New York Music Daily

No New Abnormal

Tag: brooklyn americana festival

State-of-the-Art Americana Jamband Rock to Close Out This Year’s Lincoln Center Out of Doors Festival

Margo Price dropped a bombshell at Lincoln Center a couple nights ago. Taking her only turn of the evening at the piano for the Lennonesque ballad All American Made, she recalled how by 1987, the world had discovered that “Reagan was selling weapons to the leaders of Iran.” To any student of American history, the October Surprise and the Iran-Contra affair are old news. But for a self-described Midwest farmer’s daughter to mention the ugly truth about that President – who despite every shred of evidence remains a hero throughout parts of that world – it was a radical move.

As the song goes, it wasn’t the first time something like that has happened, and it won’t be the last. And the current blitzkrieg against immigrants makes her want to run for the border. That was Price’s only unvarnished political song in a set of high quality, deep-fried southern jamband rock. Unsurprisingly, it was also the number that drew the loudest roars of appreciation from a crowd who’d braved the threat of a torrential downpour to come out to see her.

Price’s music seems to be contrived to appeal to every single potential audience member on the summer festival circuit. As a fierce frontwoman with a big wail that with a few nuanced tweaks works equally well in classic honkytonk, 60s soul and bluesy rock, Price delivers for the ladies. The six hairy dudes working up a sweat behind her seem like they’d be just as much at home in many other styles beyond choogilng four-on-the-floor rock. The best and most epic of the big psychedelic numbers, Cocaine Cowboy, featured long interludes for Jamie Davis’ stinging electric blues guitar, Luke Schneider’s searing, noisy pedal steel  and the night’s most nebulous break, where keyboardist Micah Hulscher abandoned his judicious Rhodes chords for swirls and dips of string synth straight out of the early Genesis playbook – to the point where band members were exchanging “where the hell are we” grins with each other.

Price went behind a second drumkit for that one. She knows what she’s doing back there, and she flurried up a storm when she played acoustic guitar – which she did throughout the majority of a long set. She stayed behind that kit for the song after that, a wryly undulating take of the Grateful Dead’s Casey Jones, which the band ended with an irresistibly amusing stampede out. It never hurts to know your subject matter.

The rest of the show ranged from careening electric honkytonk numbers like Paper Cowboy and Put a Hurting on the Bottle – with spot-on detours into George Jones and Willie Nelson classics – along with a defiant,snarlingly amped oldschool C&W breakup ballad. The covers were a mixed bag: the band found soul-infused redemption for Tom Petty but could not do the same for Melanie Safka or Dolly Parton’s disco era. Throughout the night, individual band members kept solos short and sweet, often trading off, up to mighty peaks or descents toward suspense. Most of the crowd who’d stuck around gathered down at the front; at the end of the show, Price rewarded them by flinging roses from a big bouquet into the crowd, one by one.

Lukas Nelson & Promise of the Real were a hard act to follow. It’s hardly an overstatement to rank Nelson alongside fellow Texas blues greats like Stevie Ray Vaughn and Freddie King. Yet Nelson kept his guitar solos much more concise than either of those two hotheads – maybe because he’d learned that trick playing with another great Texas guitarslinger, his dad Willie. This band is excellent: bassist Corey McCormick was a spring-loaded presence throughout the set and made his one long solo count, hard. Drummer Anthony LoGerfo swung like crazy alongside conguero Tato Melgar, and organist/pianist Jesse Siebenberg doubled on second guitar and lapsteel as well.

They opened with the spaciest number of the night, a multi-part epic about aliens that veered from post Neil Young electric intensity to echoes of Pink Floyd during a long, starry interlude. From there they blended oldschool soul, Texas shuffles and stark red dirt folk with a surreal humor that brought to mind Nelson’s famous dad as much as the vocals did. Yet Lukas Nelson’s voice is a lot bigger, even if he has that signature twang.

They brought the lights down for a pensive, solo acoustic take of Just Outside of Austin?and then what seemed like a rewrite of Gentle on My Mind – the younger Nelson clearly has just as much of a thing for classic Nashville songwriting as his dad. After a slight return to Led Zep-influenced riff-rock, Nelson encored with a brand-new acoustic number where he resolved to “turn off the news and build a garden.” Clearly, Price wasn’t the only populist on this bill.

Lincoln Center Out of Doors may be done for 2018, but there’s the annual Brooklyn Americana Festival, taking place all over Dumbo Sept 20-23, to look forward to.

Blues Guitar Maven Will Scott Makes His Way Back to His Old Brooklyn Stomping Ground

Will Scott was in goodnatured entertainer mode yesterday evening at this year’s Brooklyn Americana Festival, staged in Brooklyn Bridge Park by 68 Jay Street Bar impresario and distinctive British-American folk song stylist Jan Bell. “I’m the only guy who ever left Brooklyn for Indiana and lost weight,” he joked. Which is funnier than you might think, considering that his rangy build never seems to have felt the effect of all those late-night whiskeys during the weekly residency he held for years up the block at 68 Jay. This one of a handful of return shows over the past year was especially fun since he was playing solo acoustic – he’s always been more of a band guy. For another, he got to air out just about every one of his many blues styles: swooping, animated Robert Johnson-style slides; intricate fingerpicking; purist delta blues, and Bible Belt gothic gospel. And lots of grim fire-and-brimstone biblical imagery, and one absolutely sizzling, shredding display of tremolopicking where he really took his time chainsawing all the way to the top of the fretboard. The one style he didn’t show off, one that he’s exceptionally good at, was hypnotic Mississippi hill country blues. But you can only fit so much stylistic cliff-jumping into a 45-minute set.

Scott explained that Gnawbone – the raw, roughhewn title track from his 2009 electric blues album – was named for a town in his home state. “They wanted to name it after Narbonne, in France,” Scott explained, “But the best the hoosiers could do was Gnawbone. I figured I’d name my album that since there was no way I’d ever end up playing there,” he explained. He paused. “Well…I just did.” Apparently the people in town didn’t take offense.

Scott eventually brought up Bell, his longtime collaborator and partner for some harmony vocals on a high-energy, anthemic take of See That My Grave Is Kept Clean, which turned out to be pretty amazing. See, most backup singers will go way up high and wail around on the blue notes. Bell did the opposite: if memory serves right, she went up an octave above the fifth and then made her way down. The effect was as original as it was unselfconsciously chilling: somebody transcribe that so other singers can do that too! And it’s worth mentioning that they way they did the song, looking back toward gospel rather than the Blind Lemon Jefferson recording that Dylan based his on, harked back to a very early version better known as One Kind Favor.

The festival winds up today, September 27 with a ton of music, starting at eleven in the morning at Superfine in Dumbo with the mando and guitar-driven Demolition String Band, eclectic retro Americana/doo-wop singer Willy Gantrim, and honkytonk bandleader/bassist Abby Hollander. Then at 4 PM there’s a rare solo vocals-and-accordion set by charismatic Romany chanteuse and song reinventor Eva Salina followed by the Jack Grace Band playing their boisterously funny oldschool 60s C&W and brooding southwestern gothic, under the archway below the Manhattan Bridge: if you’re in the neighborhood, you’ll hear it. And Scott makes a fond return appearance at 68 Jay at 7 PM.