Kelley Swindall is one of the most distinctive artists in Americana. She opened her most recent show here with a talking blues. Fifty years ago, every folksinger from one end of the Bleecker Street strip to the other was doing talking blues…but then again that was back when Bleecker Street was the cool part of town. Swindall’s first talking blues of the night – yup, there was more than one – happened to be her big crowd-pleaser The Murder Song, a bloody tale of lust and mayhem that’s become a cult favorite on independent radio throughout the south. If country blues, newgrass and good acoustic jambands like Old Crow Medicine Show are your thing and you’re in the part of the world where Swindall’s touring right now, you ought to see her. She’s starting her latest tour with a two-night stand at the Golconda Mansion in Golconda, Illinois on June 12 and 13 at 6 PM, then hits Charlie Bob’s in Nashville on the 14th, then at 6 PM on the 15th she’s on Hippie Hill in Cristiana, Tennessee. But the big show is her headline slot at Wingstock at City Market in Savannah, Georgia on the 21st. That may be the sunniest day of the year, but Swindall will bring on the night.
The other talking blues she did last time out was her own original, inspired by both the classic Minglewood Blues and the Grateful Dead’s psychedelic cover – Swindall’s version is closer to OCMS than the Dead, maybe since she’d switched from electric guitar to acoustic for that number. But she’s just as likely to bust out a macabre wee-hours creeper like Sidewalk’s Closed, the opening track on her amusingly titled, unspellable debut album (pronounced “Kelley Swindall”). Although she’s been on the road a lot, she’s managed to hit her old Manhattan stomping grounds more than once since the first of the year. It was good to hear her with a full band including bass and drums – and piano, too – the last time out. The time before that marked the first time she’d ever plugged in and played electric guitar onstage, something that gives her darker songs – and she has lots of them – a mighty boost.
Her new material is as good or better than anything she’s done so far. Highlights of the most recent gig included a couple of new ones, the torchy, sultry Come On Back My Way as well as a period-perfect oldschool C&W tearjerker, aptly titled Heartsick. But Swindall’s songs aren’t just about love and longing: the bastards in them get what they deserve, the careless chicks in the drugrunning anthem California run up against karma, cheaters get busted and that poor guy down Savannah way gets let down by the restless girl he’s smitten by: “That’s what drugs’ll do.” is the punchline midway through.
For those who might think it strange that a southern woman would get her start in country and blues-flavored music in New York, that’s what we listen to up here. Y’all think y’all lost the war, but the truth is you won. It just took 150 years.