Live Review: Alabama Shakes with Lee Bains III & The Glory Fires

Alabama Shakes w/Lee Bains III & The Glory Fires
Apr. 25, 2014 - 9:30 Club, Washington, DC

By Matthew Martin

It's been a while since I've written up any shows I've been to, and in the time that has past I've been to quite a few.  However, I just didn't think they were worth writing about.  Not because they weren't good enough.  Maybe I just hit a lull in writing, or maybe I felt like things got just a little bit blurry near the end of the show.  So, I put off writing anything.  Until, now.  I come back to you guns blazing with a review of one of the best shows I've been a part of in the past 2-3 years.

There are few things in this world better than a show on a Friday night.  The release of all emotions that comes with a great show.  The suspension of anything that is happening in your life.  And, of course, the pure joy of being with 1200+ (in the case of a 9:30 Club show) of your newest friends.

This was absolutely the case on Friday April 25th, 2014 at 9:30 Club when Alabama Shakes made their triumphant return to 9:30 Club and D.C.  I believe the last time they were in D.C. was in 2012 with the Drive-By Truckers.  And shortly after that, they headlined the Rams Head stage in Baltimore with a band opening for them I had never heard of- Lee Bains III & the Glory Fires.  I happened to be at that show, and both bands shook me, albeit in different ways.  So, when I found out that this same line-up would be coming back to D.C., I (im)patiently waited for the tickets to go on sale on the 9:30 Club website and got secured my spot to a show that sold-out in 5 minutes.

First up, Lee Bains III & the Glory Fires came out and ripped through a set that seemed like a cocaine-fueled punk version of Southern rock & roll.  I do not know how else to put it.  They are a stunning band and watching them on stage is incredible.  Guitars are up to 11, drums are relentlessly pounded, and the bass is forcefully plucked.  Songs from their first album, There Is A Bomb In Gilead, are amped up to a 100 mph speed.  Songs like "Red Red Dirt of Home" have the tempo increased and the songs are transformed.  It works.  I actually prefer the faster versions.  It seems this is the speed Bains and crew are more comfortable in.  When you hear the new album, Dereconstructed, it's clear that this is the new Glory Fires sound: loud, fast, and pissed off.  The set closed with the new song "Dirt Track" of the new album.  It was during this time that the guitarist, to the cheers of 1200+ people, got on Bains' shoulders and both proceeded to give killer solos.  The set lasted about 50 minutes and seemed far too short.  It's fair to say, the boys gained a hell of a lot of new fans that night.

Now the wait for Alabama Shakes began and the crowd was beginning to become electrified.  There was a buzz in the air unlike any show I've been to in a really long time.  Folks seemed not quite sure what to expect.  After all, Alabama Shakes have released exactly one album (Boys and Girls), and that was in 2011- three years ago!  

Needless to say, Brittany Howard and crew still had it.  They had the crowd in the palm of their collective hand from the opening note of the opening song.  By the time they reached "Hold On," I thought the place was going to come down.  I have seen many shows at 9:30 Club and I can honestly say that I have never heard the crowd roar as loud as I heard when they ended that song.

They ripped through the majority of their debut album along with a few others that were new, and some that were B-sides and singles; i.e., "Always Alright" and "Heavy Chevy."  Throughout the show, it was clear that Brittany had gained a new confidence that I didn't quite recall from the show in Baltimore a few years back.  This confidence went a long way that night.  She owned the stage.  She proved that being a frontwoman can be a hard and easy task all in one.  She roamed the stage, looking at everyone, singing to them.  I witnessed first hand, I suppose, what it means to gain that confidence and what a difference that made.

By the time the show ended, everyone was wearing the biggest smiles.  Something pretty awesome had just been seen, and no one was quite ready for that.  To be impressed by a band is one thing, but to be blown away by the complete package is another.  We were lucky that night to be in the latter group.  If it sounds like I'm gushing, I am.  We all knew Alabama Shakes had talent.  We knew that they made catchy-as-hell songs.  I'm just not quite sure we expected to be blown away.  

