Mick Fleetwood Blues Band - Alban Arena, St. Albans - 3rd November 2008
Review by Jonathan Aird
This is one of the weeks of the year where a plethora of bands I'd like - or might like - to see were playing gigs, mostly at the same time. Specifically on this day I had to choose between Mick Fleetwood and Lambchop at the Union Chapel. Now arguably that's a no brainer - and I guess a lot of people will think that I still managed to get it wrong, but hear me out, I have reasons.
Firstly, the Alban arena is easier to get to than the Union Chapel - getting into London for gigs can just be a real drag sometimes. Secondly the mere thought of someone standing next to me talking over Wagner's mumbled lyrics was enough to make me doubt the wisdom of picking Lambchop. And, thirdly I'd just picked up the album "Something Big" by the Mick Fleetwood band which had surprised me. It should be a real stinker as it has the two traditional markers of a true stinker - a lot of different people played on it, and the cover art is a joke (pickup truck with a giant avocado in the back of it). However it's actually a pretty good rootsy/blues-rock album. So - more convenient, less likely to have the audience annoyance factor, and pretty good music - so Mick Fleetwood it is.
Three hours after I booked my ticket I saw an interview with Mick Fleetwood on the BBC - in which he stated that he was playing strictly early Blues orientated Fleetwood Mac material. Oh. So that's one of my three good points demolished then, but the other two still stand.
Cut my arrival a bit fine and had to rush for my seat - just made it for the support. One Todd Wolfe, an American "blues" singer, who knocked out 6 tunes, three acoustic, 2 electric, then back to the acoustic. They were not memorable, he had enjoyed touring with Mick Fleetwood, he wanted us to buy CDs, he'd recorded with someone from Mountain. The two electric - mostly slide guitar - were the better ones, but they seemed a bit aimless and for me fell flat. My mental note - bit Guns'nRoses ish. That isn't so good in my book.
Looking around during the interval I noticed that, apart from a few teenagers dragged along by their parents, I was about the youngest person in the hall. And that's not so very young.
Mick Fleetwood and band came on about 8:30, and the biggest man in rock waved to the audience, climbed up to the huge drum kit on a riser, sat down and disappeared completely behind a high hat. The cap on the top of his head - yup I could see that, but that was all ! The rest of the band consisted of Rick Veto (lead guitar, vocals, and worrying quiff & spats - he'd also been in a 1990's version of Fleetwood Mac), Lenny Castellanos (bass and trilby) and Mark Johnstone (keyboards, vocals, blues harp, another trilby). At this point I was expecting to be all done and dusted by 9:30ish.
They launched into a couple of songs, one of which was a "newie in the style of...", called Fleetwood Boogie. It was not a promising start, more rock'n'roll than The Blues and at this point I was with the ones who might have said "why didn't the fool go and see Lambchop?". Then the opening riff of Oh Well, and it was a whole different performance. This is a truly great song, and Mick Fleetwood's drumming was as explosive as on any version you might like to listen to (for no reason but it's to hand try the live version on Boston Blues). Mick Fleetwood's cry at one point of "just like old times" was appriopriate after the highpoint numbers - true renditions of that strange but influential thing that was the British Blues Revival.
And, to keep this fairly brief, that was how it went, a couple of new or lesser known oldies, leaning a bit too far towards rock'n'roll revival and then just as I was beginning to think "cruise ship" a classic riff and a jaunt through Black Magic Woman (enlivened by 3 stage crew trying to refix one of the Tom-Toms whilst Mick kept on playing). A few Elmore James numbers were visited along the way, including Shake Your Moneymaker. Oh, and quite a few others - Homework, Rollin'Man/Voodoo Woman, Eyesight to the Blind, The Lucky Devil. A couple were done with Mick at the front of the stage on a much smaller drum set. Whilst this was being set up for him he chatted about the tour (this was the last date of the European tour - with only 2 days off in 5 weeks), and about the stomach bug working it's way through the band and the crew (which was, as he noted, too much information).
The main closer - World Turning - was a fantastic extended melodic-eastern drone tinged blues ( Rick Veto is an excellent guitarist. ), with Mick Fleetwood using all his percussion as part of a hypnotic whole. Then the band crept off stage giving him 5 minutes or so of drum solo – impressive - then back on to reprise World Turning. The encore had to be Albatross, which was played well but I'd have preferred a longer version of, and then offstage after Shake your moneymaker, in all about a 2 hour set. We got quite a long thank-you from Mick Fleetwood, and he mentioned he'd be touring with Fleetwood Mac next year (but presumably not in St Albans).
