "Coco" Owens; Bryan Howard) (photo credits: DARREN TRACY) — Cracker (Johnny Hickman; Carlton “Coco” Owens; Bryan Howard) (photo credits: DARREN TRACY)

What a great way to kick off the four-day TWANGFEST 19! I just wish that I could have made it to the other shows, which featured artists as diverse as the Bottle Rockets, Matthew Sweet, Lydia Loveless and a reunited Nadine, featuring an old friend, Jimmy Griffin. This show, however, will be forever etched into my memory as one of the best I have ever seen… hands down! If you missed it, shame on you.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | July 8, 2015 | Acoustic Music Alternative Rock Americana Bryan Howard Carlton "Coco" Owens Chris Rattie Christine Smith Country Music Country Rock Cracker David Bielanko David Lowery Folk Music Garage Rock Grace Basement Greg Lamb Jill Aboussie Johnny Hickman Kevin Buckley Live Music Marah Marc Schneider Mark Sosnoski Matt "Pistol" Stoessel Music Off Broadway Post-Punk Music Robbie Crowell Rock and Roll Roots Rock Saint Louis Tim Sullivan TWANGFEST 19

JEFF BECK

(May 19, 2015; THE FOX THEATRE, Saint Louis MO)

Apparently just about everyone I know had seen Jeff Beck in concert except me. Beck, one of the greatest guitarists of all time, has gone long stretches in his storied career without touring extensively, but in the past few years he has come to Saint Louis several times, and finally, I had the opportunity to catch him. And, while I hardly needed any additional proof that he is a hall of fame axeman (past listens to BLOW BY BLOW and WIRED, as well as countless sessions for others made that abundantly clear), nothing quite encapsulates what a major talent can do like seeing them under optimal circumstances in a live setting. And that’s what Beck’s appearance at the Fox Theatre drove home: This guy is just amazing. Some legendary guitarists can be showoffs onstage, and I personally tend to get really bored listening to some well known stringmen merely show how many notes they can whip outta their guitar fluidly and energetically. Making it musically soulful and stirring, that’s what separates the legends from the showoffs. And Beck is a legend, through and through. He plays beautiful, clean melodies and runs that can soothe and serenade or rock your socks off. It’s always about melody and atmosphere with Beck; his innate sense of variety and tonal discipline makes the music rich and powerful. Having a crack band and superb sound enhanced the experience all night at the Fox.

Jeff Beck with Nicolas Meier, Australia 2014 (publicity photo)

Beck performed some well-known covers such as Sam Cooke’s “A Change Is Gonna Come” (one of a handful of songs performed with riveting style and sass by his vocalist and harp player, Jimmy Hall), Hendrix’s “Little Wing” (performed widely by so many artists but near definitive here), Stevie Wonder’s “Superstition” (funky as hell), and a totally bewitching “A Day In The Life,” the Beatles classic that you wouldn’t think could be so mesmerizing as a slow instrumental, but it sure as shit is, as envisioned by Master Beck. The grace and melodicism Beck infused the song with at this show made for spine-tingling sonic bliss. So were some of the other slower, almost ambient numbers like Nicholas Meier’s “Yemin,” Nitin Sawhney’s “Nadia” and Beck’s own “You Never Know” and “Corpus Christi”. To be able to hear every note squeezed out of a guitar the way Beck does it, and get the sense that each of those notes MATTERS and is part of a crafted piece of tonal expression on a personal level, is something you hear and respond to, emotionally. Technique alone is not enough. You gotta have the heart and soul to really touch the listener, and that’s what Beck does so beautifully.

