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.

Ryan Bingham & band @ Whelans 9th Nov 2012

 

Having a new album to tour brings Ryan Bingham back to Dublin for a sold out show in Whelans. With his new three-piece band he has lost of none of the dynamics and overdrive that has been such a part and parcel of his live oeuvre.

The timbre of his voice is still one of a much older person, with a lifetime of experience. Yet Bingham is still young and draws his wry observations of a world he has encountered, first or second-hand, as he travels and performs. His fourteen song set included a selection of songs taken from all his four albums as he seems to discount a low key, independent debut.

From the current album, Tomorrowland, he naturally played a large selection which included Western Shore, Flower Bomb, Never Far Behind, Guess Who's Knocking and Too Deep To Fill. Earlier albums were represented by Dylan's Hard Rain, Southside of Heaven, Sunrise, Sunshine and Tell My Mother I Miss Her So. These were delivered with a variety of electric guitars that included a couple of Telecasters, a Gibson SG and a Les Paul as well as a host of effects pedals.

For a large part of the set Ryan led the sound on twelve and six string acoustic guitars. The latter lost a string mid-set, though he carried on playing with the offending string hanging loose, much like the band, who backed Bingham with a sense of accomplished abandon. Drummer Matt Sherrod, who played on the new album, with bassist Kelly Sherrod  provided a solid rhythmic foundation for Bingham and guitarist Evan Weatherford to weave a rough but colourful cloth of hard guitars that was more rock than roots, although several songs were delivered in a subtler context.

The first two encores showed that Ryan Bingham is a very capable solo performer with his versions of Hallelujah and The Weary Kind, an obvious audience favourite which wasn't on the original set list and had not been included in the set on his last visit. The final encore song was a duel between both guitarists using glass slides for a climaxing and mesmerizing Bread and Water that left the mixed age audience well satisfied with their night out. 

Review by Stephen Rapid. Photography by Ronnie Norton

Ed Romanoff & Band @ Whelans Oct 23rd 2012

With his debut album being one of the year’s best, it was interesting to see how Ed Romanoff would deliver his songs live. Although his first Dublin performance was sparsely attended, the show delivered and was engaging and entertaining. Romanoff proved to be a natural performer,  both of his songs and with his introductions. He has a charismatic warmth that immediately has the audience on his side, and you know that the next time he comes the audience will be bigger as the word spreads.

Unusually for a first visit Romanoff brought a full band with him. They brought much to the overall delivery of the songs, adding depth and texture and bolstering Romanoff's vocal prowess. For a man who only started writing songs in the last few years, he has a talent that many would envy. The band was led by guitarist John Putnam whose Telecaster leads lines were effective and engaging. Benjamin Champoux provided subtle percussion and Dublin based Kim Porcelli added much with her cello and backing vocals. For three numbers Romanoff brought up local singer Sharon Murphy, whom he had spotted busking on Grafton Street, and invited her to join him for the show.

The songs were mostly from his eponymous debut, including his take on the Hank Cochran/Harlan Howard classic I Fall To Pieces, which takes thefamiliar lyric to darker places. His own songs include his tale of being abandoned by a girlfriend in Ireland on July 4th (Breakfast For One on the 5th of July), his discovery that his Russian parents had adopted him and that on taking a DNA test he had discovered that he was 50% Irish and related to Niall of the Nine Hostages, or as he said "nine sausages" which brought laugher all round (St. Vincent de Paul). There was a humourous element to the evening even though most of the songs tend to hale from the darker side of life. 

Other songs included Potholes, Curveball and I Must Have Done Something Right. Two Yellow Roses was written, he told us, from the perspective of a guy who has lost everything. When You're Dreaming was written with his former flat mate Josh Ritter. Many of the other songs had been written with the album's producer Crit Harmon. All are good songs and well worth hearing. He closed the show with a solo acoustic rendition of Sacred Wreck which showed that even without his worthy band, Ed Romanoff can put across a song with feeling. One new song was titled I'm A little Less Broken Now and was inspired by a comment of a colleague who had gone through surgery. When he went to see her he was afraid to give her a hug in case it would hurt her and she said that she was ‘a  little less broken’.

Romanoff will be back soon, as he felt very much at home here. Make sure you get along next time as it is a powerful, yet enjoyable evening out.