And, yes, I'm sure Lambchop was better, but this was pretty good in the end. Very professional band, and with the right songs they were excellent - the new stuff was The Hawaii version of The Blues and lacked grit. Mick Fleetwood's cry at one point of "just like old times" was appropriate after the highpoint numbers - true renditions of that strange but influential thing that was the British Blues Revival. And Mick Fleetwood is a truly great drummer, and you can't take that away from him. I have no regrets (yet).
In fact I'd even decided to pick up the CD on the way out - only the merchandise stall was undermanned and the bloke next to me ensured that everyone at our end of the table wasn't going to get served (yes, it can be very easily done - just keep shaking your money at the harassed roadie, and shout at him for not serving you - miraculously he will then ignore you and everyone standing near you). |
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Fleet Foxes - Shepherds Bush Empire - 5th November 2008
Review by Jonathan Aird
Considering the date I guess this live review should say something about fireworks and explosions. I'll try and avoid that. It does seem like I've spent a lot of time in the Shepherds Bush Empire this year though. This time I'd been indecisive for a bit too long and could only get a 3rd tier of the circle ticket and it's really a long way up ! I shouldn't complain, this gig sold out about 5 months in advance.
Seatle's Fleet Foxes are a "happening" band it seems; their EP at the start of the year and the album in the early summer got them rave reviews, with comparisons to Crosby, Stills and Nash amongst others. I'd have to demur on that one, the recorded vocals don't have harmonies quite up there with CSN. If I had to try and draw a box to put them in then I'd plump for a cross between their Bella Union stable mates Midlake (for the harmonies) and Stephanie Dosen (for the "old weird America" feel of the songs) with an equal portion of early America (for the rhythms). And folk, there's a lot of european derived folk in these songs - their structures and their melodies.
Getting to the gig slightly before 7:30 I'm surprised to find the Empire almost empty - tickets say doors at 7PM, it's an 11PM curfew, which might suggest support on stage ~7:45ish. Web sites and gig listings hadn't given any clue to a later appearance, and the Empire no longer lists a box office number to check on the day. So how did the other 2,000 or so ticket holders know not to turn up until later ? There is a long wait for the support act - J. Tillman - who comes on stage unannounced at about 8:30.
Long haired, wearing a checked flannel, he settles himself on a stool and launches into the first of a half dozen songs accompanied only by an his acoustic guitar. His songs seem to be in the same ball park as Fleet Foxes themselves, with a hint of melancholy and allusion to the sound of train whistles in the dark. He quickly loses the audiences attention, and by the third song in is almost inaudible. I keep expecting him to say "hey, this is wooden music man, so you're going to have to be cool or you'll miss it". Sadly, he doesn't. After the last song he says a gruff "thanks" and stalks off stage without a look back. It's a shame as what he was playing was, as far as I could tell, good. Perhaps he should have introduced himself : "Hi, I'm Josh Tillman, I'm the drummer in Fleet Foxes but I'm going to do a solo set now" would almost certainly got him some more attention. Anyhow, he comes back out as the drummer (although he's not listed as a member of Fleet Foxes on the album credits - there's something going on here, but I've no idea what).
Fleet Foxes are a drummer, 3 guitarists and a keyboard/guitarist, and certainly evoke an early 1970's Neil Young image wise. Robin Pecknold is lead singer, sometimes does a song on his own, and wrote all the songs - history tells us that this may not be good for the band's longevity, but tonight they are all pulling together so let's not worry about the future. They are remarkably relaxed, and remarkably capable - I'd have to say that Midlake on album just pip out Fleet Foxes, but Fleet Foxes are able to do the playing and the harmonies consistently well, whereas the one time I've seen Midlake live they were struggling a little. Fleet Foxes, in particular Pecknold, are not taciturn performers though. There's plenty of banter between the band and the audience but not to the extent that it gets annoying - they are quite pleased that Obama has been announced as president elect - although they acknowledge that they've now missed out on the tantalisingly strange prospect of a Palin presidency.