As I always say, go see these bands - both of them! - when they come anywhere near you.  I'm confident that you won't be disappointed.  Until then, go buy their music.  Support them.  Let's keep these folks around for as long as we can.  It's a short lifespan sometimes in rock and roll, but these folks deserve to be old-timers.  As Lee Bains III sang, "keep on rollin, keep it on the dirt track."

Best Albums of 2013: Matthew's Picks

10. Black Joe Lewis - Electric Slave

This album continued to grow on me throughout the year.  It's such a strong album full of driving guitar, funky, dirty rhythms, and Lewis's penchant for telling stories of partying as well as more serious themes.  This is Black Joe Lewis all grown up and pissed off.  This is Black Joe Lewis's best album.

 9.  Jonny Fritz - Dad Country

Speaking of growing up, 2013 saw Jonny Fritz change his name from Jonny Corndawg in an effort to not get pegged as a joke affair.  I think Dad Country is the epitome of that change.  There are serious-as-hell songs on here masked in seemingly funny material.  It's not terribly funny though when you think about the narrator of "Ain't It Your Birthday" showing up sometime later at his ex's house to wish her happy birthday.  Character studies are Fritz's forte, and on Dad Country, those lovable losers/weirdos are everywhere.

 8.  Deer Tick - Negativity

Deer Tick really did a 180 on this album.  From Divine Providence to Negativity, there is such a deep contrast, but the essence of what makes Deer Tick a great band serves as the glue; the songwriting.  McCauley and crew wrote some of Deer Tick's best songs for this album, an album darker and more somber than any of their previous.  When you listen from front-to-back, this album hits every note on the melancholy spectrum.  But, it doesn't necessarily make this album a downer.  It makes it an album perfect for reflection- whatever that reflection may be on.

 7. Sturgill Simpson - High Top Mountain

From the first note of this album, I was blown away.  His voice, his honky tonk band, and his stunning lyricism all seemed out of place for an album being released in the year 2013.  But, that's what makes Simpson's album so damn enjoyable.  It's a breath of fresh air to be able to find country music such as this still being made.  With a voice similar to Waylon, I think we'll see much more from Simpson.  Country music needs many more Sturgill Simpsons.  Maybe 2014 will bring more along.

 6. J Roddy Walston & the Business - Essential Tremors

I suppose 2013 was the year of growing up for bands, because on Walston's album, the band took a huge leap in terms of song material.  From dealing with his condition that causes him to shake (thus, Essential Tremors) to the father-to-son tale Boys Can Never Tell, there are songs that are more serious, yet keep the party going with The Business's rowdy backing.  My initial complaint with the album was that I hoped it would have more piano, but after multiple listens, there's not a damn thing I would add or take away from the album.  

 5. Futurebirds - Baba Yaga

Futurebirds continue to be one of the best bands out there with this album.  Taking their reverb-laden rock to new levels in sound, Futurebirds created their masterpiece.  Their numerous EPs and debut LP were great, no doubt, but this album takes that sound, adds years on the road, and finds the band at their peak.  As I have said before, this album is perfect for an afternoon on the back porch/patio/balcony during the summer.  It should also be stiflingly hot.  This is the kind of album we will be listening to for years to come.

 4. Diarrhea Planet - I'm Rich Beyond Your Wildest Dreams

Yeah yeah, the name... It's dumb.  Sure.  But, these boys from Nashville put out one damn fine rock and roll record.  If you can explain to me anything wrong with 4 guitars, I'd love to hear it.  An album rife with the perils of getting older and feeling isolated, the LP rocks harder and more accessibly than anything I can recall in the past few years.  It's also just a lot of fun.  It took me a while to get on board with this band, but once I got over the name, I have yet to be disappointed.  Great band, even better album. 

