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|Photo by Kenny King|
Today we have a video premiere from Kentuckian Andy Brasher for the song “Drugs in the Tip Jar.” It’s a tune from his debut album Myna Bird, out April 3. “Drugs in the Tip Jar” is a driving country rocker that takes a peek into the life of a touring musician, many of whom would kill for a tip jar at this moment. The song is catchy and real, with strong vocals and a healthy dose of humor and easy-going heartland rocking. Highly recommended to fans of John Mellencamp, Chris Knight, Steve Earle, and Cody Jinks.
This is a true story from my time in Nashville. I lived there in the early 2000's. When I first moved there, I was working on songwriting primarily. I focused on getting co-writes and playing open mic nights at the Bluebird and Douglas Corner Cafe, among others. I wanted to get a publishing deal. I roomed with a couple of friends in a small apartment, but, I still had to pay my part of the rent, so I'd gig as often as I could. Broadway wasn't really my thing (although I played plenty of those shows if I had to)...I'd try my best to play little neighborhood bars around Nashville.
One such place wasn't far from my apartment, so I ended up there a lot. I was glad to have a gig so close to home, but let's just say...I lived in kind of a "sketchy" neighborhood.
After my first gig at this place, I checked the tip jar and was pretty surprised. Yeah, I had a few dollar bills, a good tip or two...but I also had a little street drug store hanging out in the very bottom. You name it..."go fast", "go slow", pills, a joint...and this kept happening at that place! It led me to wonder, 'What makes them think I want this? Is it me? Is it them? Do I want this?'. Aside from encouraging me to take a little self-inventory, I thought it also warranted a song.
More about Andy under the video!
Andy Brasher - Myna Bird
Kentucky's Andy Brasher brings fresh energy to the Americana music scene through his vivid storytelling, soulfully captivating vocals and mastery of his instrument -- all of which are on full display with his stunning debut solo release, Myna Bird.
Having already headlined shows across the U.S. and internationally, Brasher’s previous band Brasher/Bogue has also shared the marquee with Tim McGraw, Kid Rock, Kenny Chesney, Hank Williams Jr., Charlie Daniels, Blackberry Smoke and many more over the course of their tenure.
Produced by Harry Lee Smith (Restless Heart, Angeleena Presley, Martina McBride) and multi-Grammy award winner Ross Hogarth (Keb’ Mo’, Shawn Colvin, REM, John Mellencamp) at Nashville’s renowned Blackbird Studios, Myna Bird is equal parts modern Americana and stone-cold country, laden with folk philosophy and clever turns of phrase. Smith & Hogarth’s expert production flourishes are apparent throughout, from the warmth of the acoustic guitars, radio-ready electric guitar tones and licks, the crack of each snare hit, to Brasher’s singular vocals nestled neatly on top of each track.
Opener “21” sets the tone for the record with soaring, reverb-tinged electric guitars layered with urgently-strummed acoustic instrumentation. It’s a vibrant tune harkening back to “the good old days” and the innocence of youth on the cusp of adulthood -- the perfect soundtrack for a windows-down weekend drive through the countryside.
Title track “Myna Bird” showcases Brasher’s introspective side, the country ballad’s title taken from the nickname his mother gave him as a child due to his ability to quickly memorize song lyrics from the radio (Brasher notes with a chuckle that she “probably meant mockingbird”). It’s also a gutting tribute to the late Wayne Mills, a legend of the honky tonk circuit, as well as a friend and a mentor to Brasher before his tragic passing.
“He spent his whole life going out there and playing music. His original music was every bit the truth...it was so great,” Brasher recalls. “But he was running himself ragged getting to and from these bars, forced to play ‘Wagon Wheel’ and ‘Sweet Home Alabama’ over and over.” Therein lies the myna bird comparison -- both artists had their own music and message to take on the road, but they end up playing the same songs everyone’s already heard in order to keep themselves on the road -- a duality of working the honky tonk circuit.
“If She Loves” also runs along the country ballad thread, a slow-burning number featuring sparse acoustic production that builds into a wall of sound led by wailing electric slide guitar. Originally intended as a love letter to Brasher’s longtime girlfriend, as it was written the song evolved into an anthem lifting up and celebrating the strength and perseverance of all women.