They open with "Sun it rises", as sweet a piece of west coast harmonies as you are likely to hear in 2008. And really there's no point me listing songs - this is a band with one album and one 5 track EP to their name, and an hour and a half to fill - they play pretty much all there is to play. Nothing is bad. "Ragged Woman" is a highlight, in turn uplifting and mysterious; "Mykonos" is superb - the first song of theirs that I heard, and good enough to sell me an LP and an EP as soon as I could find them. "White Winter Hymnal" - with its beach boysesque harmony vocals and stuttering heartbeat drumming is a real winner. On one song a melodic guitar lick really reminds me of a track from Bo Hansson's "Saga Om Ringen" (or "Lord of the Rings" if you prefer). There are a lot of influences at work, but they have been melded into a singular sound.
Fleet Foxes are, I believe, more than just a retro band - they may play guitars with violin bows - on "Drops in the River" which has a Pentangle feel to it - they may sing clearly, they may be able to play their instruments. They may evoke a classic folk/country rock style, but this is as much a recognition that this sound is a new "traditional folk" - if it happened 20 years before you were born it's as much a part of the tradition as Woody Guthrie's songs were for Dylan in the early 1960's. They are certainly worth watching - there could be a lot of good music coming from them in the future, if we're lucky.
I think that this tour is over now - but there are two dates at the Roundhouse early next year (the first night has already sold out though). |
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Baskery - Carling Academy Newcastle - 4th November 2008
Review by Maurice Hope
While it was Mercury nominee Seth Lakeman and his band that headlined it was the dynamic and hugely innovative Bondesson sister act, Baskery who I came to see.
Earlier in the year I had the pleasure of seeing just how good and hard working the Stockholm, Sweden trio were when they played this year’s Carlsberg Rhythm & Roots Festival in Kilkenny, Ireland. Blending old time traditional blues, country and folk with a keen rock leaning cutting edge they hit the boards at pace.
In Greta, the elder Bondesson sibling, Baskery posses one of the most versatile and forceful musicians you are likely to come across. For not only did she handle her share of lead vocals, adding to her blazing work on slide six string banjo she likewise drove the music forward in relentless fashion through her work on kick ands snare drum. Achieved by using her bare feet, they immediately took anchor —and if that wasn’t it all she also found time to play some tasty harmonica as the band cut loose.
Though in keeping with a venue used more for rock gigs than anything else —they did find room for the wonderful, harmony-filled ‘Oscar Jr Restaurant Bar’. Like with the remaining songs featured it figures on the band’s debut CD ‘Fall Among Thieves’, soon to be given a wider circulation via Glitterhouse it shall, hopefully, see the efforts of Greta, Stella (slap upright bass, vocals) and Sunniva (rhythm guitar, vocals) reach a wider audience. Whatever the outcome Baskery can justifiably lay claim to being Europe’s answer to America’s Dixie Chicks!
Best songs of the gig? It would be a hard call, but the audience who gave then a huge cheer when they let rip on Out-Of Towner (with the oft-repeated lines ‘I don’t want to go to bed with a man from town’) that possessed fine harmonies, fiery slide and a drive most acts would kill for their likewise highly charged new single ‘One Horse Down’ like in the words of their song, ‘Here To Pay My Dues’ |
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Kate Rusby - Alban Arena, St. Albans - 14th November 2008
Review by Jonathan Aird
Well, there's been some changes in Rusbyland since I last saw her in August 2007. Ex-husband John McCusker left the band at the end of the summer 2007 tour, and at about the same time her web site had a revamp - all the pictures of "girly" Kate disappeared, and were replaced by "sophisticated" Kate in a black dress. Has the girl grown up? At the 2007 gig (also at the Alban Arena) I enjoyed the music, but found the between song chat starting to get a bit twee - here's hoping for something more substantial.
The Alban Arena is packed out again, in an all seated configuration. We're up by the stage on flat seats, which at least should guarantee us a little leg room. There's a support - Damien O'Kean (I think!) on guitar and banjo with Ian Carr from Kate’s band also on guitar. Quite good Irish folk - vocals are a bit muddy, and when I say banjo that's tenor banjo, played in my third favourite style - with a pick - which is only one step up from strummed. But that's personal prejudice - and he's pretty good really.
Kate and the band come on to huge applause as Kate finds somewhere to leave her shoulder bag and cup of tea. And I'm pleased to report that from the off the between song chat has indeed lost most of the girly tweeness that irritated me last time - this time it's more about the music and why certain songs got written. I’ll draw a veil over Andy Cutting’s recipe for roast parsnips – it seems to amuse a lot of people, but I really can’t say why.