 3. Ha Ha Tonka - Lessons

I thought Ha Ha Tonka would not be able to top Death of a Decade, but I clearly thought wrong.  An album based on an NPR interview with Maurice Sendak sounded a bit over the top at first.  But, leave it to the guys in Ha Ha Tonka to tackle the subject and do so nearly perfect.  The album sifts through the taste of regret, forcing the listener to tackle regret in their own life, looking back through the days, months, or years.  As with other albums dealing with the subject on this list, it doesn't burden the listener.  It merely poses the question, and it's up to the listener to look back and take the past as it was, or dwell uncomfortably on those times we could have maybe done things differently.

 2. Jason Isbell - Southeastern

My god.  When I first heard that Jason Isbell was sober and had been hanging around Ryan Adams, I was a little worried.  Not because he was sober, mind you.  But, because Ryan Adams career had been somewhat frustrating to me once he reportedly got sober.  I don't blame it on the sobriety, one bit.  I doubt very strongly one writes better or worse on or off substance.  But, I still had doubt that the new, slower Isbell album would be something I would like.  I was wrong.  Dear god, I was so wrong.  This is the most stark and beautiful thing Jason Isbell has ever done.  The songs about sobriety (or, rather, grappling with sobriety) and his new love (the wonderful Amanda Shires) made for one of the best albums of the year.  I'm not sure how anyone can place this album lower than 2nd.  I had the hardest time saying whether this or my number 1 album were 1 or 2.  I changed the order many times.  This album is gorgeous.  It's intense.  And it's Jason Isbell's best damn album, which is saying a lot...

 1. John Moreland - In The Throes

I had never heard of John Moreland prior to this year and to be honest, I'm glad I hadn't. First hearing of this new-to-me artist and hearing his supposedly incredible album was one of the best things to have happened in 2013. The songs on this album are by and far the best songs I heard this year.  They are somber songs.  They are songs that are honest.  Sometimes painfully honest.  When you hear Moreland sing with his raspy, soothing voice, there is nothing but comfort in knowing that there is a person who knows your feeling.  Listening to these songs make one feel, immediately, comforted and slightly uncomfortable.  We are seeing into John Moreland's soul.  The very things he's frightened of, saddened by, and/or angered by.  And, we need that.  We need honesty in songs.  I'm glad I discovered John Moreland this year.  I'm glad he made this incredible album and put it out this year.  At the end of the day, this is, in my mind, the best album of the year.

Honorable Mentions:

Run The Jewels - Run The Jewels. Dawes - Stories Don't End. Earl Sweatshirt - Doris. Fifth on the Floor - Ashes & Angels. North Mississippi Allstars - World Boogie Is Coming.

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-Matthew Martin

Album Review: Black Joe Lewis - Electric Slave

By Matthew Martin

From the opening heavy, fuzzed-out riff of Electric Slave, we know that this is a new Black Joe Lewis.  Not only musically, but in name as well.  Black Joe Lewis has opted to drop the Honey Bears from the band name.  Not to worry, the horns are still there.  The funk is still prevalent.  But, this is something a bit heavier, a bit more Stooges than Stax.

One of the first things I noticed about this new outing by Black Joe Lewis is the more pissed off tone of the album versus his last two outings.  Not to say it hasn't been on other albums-Scandalous had the terrific "You Been Lyin."  It's just that this album takes that emotion and increases the tone to that proverbial 11 level.  The subject matter blends perfectly with the minor chords that dominate the album.  

"Skulldiggin" starts the album off with a bang and really never lets up.  By the time you get to the excellent "Come to My Party," it's clear that Black Joe Lewis wants to blend every style available to him.  I dare you to listen to that song and try to sit still.  I don't think it's possible.  