“Drugs in the Tip Jar” chronicles the stranger-than-fiction tale of Brasher’s early experiences playing for tips in Nashville’s honky tonks -- unexpectedly finding his tip jar filled with multiple types of contraband in lieu of cash at the end of a set. It’s a rollicking, stone-cold country song that would likely have worn out jukeboxes in years gone by.
Born and raised in Owensboro, Kentucky, music was a family affair for Brasher from an early age. After learning to play the acoustic guitar -- taught by his father and grandfather -- crafting songs became second nature for him. Brasher studied under the lyrically driven music of Townes Van Zandt, Steve Earle, Bob Dylan, and Guy Clark, while also taking sonic cues from rock luminaries of the era such as Lynyrd Skynyrd, Led Zeppelin, and Queen. At the age of fourteen, Andy started his first band and began performing at parties, festivals, and bars in his hometown. Through his soulful interpretation of covers as well as his original works, he built a large and loyal local following that gave him the courage to relocate to Nashville and explore the music scene. Brasher refined his skills in the Music City’s renowned honky tonks and songwriting circles, gaining wisdom through valuable life lessons along the way.
In 2009, Brasher and fellow musician Dustin Bogue recorded an album of ten songs and formed the band Brasher/Bogue. While formed as a duet, Brasher/Bogue grew into a five-piece band that began their touring career on Kenny Chesney’s 2011 “Goin’ Coastal” tour. By 2012, Brasher/Bogue had produced three albums and were a staple of the festival circuit, as well as regularly supporting top national acts.
Oct 20, 2016
A review by Trailer
If you're like me, one of the first things you'll notice about Erik Dylan is his vocal similarity to 1990's Steve Earle. It's undeniable. There's also some Chris Knight, some Guy Clark, and some John Mellencamp in there.
Don't let that dissuade you though; this guy's no cheap imitation, and he's got "it." "It," as in songwriting chops, a singular point of view, and an indefinable gravity. He's even got a blessing of sorts from the Earle family by way of Steve's niece providing backing vocals on lead single "Pink Flamingos."
Dylan's written songs for or with Nashville acts like Thompson Square, Eric Paslay, and Kip Moore, but his own music hardly fits the mold for radio airplay. Not to say radio isn't moving his direction, but Dylan's sound would still be considered edgy by Top 40 standards. It's not squarely in the realm of Americana either - there's a clear commercial bent to the sound - he resides somewhere in the middle ground.
And the writing… the writing is pure heartland. Downtrodden blue collar souls, broken hearts, and small town dreamers populate his songs with a depth that's detailed enough to carry a songwriters' night, but a universal appeal to grab more commercially-oriented souls.
All that said and I haven't even mentioned the album yet. Heart of a Flatland Boy is out Friday, and if the first four paragraphs perked your ears, you need to click play or download on this record.
The aforementioned "Pink Flamingos" is "Feel Alright" (Earle) meets "Goodbye Earl" (Dixie Chicks) and if that ain't the formula for a killer tune, I don't know what is. It's a backroads justice tune with a little dark humor and a lot of devil-may-care attitude.
"Astronaut" is a dreamer's anthem. It's a little fanciful and a lot of fun. A working man dreams of getting out, whether by rocket ship or lottery windfall, but he's stuck in a map dot town with a "Copenhagen habit and a GED." And that line there is the hook that will stick in your head long after the album is over, whether you want it to or not.
The album's most moving song is "Fishing Alone." It's a recounting of regrets after losing a close family member that touches the heart and sets the most important things in life in proper order. Give it a listen and then go call your dad.
Heart of a Flatland Boy is a bold debut, full of stories and emotions. It deals less in platitudes than it does in reality, more in grit than gloss, but there's still more than enough catchiness to appeal to even the most passive listener. Dylan is a promising talent who's landed with an album that already surpasses many artists' potentials. It's well worth your time.
RIYL: Steve Earle, Chris Knight, John Mellencamp, Reckless Kelly.
Heart of a Flatland Boy is available on iTunes, Amazon, etc.