A number of the songs tonight are from her last album - Awkward Annie - and as such reflect her own song writing much more strongly than her previous championing of traditional material. This is a bit of a shame as, for me, her finest moments were the albums Sleepless and Hourglass, both of which featured much more traditional material. So with this a little sidelined within her current set many favourite old songs are absent. The good news is that she has added some songs - The Blind Harper and I Wish, for example - to the live repertoire that previously they just hadn't done on stage.
It's a given, but it should be mentioned, that Kate's sings beautifully, clutching the microphone and often with eyes closed as she delivers all the emotion through her voice alone, her body language when she sings seems incredibly tense and whilst she's counting off bars before she comes back in again she always looks nervous, with just the occasional smile.
Kate comes out alone after the interval. "We've all been eating quiche and having a cup of tea", she tells us, adding "very rock'n'roll". It's nice to hear Kate on her own, accompanying herself on guitar which also gives me time to reflect that this is something she has almost given up on - no keyboards anymore, and not much guitar either. The band, who soon rejoin her, of course give a fuller sound, and are further augmented by Damien O'Kean on a couple of songs, but Kate on her own is something special - a reminder of why I liked her in the first place. A band showcase is slipped in midway through the second set.
A highlight for me is Planets - which, coming off her last album it's hard not to hear as a semi-autobiographical reference to her divorce, but you never know: maybe it's just a pretty song. Kate doesn't say either way. The evening closes out with a wonderful encore of Sandy Denny's Who Knows Where The Time Goes - made over into Kate's wistful melancholy rather than Denny's striding confidence or Judy Collins' exquisite high notes. An excellent end to a very good concert though, but I'd love to see Kate take some risks (a longer solo set would be great) and move out of her comfort zone– but that's easy for me to say, isn't it ? |
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Fleet Foxes / J. Tillman - The Anson Rooms, Bristol - 30th October 2008
Review by Huw Jones
Easing to the front of a stage spread with waiting instruments, Washington State singer/songwriter Josh Tillman settles down on his stool with acoustic guitar and begins a memorable evening at the Anson Rooms. His delicate songs unfold gradually, subdued with a sense of yearning, and there’s something of Will Oldham and Iron and Wine in the tender huskiness of his voice. Mid-set, Tillman invites Fleet Foxes and guest vocalist Aja Pecknold on stage to accompany him on ‘First Born’, a slow and sombre piece from his forthcoming album ‘Vacilando Territory Blues’, and the crowd is instantly hushed by the high, melancholic harmonies. As his set draws to a close, Tillman seems genuinely touched by the crowd’s attentive and enthusiastic response to his heartfelt and unassuming performance and he leaves the stage having nicely warmed up the Anson Rooms on a cold autumn night.
Tillman isn’t gone for long though, as when Fleet Foxes take to the stage it becomes apparent that he is actually the band’s drummer. The five-piece from Seattle open with the sweet, soaring acapella harmonies of ‘Sun Giant’ - “What a life I lead when the sun breaks free, as a giant torn from the clouds” they sing - every breath drawn in unison momentarily revealing an audience transfixed in silence. Pushing straight into ‘Sun It Rises’ and ‘Drops In The River’, rumbling drums and organ give way to finger picked melodies and the shimmering reverb of Skyler Skjelset’s bowed electric guitar.
Debut single ‘White Winter Hymnal’, with it’s gorgeous old-time vocal-round and Beach Boys-recalling ‘ooh woo woo’s’, gets big cheers as do Pecknold’s mid-set solo numbers, including the lonesome ‘Tiger Mountain Peasant Song’ (‘Wanderers this morning came by/ Where do they go? Graceful in the morning light’), and the American Revolution era folksong ‘Katy Cruel’ - Pecknold’s voice at turns an impressive bellow then a plaintive falsetto.
Although a long way from their home in the Pacific Northwest, the band are in high spirits and between songs their keen sense of humour comes through in amusing exchanges with the audience. Countless moments of dizzying beauty pass before the band count into their encore, ‘Blue Ridge Mountains’. Over a chiming underlay of mandolin and piano, Pecknold enchants the audience, one last time, with imagery of the Tennessee night: quivering forests, snow drifts, a glowing yellow moon. A stunning performance from a band with a sound that is at once highly original and curiously timeless. |
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Danny & The Champions of the World + Others - Firebug, Leicester – 21st November 2008
Review by Jeremy Searle
Andy Hankdog, Pete Greenwood, Trevor Moss & Hannah Lou, Danny & The Champions Of the World. £7. Was there a better deal to be found anywhere in the world on Friday night?