It's the next half of the album that really picks up and takes the album to another place.  The back-to-back songs "Vampire" and "Make Dat Money" are great band workouts.  Lewis's voice fits the songs so perfectly.  Rough and amplified, it's a vague reminder of The John Spencer Blues Explosion, albeit taking only rough notes from that playbook.  The next song, "The Hipster" is a song so perfectly angry and humorous- I can only imagine the Williamsburg crowd listening to the song very uncomfortably.

I don't know that I would say this is Black Joe Lewis's best album.  It's definitely not the worst.  This is a step in a direction that I think will suit Lewis in the long run.  The horns are still there.  The funky guitar rhythms are still there.  But, there is a new urgency.  There is a demeanor that the music has taken on....a more sinister demeanor?  I'm not sure if that's the best way to describe it.  I'm not sure I know how to put it in words.  I think you should listen to it.  You will like it.  That is something I am quite sure of.

If I had to complain about a couple things on the album, it would be the vocals mix and "Young Girls."  While I enjoy the sound most of the time, there are times where it gets a bit difficult to discern the vocals due to being lost amid the guitars, drums, and horns.  It's only a minor complaint, though.  Also, "Young Girls" starts off fairly weakly.  I nearly skipped it.  I didn't, and I was glad I didn't.  The song grows into it's own, but it's the weakest song on an otherwise incredibly strong album.

This album will grow on me.  I like it a lot so far.  I see it potentially being on my year-end list with more listens.  This is a blues album for the times.  No doubt about that.  It's been a frustrating year and some angry, fun, funky blues is just what we needed.

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Pick the album up here, here, or here.

Live Review: Dawes and Shovels & Rope

Dawes and Shovels & Rope at 9:30 Club 6/19/2013

by Matthew Martin

Around the time I heard Dawes was coming to D.C. again, a pretty big and gut-wrenching change occurred in my life. Don’t worry, I won’t bore you with the details, but it was enough to throw me off track for quite some time. So, I forgot about the Dawes show and rode a couple months of less than great luck. Before I knew it, the Dawes show sold out. Needless to say, I was pretty bummed.  

But then, on a whim, I decided to enter the contest Dawes had listed on their website/twitter which was simple- enter your name and email address and you could win a meet & greet, a signed set list, and 2 tickets to the show of your choice. And, I won. My luck is changing!

As seems to be the case with a lot of shows I have written about here, Shovels & Rope opened the night with their increasingly popular and well-oiled brand of Americana. There isn't a whole lot more I can say about Shovels & Rope that I haven’t said before. Cary Ann Hearst and Michael Trent traded instruments, per usual. Hearst was her charismatic self and the crowd was eating out of the palm of their hands by the time they ended with the biographical “Birmingham.” Really, their live show is something to behold. As great as their albums are, they just can’t do Shovels & Rope justice.  

Dawes has recently released a stellar third album- Stories Don’t End- and I was very excited to hear many of the songs from the album that had already become among my favorite Dawes recordings.

The show started with the first single off of the new album, “From a Window Seat.” One of the first things you notice at a Dawes show is that the reserved nature of the band on their albums really gives way to intense performances by Taylor Goldsmith. It’s one of my favorite things about seeing Dawes. If someone says Dawes is a bit softer for their taste, I always encourage them to see Dawes live.  

The band ripped through songs from all 3 of the albums with songs like “Peace In the Valley,” “Million Dollar Bill,” “From the Right Angle,” and more. Where pure elation really occurs at a Dawes show is when they play, what is likely, their most famous song- “When My Time Comes.” There is truly something cathartic about screaming/singing along with 1200+ other concertgoers to the chorus.  

Taylor Goldsmith owns the crowd as a singing, guitar slinging frontman. He saunters from each side of the stage to the next.  He demands attention from everyone in the crowd. And on this sold out night at the 9:30 Club, attention was all his. That’s not to take away anything from the rest of the band.  It is extremely apparent that this is a band that has spent years on the road, fine-tuning every nook and cranny of every song. It’s simply that Taylor Goldsmith is the frontman, and he wears that badge proudly and confidently.  