Review by Stephen Averill. Photography by Ronnie Norton

Justin Townes Earle @ Whelans - Wed. 5th September 2012

Tall, bespectacled and full of pent up energy,  Justin Townes Earle walks onto Whelans’ stag and asks how everyone’s doing. He begins his first song, Memphis In The Rain, from his current album Nothing’s Going To Change The Way You Feel about Me Now. From that album he also included the title song and Maria amongst others. In fact he plays songs from most of his albums but nothing I recognize from his debut. Earle says that when he made that album all he wanted to do was play honky-tonk music, but he soon realized that  what was called “country music” had nothing to do with what he liked or wanted to play. That when 12 bar had been taken out of country music and country  had lost its way. 12 bar and the blues are still fundamental to Earle’s music live.

His songs are rooted in restlessness and the travails of traveling. This was highlighted by titles like Movin’ On, One More Night in Brooklyn and Wanderin’. The latter he prefaced by an intro that explained that Woody Guthrie “talked the way we talk and wrote the way we talk” so his songs are straight forward and have a universality which is missing from most of the current crop of singer/songwriters. Earle’s songs are rooted in his own experience with They Killed John Henry, a tribute to his grandfather. Mama’s Eyes was dedicated to his mother “she’s my hero” he told us, saying  that she wore cut-off shorts and lived her live and that “no-one fucked me up, I’m just fucked up”. He is intense and insightful, prefacing his song with some well chosen words. He saved some of those for a section of the audience who sang along with the choruses of several song. He thanked them for the participation, but told them they sounded like a bunch of drunken pirates  and would they ever “fuck off”. Likewise he asked those who decided to clap along to stop as it was messing with his head. (and therefore his timing) — not that there wasn't humour and self-deprecation involved too in both song and in the introductions. He wasn't acting all high and mighty, rather he wanted to put on the show the way he wanted to without unnecessary interference.

He also played, as well as his own strong songs, a number of covers including one he had learned from his Dad called variously Cadillac Blues and Big Car Blues. This again emphasized his own effective rhythmic guitar style, which if there was any criticism of the evening, mentioned by some, was that the tempo and delivery was a little repetitive over a long set. But that was not a view held by the majority of  this younger than usual audience who took Earle to their collective hearts. He had just finished playing dates in the UK with  his band and hoped that he could return with them soon. That should be something special for both sides of the stage

Dave Alvin & The Guilty Ones @ Whelans 18th July 2012

It’s been too long since Dave Alvin came to town. A feeling that the audience in Whelans would heartily agree with. Coming after excellent gigs there by JD McPherson and The Dirt Daubers,  it was the third highlight in a two week period which would have made an excellent mini-festival triple bill. Tonight Alvin has his tightest combo in tow, a stripped down but highly efficient trio of drummer of Lisa Pankratz (the guiltiest of the Guilty Women), bassist Brad Fordham and second guitarist Chris Miller, all seasoned Austin-based musicians who deliver a master class on their individual instruments. All pay close attention to Alvin as he leads the band through an exhilerating set. 

He opened with BlackJack Davy and made the first of several dedications to friends who have passed away; in this case for promoter Larry Roddy who had driven Alvin around on his first trip to Ireland. Roddy’s heart was always in the music he  brought rather than in profit. Dave followed this with Hardin County Line that featured in the compelling TV series Justified. He quipped that “you guys couldn’t get tickets for Springsteen then?” making reference to the fact that the Boss was playing a sold out gig in Dublin that night. Throughout the gig Alvin made similar comment and seemed in fine spirits.

The set focused on the current Eleven Eleven album and mortality featured heavily on songs such as Johnny Ace Is Dead about the singer who accidently shot himself in the head on Christmas Day at a gig in Houston, Texas in 1954. He dedicated Black Rose Of Texas to Amy Farris, the violinist who toured with him as part of the Guilty Women band and who committed suicide. He also played Run Conejo Run for his best friend and running mate Chris Gaffney who died in 2008, who had been a part of Alvin’s band as well as a member of the Hacienda Brothers. This emotional song was to conjure up the spirit of his friend and was set to a taut Bo Diddley beat and featured some emotional guitar playing.

 A song played early on was Long White Cadillac, which he noted was recorded by Dwight Yoakam - “that’s how I could afford this hat” he joked referring to the cowboy hat that is now a regular fixture of his stage persona, along with the neckerchief and snap-button shirts he wears onstage. 

