New York Music Daily’s Sunday Salon: Blowing Our Own Horn
Sooner or later, every music blog seems to get into the business of booking bands. For this blog, that means coming full circle, having come out of booking into blogging and then back again. It makes sense: if you do your homework, you’re connected to a vast musical network. Some blogs do it for the money, booking acts everybody else does. The indie rock blogs do it for status. New York Music Daily does it to be part of history. That’s ultimately what this blog is about, anyway: an attempt to chronicle some of the most important musical things happening right now. Unlike the Bushwick blogs’ loft shows, the weekly 5 PM Sunday Salon at Zirzamin isn’t a clique. Quality artists are always welcome to participate, and anyone is welcome to watch the show. Today’s review is a shout-out to the core of brilliant New York artists who’ve kept the Salon going since its debut right after last year’s hurricane, with a look back at the last few weeks of shows by those acts and some others who’ve been featured on this page in recent months as well.
The Salon typically finishes with a 7 PM set. Sunday Salon #27 was a cancellation, so the acts took turns working out new material and showcasing a few audience favorites. Acoustic blues singer/guitarist Lola Johnson was a highlight of this show, joined by her excellent washboard player, whose custom-built instrument had bells and all sorts of other percussion built into it. Working her way from the Mississippi Delta to Chicago, Johnson impressed the most with a gospel-fueled version of Fred McDowell’s You Gotta Move that was a lot closer to the original than the famous Stones cover. Songwriter Tamara Hey – who’s playing the 7 PM set on August 11 – also wowed her fellow songwriters with her wry, bittersweet, vividly detailed, quintessentially New York tales of playing gigs in Lower East Side dives and metaphorically-charged explorations of the dilemma between gluttony and self-discipline, with soaring, maple sugar vocals and intricate guitar fingerpicking. And Kelley Swindall treated the crowd to yet another creepy new murder ballad, this one a purist, oldtime country blues.
At that show, Lorraine Leckie did what she often does, opting to sit on a table with her acoustic guitar and belt to the audience without any amplification. A founding member of the salon, she’s never stopped growing as a songwriter. Her show here the first week of May spotlighted her elegant, brooding chamber pop songwriting, including many of her collaborations with journalist/gadfly/social critic Anthony Haden-Guest from her album with him, Rudely Interrupted. Her following two shows here, at Salons #30 and #34, featured her scorching rock band the Demons. Whether she’s playing ornate art-rock, Britfolk-influenced open-tuned pastoral themes, snarling retro glamrock or the Steve Wynn-esque Canadian gothic she made a name for herself with in the late zeros, there’s no one more interesting, or more at the top of their game as a songwriter than she is right now. Her band has been solidified by the addition of a regular bassist; her vocals, stronger than ever, have been bolstered by the amazing Banjo Lisa and her spine-tingling high harmonies. Her not-so-secret weapon is guitarist Hugh Pool, whose maniacal yet nuanced, Hendrix-inspired lead playing gives the songs a volcanic intensity.
Walter Ego is another songwriter who’s never sounded better. A mainstay of the Salon since it began, he likes to challenge himself, whether that’s playing solo on drums (an instrument he’s just picked up), or taking a stab at playing totally unamplified at Sidewalk after Salon #30. And it turned out to be a format that works for him. Without a mic, he had to pick up his cool, crisp vocals a little; his sardonic humor and tuneful songs, played both on acoustic guitar and piano, spoke for themselves. A couple of his best, recent numbers reminded of vintage Ray Davies. The most haunting one was 12/9 (subway code for “passenger under the train”); the funniest one was Mitterand’s Last Meal, a cruelly detailed account of the late French President’s final supper whose final course was an endangered species which in France is illegal for human consumption. Double entendres, puns and clever jokes met with catchy, sometimes Beatlesque changes throughout a mix of upbeat and more pensive tunes.
Chanteuse Carol Lipnik has also been a mainstay of the Salon. Since the late 90s, her four-octave voice has been stunning audiences across this city, yet she’s also grown in the past year: there is simply no diverse or captivating singer in New York right now. Her work spans the worlds of noir cabaret, the avant garde, British folk and art-rock. Her headlining set at Salon #32 featured her Ghosts in the Ocean project with pianist Matt Kanelos, mixing haunting, raptly atmospheric songs with more aggressive material including a machinegunning cover of Nick Drake’s Black Dog Blues. A couple of weeks before that, she treated the crowd at Barbes to over an hour and a half of her Coney Island phantasmagoria, backed by her band Spookarama with jazz pianist Dred Scott (Kanelos was also summoned from the crowd for a couple of unexpected and very welcome contributions). She’s been busy this year, with several shows at Joe’s Pub and le Poisson Rouge; she’s also appearing with her frequent collaborator, crooner John Kelly, at Joe’s Pub this Sunday, July 14 at 7:30 PM.
And the guy who’s arguably been the Salon’s most reliable anchor, John Hodel – the Bukowski of the New York acoustic music scene – plays a full set at 7 PM this Sunday the 14th.