On a rare foray outside South London, Andy Hankdog opened up with some nifty acoustic guitar work and thoughtful songs that demonstrated why the third Hankdogs album remains so eagerly awaited. By contrast, Trevor Moss & Hannah Lou (the former looking uncannily like a young Billy Childish) offer up delicate music that sits somewhere between the self-conscious whimsy of nu-folk and the timeless sounds of traditional folk. Elegiac English music, beautifully played and sung, these two are going to be stars. As indeed is Peter Greenwood who follows them. Deft guitar with hints of delta blues, jaw-dropping finger picking, laconic English vocals that recall both Ray Davies and Nick Drake, and a cover of Townes van Zandt’s “I’ll Be Here In The Morning” to finish make for a mightily impressive set.
Good as all these performances have been though, the main event is something else. Everyone who’s already played turns up at some point on stage as Danny Wilson leads his ensemble into an hour of joyous noise. Extended jams, testifying vocals, the life-affirming “Still Believe”, a rockingly extended “Shadow Of The Wolf”, it’s an awesome blend of country-rock and rollicking rock’n’roll. Andy Hankdog dances with an Easter Island statue head on, everybody swaps instruments and the band makes the sound of life-affirming fun. A total blast, and an amazing end to an amazing night. |
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Fred Eaglesmith - Classic Grand, Glasgow - 22nd November 2008
Review by Mike Ritchie
Wearing a Stetson with a brim as wide as the Clyde, Fred Eaglesmith’s welcome return to Glasgow, this time with his excellent band, yielded a glorious 90-minute wander through carefully-crafted songs about trains, travel, women, alcohol and horses.
Fred was the fourth Canadian act I’ve been lucky enough to see this year - Neil Young, Leonard Cohen and The Wailin’ Jennys had already given me excellent nights out. This gig, the Fallen Angels’ Cub final offering of 2008, didn’t fail either.
It was finely honed stuff as you would expect from a singer/songwriter with a seemingly endless desire to tour. But, as his loyal fans the “Fredheads” or the rest of us will attest, never did the performance falter or dip into a routine outing such is the quality of the musicianship, the impact of his lyrics plus his rock and gravel voice.
He’s issued seventeen albums to date, “Tinderbox” being the latest so there was no shortage of timeless songs to choose from – and each was a testimony to his award-winning writing talent that’s praised widely and, no doubt, envied by many more. The Cowboy Junkies, Chris Knight, Kasey Chambers, Todd Snider and Dar Williams have all covered and coveted his material. Indeed, Dar Williams enjoyed huge success with Wilder Than Her from the “Drive In Movie” release, yielding extremely welcome “lesbie” cheques, as Mr Eagelsmith succinctly put it.
I Like Trains from the same lauded CD was followed by a stunning Your Sister Cried from “Falling Stars and Broken Hearts,” which I first heard sung by the one and only, Mary Gauthier. From the balls and swagger of the brilliant Cumberland County to the delicate organ-backed Crowds, the catchy sway of Spookin The Horses from “Lipstick and Lies” to the delicious twosome Crowds and Ship from “Dusty,” this was a country, rock, roots, bar room blues and sleazy guitar breaks’ extravaganza. If he’s like this on each of 180 or so gigs a year, then there must be a lot of happy gig-goers in the world. We were among them in Glasgow, that’s for sure. This was a memorable and welcome stopover and, hopefully, he’s kept the return stub of his ticket and will come back with the band real soon. |
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Tim O’Brien - Customs House, South Shields - 20th November 2008
Review by Maurice Hope
Award-winning bluegrass and folk Grammy Award winner Tim O’Brien brought his brand of folk, bluegrass and country fare to town, as he visited these shores for the third time this year. Some feat this, and one some acts Stateside could be alerted to.
He is due to cement his links with the UK even more next year when he works on the next Kate Rusby album as producer where he will like in the past also donate his musicianship.
Selecting songs at random from his last three albums, his current offering Chameleon (Proper American), Cornbread Nation and Grammy winner as Folk Album Of the year in 2006, Fiddler’s Green (both on Sugar Hill) provided a wealth of varied enough fare for him to utilise the instruments he had scattered alongside him on stage. Guitar was the first he used before he eased onto Bouzouki and banjo — that he played superbly, claw-hammer style (Doc Boggs eat your heart out wherever you are) and fiddle. Even then people were asking where was his mandolin?