Guitar playing is what Dave Alvin is know for and tonight witnesses a stunning display that was never show-off but definitely did show off the talents of a unique and soulful player who is much underrated overall. In The Blasters, he noted, his brother Phil was the singer, the man with the monster voice while his role was to leap around the stage “dancing like a gazelle” with his guitar. While he may not be leaping around the stage too much these days his playing skills  have not diminished.

He has grown into a strong and expressive singer as well as being, from the start, an excellent writer. Alvin closed the show with what he said was “the fourth song he’d ever written down Marie, Marie - previously, he said, all the songs he had composed were in his head. This song, written way back, had found a new meaning for him as the name of the Spanish doctor who had helped keep his brother Phil alive after recent major health problems in Spain. Throughout  Alvin led the band through extended versions of  songs that not only highlighted his undoubted talent, but also those of his current band, allowing each their space to shine. This was particularly notable in an extended drum solos from Pankratz in Dry River. Dave talked about he and brother Phil’s love of the blues and the mentoring and friendship they had with Big Joe Turner, something that was the subject of the song Boss Of The Blues.

For the encore he played a soulful version of Every Night About This Time a song he had written for George Jones. Dave related how he has been preparing to go to the session when he got a call to say “it’s off”. The record label had decided the song was “too country for George Jones”. That’s record labels for you. But it wasn’t too anything other than right for this audience and rounded off an evening that many will remember for a long time to come. A musical tour-de-force? Guilty as charged.

Review by Stephen Rapid, photography by Ronnie Norton

Double JD on the rocks...

JD McPHEARSON AND BAND AND JD WILKES WITH THE DIRT DAUBERS PLAY DUBLIN

JD McPHEARSON @ WHELANS - 12 th JULY 2012

The living, breathing pumping heart of rock 'n' roll could be found in Dublin when JD McPhearson and his band played a blinder in Whelans for a appreciative sold-out crowd. in an 18 song and three encore set they displayed a sense and profound understanding of what makes rock 'n' roll work. It starts in the engine room with the solid foundation of drummer Jason Smay and upright bass player Jimmy Sutton. Sutton is a key component in the line-up as album producer, label owner, singer and musician he is a perfect partner to JD McPhearson. The icing on the cake was the wonderful texture added by saxophonist and occasional keyboard player Doug Cochran and B3 and pianist Ray. Both were integral to the powerful and expressive sound that is a soulful take on the fundamentals of r 'n' b and rock 'n' roll. JD is an expressive and impassioned singer and edgy guitar player who's Telecaster thrusts can only remind of a certain New Jersey singer and guitarist. The bulk of the set is taken from the debut album Signs & Signifiers, which originally was released back in 2010 on Jimmy Sutton's Hi-Style label. In the best way the songs were developed, expanded and energized from their recorded versions. JD opened the show with the words "This is going to be special!". It was. The songs from Jimmy Sutton's favourite song that JD had written A Gentle Awakening to other songs from the album which included Fire Bug, B.G.M.O.S.R.N.R, Dime For Nickles and of course the popular North Side Girl, a song which pretty much everyone in every city can relate to. They expressed delight in being in Dublin and Jimmy told us that many of them had Irish ancestry. He had on his father's side and as his mother was from Peru he declared himself a "mick/spic" hybrid. They also joked that the obviously Asian Ray was Irish too. Aside from JD's songs we were treated to a range of covers that highlighted the band's roots from Chuck Berry's Carol, the Premiers' Farmer John, their favourite Art Neville song as well as one from the pen of Bo Diddley with that vital signature drum beat. They return for a three song encore that finished with a  reggae-fied take on Oil In My Lamp, which JD informed us was in recognition of the Beat, a band that keyboardist Ray had played with for several years. It closed the show in fine style and again displayed the scope that this band are well capable of embracing. The signs were all good.