Jeff Beck, circa 2014 (Jonathan Joseph, Rhonda Smith, Nicolas Meier, Jeff Beck) (publicity photo)

His band, including peerless female bass player Rhonda Smith, drummer Jonathan Joseph, and Nicolas Meier on textural guitar that provided a perfect complement to Beck’s electric mastery, was astonishing. Beck was generous in giving them all sublime moments, but the audience always knew just who was in charge. Some of the notable rousing numbers included Mahavishnu Orchestra’s “A Lotus On Irish Streams” (a thrilling band workout), Beck’s “Big Block,” the Lonnie Mack tune “Lonnie On the Move” (good showcase for the amazing Jimmy Hall) and the blues classic “Rollin’ and Tumblin,” during which the band hit one hell of a musical peak, with some of Beck’s most furiously energetic lead runs. For the encore, we were treated to a gently evocative “Danny Boy,” and, in one of Beck’s few utterances of the night, a tribute to the just deceased B.B. King, with “The Thrill is Gone.” Throughout, the sound was excellent, the band were superb, and Beck, smiling and smoothly brilliant, seemed to be having a fantastic time. Just what you want to see from a guitar hero, along with tasteful choices and a perfect balance to the performance. It was great stuff, and I came away with a far better appreciation of just what Master Beck is capable of, making it all seem so effortless.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Kevin Renick | May 26, 2015 | Blues Rock British Invasion Music Classic Rock Instrumental Music Jeff Beck Jimmy Hall Jonathan Joseph Live Music Music Nicolas Meier Progressive Jazz Rock Rhonda Smith Rock and Roll Saint Louis The Fox Theatre

JENNY LEWIS/NIKKI LANE

(May 17, 2015; THE READY ROOM, Saint Louis MO)

Jenny Lewis set list (photo credit: DARREN TRACY)

Arriving late to the venue, seeing the line outside and, later, the crowd inside, this thought kept creeping into my head: “Man… there are certainly more TROOP BEVERLY HILLS fans around than I ever thought possible.” Of course, most of the diverse crowd really had no idea what TROOP BEVERLY HILLS was (if you’re among that group, Google the title… I’ll be here when you get back), they just knew that Jenny Lewis has released some amazing music during her career, including the recent album, THE VOYAGER. I found myself in the midst of some die-hard fans who have been following Lewis’ musical career since TAKE OFFS AND LANDINGS, the 2001 debut release from Rilo Kiley; obviously in the mood for a good time and some great music, my new-found friends welcomed opener Nikki Lane as enthusiastically as they would the headliner later in the evening.

While my first live experience with Nikki Lane had the feel of a last-minute addition to an already announced line-up (it wasn’t exactly that but, it was really close), with Nikki taking the stage in a simple tee shirt and jeans, her opening slot on this tour has the feel of a full-blown Nikki Lane show, with the singer donning an ANNIE OAKLEY (the 1950s television show, not the real thing) style red vest with white fringe, cowboy boots and a cowboy hat. That first performance was top-notch but, if you have the opportunity to see Nikki live, this is the Nikki you want. The set didn’t veer too much from last year’s show at the Demo, which really didn’t bother me at all, as the band was tighter and Nikki more aptly displayed the vocal style that has garnered her comparisons to the Queen of Rockabilly, Wanda Jackson. And, of course, her sly sense of humor and superb songwriting skills sure don’t hurt.

Once again highlighting tunes from last year’s ALL OR NOTHIN’, Lane and her band tore through a set that included “Man Up,” “Right Time” and the title track, all the while trying to figure out why, no matter how furiously she strummed or how hard she stomped her new pedal board, her guitar seemed to be boycotting the performance (eventually, a tech came on stage to fix the problematic plug, eliciting the usual response from Nikki, a self-effacing quip:”Oh… it does work! I thought you guys just didn’t like my playing.”). Other tunes included “Walk of Shame” (the title tune of her 2011 debut album) along with some new material, planned for record number three. In a set full of highlights, the best moment came as Nikki introduced “Sleep With a Stranger,” saying that a couple of friends were celebrating their wedding anniversary and, when she asked what song they wanted to hear to mark the occasion, “they picked this one. That means that they were fucking before they knew each other, because this next song is about fucking someone you don’t know yet. If there’s anybody out there you don’t know yet, you can tell ’em it was my idea.” Nikki Lane is one fierce country wildcat and, with her band laying down a solid wall of sound behind her, she can pack more music, more downright fun into a forty minute set than most artists can muster in a two hour show. Look for Nikki this June at various festivals before she heads out in July with Social Distortion (for full tour info, go to nikkilane.com).

