One of the year’s most highly anticipated twinbills is this coming Nov 10 at 9 PM, when eclectic songwriter Lorraine Leckie and Her smoldering Demons open for the Long Ryders, who pretty much invented Americana rock back in the 80s. They haven’t played New York in this century, or for that matter, toured the US in almost thirty years. Their four-cd career retrospective, Final Wild Songs – which includes a stampeding live set recorded in Europe – is just out this year. This concert features the classic late 80s Long Ryders lineup of Sid Griffin on guitar and vocals, Stephen McCarthy on guitar, Tom Stevens on bass and Greg Sowders on drums. $20 advance tix are still available as of today.
Leckie’s most recent fullscale New York show was a rare smalll-club gig back in June at Pangea, a momentary homecoming sandwiched between European and US tours. As much as this was more low-key than she typically is on a big stage, the set was no less fiery for being somewhat quieter and a lot more intimate. She and a scaled-down version of the Demons – Hugh Pool on lead guitar and Tim Kuhl on cajon and percussion – opened with a hushed, seethingly waltizng take of Little Miss X, a sarcastic portrait of a bimbo du jour. From there the band made their way through a stripped-down version of the T Rex-ish Rainbow and then the rousing anthem Paint the Towns, Pool’s tersely resonant lines channeling 60s Memphis soul.
Kuhl pushed the sardonic nocturne Happy City along with a trip-hop groove, Leckie switching from Telecaster to piano. “When I go, I leave a scar,” she intoned with an understated, gleeful menace in Come A-Dancing, then gave an airy vocalese intro to a wickedly catchy, slinky, minor-key new number, Shake Off the Devil, Kuhl again supplying a clickety-clack trip-hop rhythm.
Leckie is hard to categorize – one minute she’s wailing through Neil Young-style electric Americana rock, the next she’s using all sorts of strange guitar tunings and playing enigmatically minimalist art-rock. She put the spotlight on that side of her vast repertoire with the propulsively brisk Man Who Walks in the Rain, the acidic, hypnotic waltz Dangerous Friends, and Climb Ya Like a Mountain, a shout-out to the noted mountain climber Aleister Crowley. From there the band shifted gears with another new number, the anthemic vintage 70s Lou Reed-ish Under the Vampire Moon.
The high point of the night, volume and intensity-wise, was another open-tuned guitar number, It Ain’t the Blues, Leckie airing out her powerful low register with the aching “It ain’t the blues, it’s only YOUUUUUU!” chorus. She closed with a couple of snarkly macabre, carnivalesque piano tunes. And electrifying guest singer Carol Lipnik – whose popular 7 PM Sunday evening residency at Pangea is now in its second year – contributed plaintive takes of two Leckie tunes. The highlight was Bliss, with its poignantly misty portrait of an old couple gone irrepairably off the rails, reinvented as an a-cappella showstopper where which Liphik accompanied herself on spoons. She’d brought them from home, she explained after the show, wanting to make sure that she had cutlery in hand that she could play in the same key as the song’s melody.