THE DIRT DAUBERS @ WHELANS 13TH JULY 2012

The Dublin debut of the Dirt Daubers proved again that Col. J. D. Wilkes know how to lead his troops to musical victory. This trio which includes his wife Jessica on banjo, mandolin and vocals and Legendary ShackShakers bassist Mark Robertson - who replaced original bassist 'Slow' Layne Hendrickson - on a set of new and traditional songs. Many came from their latest album album Wake Up Sinners including Wayfaring Stranger, The Devil Gets His Due, Trucks, Tractors and Trains and Single Girl and the set also included some ShackShakers songs like Blood On The Bluegrass from their debut Cockadoodledon't album. For those who might have missed some of the underlying humour that is apparent in the music it is much more obvious in these new/old songs and in the between song patter between the three members themselves and with the audience. Musically the trio make a very full sound built around Robertson's bass rumble, Wilkes' frailing banjo, washboard percussion and always excellent harmonica playing and (a kazoo on the end of a wire!) and Jessica Wilkes strong vocal and instrumental skills. These three are at ease with each other and their music and it shows. They entertain on every level and are called back for an encore which they obliged with and which had the sinners and saints wide awake and looking for more but curfew called.

Special thanks to all at Ubangi Stomps

Reviews by Stephen Rapid and photography by Ronnie Norton

Jason Ringerberg @ Whelans 4th July 2012

Resplendent in gold cowboy shirt and sparkly hat Jason Ringenberg opened the show with Self-Sabotage recorded with The Scorchers on their Clear Impetuous Morning album. He delivered it with his trademark energy, foot-stompin' and guitar twirls. This was followed in similar fashion with another early Scorchers song Shop It Around. Jason then told us how much he admired the skills required to travel around Ireland on a bus, especially as an American in a cowboy hat, later he told us how an encounter with a stranger nearly came to blows as he walked up to the gig when the aforementioned citizen took offence to him for no apparent reason other than his choice of headgear. Throughout the show Jason regaled us with stories and anecdotes about the songs. He told us about meeting and befriending guitar legend Link Wray before playing the song of that name. Oh Lonesome Prairie was about his upbringing on a hog farm which later led to a tale of the castration of hogs as a young boy on his father's farm. He reiterated his long time love for Ireland and how when he had first visited these shores he took time to drive around the country side on his own. On the road Jason reads a lot and became interested in Irish history and also American history and these two things came together in the song Erin's Seed about the Irish fighting on opposing sides during the battle of Fredericksburg that was written on his visit to the Kilkenny Rhythm & Roots festival  The American Civil War was also the setting for the song Bible And A Gun - a song that he had taken the liberty of revising the lyrics which were originally written with Steve Earle, for that momentous time period. It was also in Kilkenny where he met Hammil On Trial who appeared on the album version of Honky Tonk Maniac From Mars which he delivered with abandon. His inability to keep his guitar in tune was mentioned, "it's my style" he joked, but none of that really matters too much as Jason Ringenberg is a unique talent whether solo or with The Scorchers. He opened the show to requests mid-set and did covers then of Absolutely Sweet Marie, Don't Come Home A Drinkin' (With Loving On Your Mind) and Rainbow Stew as well as his own Rebel Flag In Germany. From the Farmer Jason side of his persona he performed Well Oh Whale (recorded with The Saw Doctors a band he much admires) and The Tractor Goes Chug Chug Chug. He walked off stage and played AP Carter's Lonesome Valley unplugged from the audience before taking the stage to play what he said was his final song, his favourite piece of poetry in the English language which turned out to be his equally demented version of The Ramones I Wanna Be Sedated. He left with a smile on his face as did most of the audience. He had earlier said that he can still rock hard but it just takes longer to recover these days, he also occasionally resorted to lyrics on a music stand as "when you turn 38 you start to lose things" but age has not diminished his love of performance and the feedback he gets in front of a live audience. As his main gig now is as Farmer Jason these solo Jason Ringenberg gigs are special, as indeed this one was.