Jenny Lewis (photo credit: DARREN TRACY)

While not as in-your-face as her opening act, Jenny Lewis, nonetheless put on a spectacular – though rather low key – show. One of the ladies I’d been talking to between sets admitted that she wasn’t all that familiar with Jenny’s solo work, but was hoping that she would be dipping into her Rilo Kiley songbook. She didn’t have long to wait; after “Head Underwater,” the funky, folky opener (and the lead track on THE VOYAGER), Jenny and her band stepped back in time to deliver the sparkling pop of “Silver Lining” followed the darker groove of “The Moneymaker,” both from the group’s final album, 2007’s UNDER THE BLACKLIGHT. While the set was, for obvious reasons, heavy on material from Jenny’s latest release, the rest of the set seemed to be packed with some of the more adventurous numbers from her earlier projects, including the bluesy sonic meltdown of “The Next Messiah” and the smokey jazz of “Pretty Bird,” both from ACID TONGUE, as well as some more Rilo Kiley like the pristine alterna-pop of “Portions For Foxes” and the haunting lyricism of “With Arms Outstretched” and “A Better Son/Daughter.” Sometimes, as on the blue-eyed soul of “She’s Not Me” or the country pop of “Just One of the Guys,” Lewis’ wry sense of humor gets lost amid the shimmering vocals and superb backing.

As much as her fans adore Jenny Lewis, seeing her live bears witness to the fact that she genuinely loves her fans. When she smiles or waves, the actions are sincere and heartfelt, giving each person in the room the feeling that this moment was intended for them alone; at one point, she took a flower from her piano and handed it to a young lady, stage right and, even if that’s something she does every single night, it felt special and rang true. When, later, she sat facing her bandmates and playfully leaned back, caressing a smitten young man, stage left, the effect was the same. Was she working the room, playing to the crowd? You bet she was! But, it was still one of the most natural, genuine things for her to do, without ever seeming calculated. She also connected with the crowd when she mentioned going for a walk in the city and finding a peach jumpsuit that she just couldn’t resist at the Goodwill store (there’s a picture of guitarist Michael Bloom modeling said garment here). There were plenty of great musical moments, as well, as Jenny has surrounded herself with a group of players who are adept at virtually any style of music. Bloom acts as musical director and lead guitarist, utilizing massive swaths of sound one minute and delivering a cutting solo the next; his guitar partner, Megan McCormick, keeps the rhythm tight, occasionally exploding for her own sonic assault. The rhythm section of keyboardist Natalie Prass, bassist Thomas Taylor and drummer Josh Adams give Lewis, McCormick and Bloom a spongy, fluid bottom-end to work over, each adding their own little flourishes to the mix. By the way, Jenny can definitely hold her own on, not only guitar, but keyboards, as well.

Jenny Lewis with Megan McCormick (photo credit: DARREN TRACY)

Other than Nikki Lane, I wasn’t quite sure what to expect from this show. There was a cool, laid back vibe in the club and the sound was near perfect throughout the evening. Maybe the surprise of the night was the headliner, confident in herself and her band, resplendent in her pastel jacket (with matching guitar), obviously having fun onstage. That’s certainly a great take-away from this show… plus, it’s always nice to make new friends at your job.

DO THE ARCHITECTURAL WATUSI Live Music Reviews | Darren Tracy | May 23, 2015 | Alternative Rock Americana Country Music Country Rock Jenny Lewis Josh Adams Live Music Megan McCormick Michael Bloom Music Natale Prass Nikki Lane Pop Music Pop Rock Rilo Kiley Rock and Roll Saint Louis The Ready Room Thomas Taylor

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