Whether he was playing a scratchy fiddle tune like on ‘First Snow’ or plays and sings on traditional piece ‘Love Is Pleasin’ it is always a pleasure to see O’Brien pick up his bow. An instrument that, like with all-stringed utilities he plays with great ease and well. Learnt from veteran Americana folk act Jean Richie the song has been recorded by people as diverse as Britain’s own Marianne Faithfull.
Showing great dexterity O’Brien eased on through both traditional and his own fare in consummate ease. As good a tune ‘Pretty Fair Maid In The Garden’ might be his own dashing ‘Look Down That Lonesome Road’ and on reverting to the instrument he started he then displayed his ability as a guitar flat-picker on another song, ‘Train On The Island’ from his award-winning Fiddler’s Green album.
With O’Brien telling humorous anecdotes to go with the material the evening’s entertainment flowed, freely. This never more so the case than when he picked up his banjo and, in claw-hammer style whisked through a couple of delightful numbers. ‘World Of Trouble’ focuses on politics and environmental issues in a humour edged fashion, but the message like with ‘Nothing To Say’ likewise from Chameleon is plain and simple as he gives out a wake up call.
His album Chameleon (could it too be an award winner for the West Virginian) has a wealth of story songs that soak into the mind of the listener at various speeds. Some may simmer on the back burner before the penny drops, as with ‘Father Forgive Me’ that though, instantly, enjoyable it took me a little while to appreciate fully —and, even then I had to hear him in person for everything to fall into place!
Interesting stories accompanied Chameleon, the wonderful ‘Fiddler’s Green’ and of course —‘Megna’s’ (a song he recorded about a street fruit seller without him knowing Chris Smither had already done it) and the energy filled ‘Cornbread Nation’. One of a number of songs O’Brien has recorded that makes reference to food, it produced like a good many of his songs a feeling that here is someone not afraid to bring humour to the table.
‘Walk Beside Me’ (co-written with Darrell Scott) was inspired by a winter’s walk he took by the North Sea almost ten years ago, where, on hearing of the death of his old friend and fellow founder member of Hot Rize, Charles Sawtelle he went to gather his thoughts. Mellow, and warm it closed the first half and though tinged with sadness it likewise revealed a poet beauty as much of his work does.
O’Brien, in the company of ex-Daily Planet member, Jason Titley (guitar, hand drums) for part of his show went for the old gospel-blues standard ‘Keep Your Lamp Trimmed And Burning’ to close with. This prior to the obligatory encore and a superb version of the Olla Belle Reed classic ‘I’ve Endured’. Found on his ‘Traveler’ album, it like with everything he did class of the highest order oozed freely.
Innovative, entertaining and when it comes to playing acoustic instruments — O’Brien is one of the best; and what wonderful songs, that are so insightful and true of the times we live. |
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Gary Louris & Mark Olson - The Union Chapel, London - 26th November 2008
Review by Andy Riggs
What a great venue - dating from 1880s the Union Chapel creates an intimate atmosphere and what a refreshing experience: none of the inane chit-chat (Borderline) none of the hype (O2). Even more refreshing is that Gary and Mark are scheduled to start at 8.15pm and start on time.
The only grumble is that their new record is not available yet, but was readily available at £15 on the night - as the duo played most of the songs from the new record it would have been useful to familiarise myself with the songs ahead of this. Only a minor grumble, because Gary and Mark were on fine form.
Since the split Gary has pursued the more ‘mainstream’ of Americana whereas Mark has followed his muse with the not so accessible Creekdippers.
The set list contains a sprinkling of Jayhawk classics - ‘Settling Down’ and ‘Blue’, which appeared to satisfy the congregation. But it was the new songs that took the night; clearly the duo have re-ignited the chemistry that was so evident on the early Jayhawks records. Gary seemed to take the lead on most of the songs and during the evening.
At times reminiscent of The Everly Bros and Crosby & Nash, the evening was a revelation watching ‘two Americana superstars’ at this small and intimate setting. Supported by a lady (from Norway? Maybe Mark’s new lady?) on conga and percussion the vocals throughout the night were superb. On this evidence the new record will be an essential purchase as was Gary’s solo record from this year. |