May 5, 2011
I enjoyed a full three days of music this past Friday through Sunday at Tom Lee Park on the banks of Old Man River. We started the weekend with nice temperatures and blue skies, an almost unheard of combination for the Beale Street Music Festival, whose name has become synonymous with rain, mud and rain. Still, the mighty Mississippi was swollen and forecast to spill over its banks within days so our watery backdrop was immense and threatening.
CAGE THE ELEPHANT
The first show we went to was Cage the Elephant. They were loud, obnoxious, young and pretty ragged, sound-wise. Of course, that fits their punkish persona and it worked well. The lead singer told us he was spaced out on pain pills due to a tooth extraction a couple days previous, but it didn't show. He was nuts, all over the stage and screaming his lungs out. We listened to about 8 songs, including "In One Ear," "Around My Head" and "Aberdeen" before departing to catch the end of Everclear's set the next stage down.
I'll never claim to be a huge fan of Art Alexakis and company, but I did enjoy several of their songs from the late 90's and early 00's. I can't say Everclear sounded especially enthused Friday night, but the band was tight and Art's voice sounded good. It was a greatest hits set-list, thankfully leaving out some of their dreadful cover songs. Curiously, their sound was a lot lower than other bands we heard and the mix was kind of flat. Still, they did a solid job with favorites like "Wonderful," "Everything to Everyone" and "Santa Monica," which Art said had bought him a couple of houses and a couple of divorces.
We took a beer break after Everclear, not caring to journey back down to see MGMT or B.o.B. and far from enthused by Slightly Stoopid. However, Stone Temple Pilots, the night's headliner was after the aforementioned stoner band, so we eventually pushed our way through beardy hippies and smoke-clouds to get a good spot for STP. While obviously a musically talented band, as evidenced by a couple of rocking songs, including a spot-on cover of Nirvana's "Territorial Pissings," Slightly Stoopid stuck to the Sublime-meets-jam band sound that they've obviously built their career on. I'm sure for tokers and diehards, the band is great, but I didn't care for their set at all.
STONE TEMPLE PILOTS
I'm an unabashed fan of STP. They weren't exactly on my "must see bands" list, but still, I don't see them as the faux-grunge garbage band as many rock snobs do. I didn't know what to expect from the recently re-formed group, given Scott Weiland's sketchy history on and off-stage. I'm happy to say they rocked Tom Lee Park. Sprinkling three songs from their newest self-titled album in with a ton of hits like "Plush" and "Interstate Love Song," STP was tight as they could be and sounded great. Scott Weiland was pleasantly weird, dancing around like tribesman by a fire and interjecting odd statements and prayers at a moment's notice. And despite a couple of audience members trying to bait him into a meltdown, he maintained his composure and vocals throughout. I'd have to count them among the best live hard-rock bands I've seen.
True to the rep of the Beale Street Music Festival, the rain came Saturday. Not much, but it continued a streak.
This was my first highly anticipated artist of the festival and Paul did not disappoint. He was funny, humble, soulful and a helluva entertainer. Peppering in self-deprecating jokes and homespun wisdom, Paul had the crowd engaged for the full set. Besides being a great singer and songwriter, he came across as a genuinely down-to-earth guy with an almost innocent appreciation for the attention he was being given and the artists he was sharing the stage with. His set included my favorite of his, "Love Scar," along with others like "A Lot of Good Reasons" and "I Have a Good Day." He and his band tore the place down with the rollicking closer "Mission Temple Fireworks Stand," leaving everybody wanting more than an hour and a half festival show could give us.
JERRY LEE LEWIS
Do I really need to write anything else besides his name? The man's a freaking legend. While frail of body, a bit weak of voice and fairly rambling between tunes, The Killer put on an awesome show, proving there's still plenty of fire in the tank. He did all the favorites, a few classic covers and, of course, he ended with "Great Balls of Fire" and "Whole Lotta Shakin'." He even summoned up the strength to do his trademark "playing while standing up" towards the end. Wonderful and unforgettable.