Review by Steve Rapid and photography by Ronnie Norton

Alejandro Escovedo @ Whelans - 27th June 2012

There's no doubt that Alejandro Escovedo is a trooper, a reformed rock 'n' roll animal, who has battled illness to continue to make the music he so obviously loves. On his last visit to Whelans he was accompanied by his ground-breaking rockin' string quartet, this time out he is joined by the current incarnation of his Sensitive Boys band including a guitarist who's name I didn't quite catch, drummer Chris Searles and bassist Bobby Daniel who has played with Escovedo over the last three albums. The show was centered around the current Tony Visconti produced album Big Station. They opened with Sally Was A Cop, a song that Alejandro explained was about Mexico and the love of community that exists there. Other songs which, for a first time hearing, connected with the largely enthusiastic audience included the album title song plus Man Of The World, This Bed Is Getting Crowded, San Antonio Rain, a song he said was about his birth city while Bottom Of The World was focused on his current home city of Austin, a place he said that for many "doesn't want to change". From Streets Songs Of Love came This Bed Is Getting Crowded with it's powerful chorus of "This ain't love" and later in the set, also from that album, Down In The Bowery, about which he mentioned that all his family were Ramones fans. Castanets with it's chorus of "I love it when she walks away" about an acquaintance who he was less than fond of, who played the titled castenets, but with absolutely no sense of rhythm was taken from the Man Under The Influence album. These songs were delivered with full-on rock raucousness, a fiery sound that culminated in an extended guitar work out on I Wanna be Your Dog. A song that saw Escovedo using a distorted vocal mic and had him prowling the stage with some menace. Throughout Alejandro was in great voice, one that is immediately distinctive, something that was further emphasized when he came back onstage for the solo encore of Last To Know. There were undoubtably some who would have loved to have heard a few more of these earlier, much-loved songs. But with such a strong back catalogue he would have had to have booked a multi-night residency to cover these (he at one point commented that "I've made too many albums"). I don't think that that remark was a sentiment echoed by anyone in the audience. During the evening the singer switched between acoustic and electric guitar as he is very much a part of this band's musical output and the quartet meshed together well as tough well-oiled unit. Alejandro Escovedo has his devoted fans and they love his varied output and are only too pleased to see him in the live context. Even when he was, naturally, concentrating on his newer songs. During the set he talked about family, his parents and siblings as well as his own 7 kids including his 19 year old son who plays drums and synth as a somewhat angry one-man band. Family is key to Escovedo's outlook and the second to last song was a cover, Sabor A Mi by Álvaro Carillo, a song he said he father sang to his mother, anywhere - at the drop of a hat, he sang it in Spanish. Then they finished the evening with an appropriately rough-housed cover of Beast Of Burden during which he got the crowd to sing along with the chorus. After the gig Escovedo came to meet fans. It was that kind of informal and intimate gig.

Review by Steve Rapid, Photography by Ronnie Norton

Hank 3 live @ The Button Factory - June 24th 2012

 

A three hour set was divided, as normally, between Hank 3's "kuntry" and his heavier metal tendencies in the second half of the show. On stage at 7.30 Hank and the band gave their usual hi-energy renditions of a range of songs taken from the last few albums which included Six Pack Of Beer, Life Of Sin, Trooper's Holler, Rebel Within, Country Heroes and Dick In Dixie.With barely a moment to take breath one song ran straight into another, with most delivered at break-neck pace. Since his last visit his band has gone through many changes but this current band can deliver the songs with a large degree of skill and verve. Fundamental to this was the powerhouse drumming of Shaun Williams who was as at ease with the subtle swing of classic country as he was with the more forceful material where his drumming sounded added a depth that sounded like thunder. He was aided in driving the band by upright bassist and backing vocalist Zach Shedd. The music was given it's country textures by the trio of fine players that are David McElfresh on fiddle, Daniel Mason on banjo and long-time band member, producer and upright steel guitarist Andy Gibson. Gibson is a sonic showman adept at playing old school steel, as on the cover version on Hank 3 grandfather's ("the hillbilly Shakespeare") I'll Never Get Out OF This World Alive to delivering the atmospherics of some the more recent material. The focus of the show though is undoubtably Hank 3 and although he says little between songs other than short summations of the songs themes they played. He communicates through the music and his overall stance. He is dressed in his usual multi-patched trousers, cowboy boots, customized waistcoat and cowboy hat and commands the respect of the mixed audience. There are the older obvious country fans, metal heads and all points in between. Lots of devil hand salutes abound from the front rows. Everyone seemed to be enjoying the first hour and a half though once the lights went down and the stage was left to Hank and drummer Williams there tended to be a polarization of opinion. Some loved all parts of the show but others found the second section of the show a step too far and retired gracefully. But fair play to Hank 3, he does his own thing and gives it his all in his three hour set and no one should feel short changed. Hank 3 has created a sub-genre and plays with obvious passion and commitment for his fans and so deserves all the credit that comes his way. Still a rebel within and a rebel without.

Live photographs by Steve Rapid