MUMFORD AND SONS
The band sounded great, performing nearly their entire debut album along with 2 or 3 new songs from the album they're about to record. They were tight as hell and very engaging with the crowd. Their performance is not so much the story here as their audience. It was by far the biggest crowd of the entire event, massive even. A friend of mine who'd seen Dave Matthews Band at Beale a few years ago said it was far larger than DMB's audience. Also, the crowd seemed to know every word and reacted to the songs like The Beatles themselves were on stage. I had no idea they were so popular. In a day and age of segmented tastes and fan-bases, this was the one act that seemed to bring everyone together. We'll see how that holds up in the fickle wind of pop culture.
Lucinda was in great voice and her band was tight. Her song selection, however, mirrored my general impression of her most recent work… it was tepid for the most part. She did "Joy," "Can't Let Go" and "Buttercup," among others, which I enjoyed. The rest was fairly bland; certainly not providing much excitement. I wasn't thrilled with the set.
John sounded awesome and his band was even better. They were thoroughly impressive. The theme of his set seemed to be flipping songs on their heads. The songs from his recent stripped-down album were played with bombast and vigor by the full band, bringing life to tunes that to me were just okay on record. The hits were played either stripped down or with completely new arrangements. It was very cool. The crowd ate it up, and John was funny and conversational. A side-note: I saw the well-known liberal and environmentalist the next day climbing into a massive black SUV to leave his 5-star hotel :).
The rain came in sheets Sunday, and the river was up another foot or so, now lapping at the sidewalks just beyond the side retaining walls of the park. Despite the weather and the impending flooding, the festival thankfully went on mostly as scheduled.
Farce the Music's house band started without the benefit of a soundcheck due to a tornado warning earlier. I and my listening party had hunkered down in a trolley stop, but we made it safely, but muddily to the concert on time. Ben Nichols admitted the sound was a "clusterf*ck" but it really wasn't bad at all. They were as solid as ever despite the lack of preparation and the weather-diminished crowd. They ran through what Ben termed as "our greatest hits…. or at least uh, local favorites" including "My Tears Don't Matter Much" and "Sixes and Sevens." They also threw in one new tune that will be on their next record called "Women and Work." It was even more in the Memphis R&B direction than most of the songs on their last release. Good stuff. Horn section and everything. Lucero NEVER disappoints.
Admittedly, I'm not a huge fan of Gregg nor the Allman Brothers, but this was a nice show. He performed solo tunes and legendary favorites alike, including "Just Another Rider," "Whipping Post" and an especially moving rendition of "Melissa."
Some girls started mud-sliding during the end of Allman's show. It was very entertaining and some people even started a tip cup for them.
THE AVETT BROTHERS
Another huge crowd for another hot band. The Avetts were loose, loud and awesome. The longest soundcheck I've ever endured yielded the best sounding set of the weekend. Seriously, I'm a fan, but The Avetts blew me away. They were energetic and lively and the crowd ate it up. Selections included "Shame," "Will You Return?," the Prine cover "Spanish Pipedream" and the lovely closer "I and Love and You." If you like bluegrass or newgrass or indie-folk, you owe it to yourself to catch the bros. Killer, killer show! (Another side-note: During the set, the crowd gasped as a river boat rolled by virtually right beside us - see photo.)
I'm assuredly on the Farrar side of the Jay or Jeff argument. However, Wilco this Sunday night made me stand up and realize the utter talent of the more commercially successful splinter of Uncle Tupelo. They were amazing. Forgive me for not knowing the guitarist's name, but he was stunningly good. I've seen some 80 live acts in my life and I'd count him as the best guitar player I've ever seen live (ahead of the likes of Kenny Wayne Shepherd and Kirk Hammett). Wilco, despite a nearly 7 month break from playing live, confidently crushed a set that included "Shot in the Arm," "Monday," "Jesus, etc." and probably the best tune I've ever seen played live, "Impossible Germany." I'm not a big fan of the band's recent releases, but I'm now a huge fan of Wilco. Tweedy was great, in excellent voice and in harmony with the crowd. His best between-song line of the night was regarding the scent of barbecue and sausage wafting through the air, "We may become the anti-Morrisey after this. We won't play a show unless we smell burning meat." All hail Wilco.
Jeff Tweedy and crew