The show ended, apparently, on “A Little Bit of Everything” which is a truly great song to end a show on. The song may have some of the best lines Goldsmith has written. I could have ended the night right then. But, as we all know now, the end is never really the end.  So Dawes came out for two more songs, inviting Shovels & Rope up to end the evening with Traveling Wilburys song “End of the Line.” It was a great night ending with two bands I really enjoy singing a song by a band everyone loves, or at least should love.

As I always say, what I say pales in comparison to seeing the band for yourself. If you aren’t a fan of the albums, that’s fine. Go see them. Discover what they are all about. I think you will be very impressed by the show you see.  

Album Review: Jonny Fritz - Dad Country

by Matthew Martin

Jonny Fritz has had a pretty interesting career thus far; already changing his name just a few years in.  The name switched from Jonny "Corndawg" to Jonny Fritz around a year ago or so, in an attempt to not be pigeonholed as an exclusively comedic singer/songwriter.  But, not to fear, folks!  Fritz is still writing clever, catchy country songs about mundane life experiences.

The first thing you will likely notice on Fritz's new album, Dad Country, is the very talented backing band.  This band includes Fritz's trusty side kicks- Spencer Cullum, Jr. and Joshua Hedley- as well as members from Dawes.  Also, interestingly enough, the album was recorded at Jackson Browne's studio.

The album is full of songs about weirdos, truck stop darlings, and everyday screw-ups.  We all know the characters in Fritz's album.  We know that couple who fights over the most trivial issues ("Trash Day").  We know, or have been, that person who is sick and far from home ("Fever Dreams").  It's this uncanny ability of Fritz's to just take these otherwise troubled or annoying characters and make them a bit more tolerable.

One of the things that has always drawn me to Jonny Fritz's music is the classic country flair he brings to his witty songs.  Similar to the great songsmiths Porter Wagoner and Tom T. Hall, Fritz is not laughing at the characters in his songs.  He's merely giving you their side of the story.  Maybe it's just so inconceivable that it comes off as humorous.  Or, maybe it's so uncomfortable ("Ain't It Your Birthday"), that we have to laugh in order to break the tension.  

I think this is probably Fritz's strongest album to date with only one song really not grabbing me in- "Suck in Your Gut."  The collection of songs with strange characters and talented musicians backing them up create an extremely fun listening experience.  Go check out the album here and then go buy it here.  

Fritz has also released his first video for the album:

Live Review: Ryan Bingham - Northern VA

by Matthew Martin

It really bugs me when an artist plays right outside of D.C.- in this instance, northern Virginia. For a couple of reasons really; 1- I think the bars in D.C. are plenty and perfect for many of these artists, and 2- I don't have a car, so it's a bitch. Regardless, when you hear that Ryan Bingham is coming close, you go. You figure out public transportation, and you make sacrifices.

 

The Wild Feathers

To open up the night, The Wild Feathers out of Nashville, TN came out guns blazing.  The five piece band sounded like a mix between Ryan Adams and what Kings of Leon could sound like if they weren't so concerned about their perfect hair and sex of the fire variety.  There was 3-part harmony on most of the songs and vocal duties switched between the 2 guitarists and the bassist.  While the band itself was a tight, cohesive unit, I will say that the drummer was the most fun to watch.  My friend and I could not stop watching the full-on assault he was laying on the drums all night.  The Wild Feathers' set offered up an energetic, fun set.  They mentioned they will be putting out a new record this year, and I, for one, can not wait to hear it.

 

Last year, Ryan Bingham dropped his backing band The Dead Horses and opted for a solo album.  After seeing Ryan and The Dead Horses a couple years ago and really loving that line-up, I was a bit worried that maybe this would be a bit of different affair.  However, the troubadour and his new motley crew of a band made sure any notions of doubt were washed away with the first few notes of the show.

 

If you haven't heard his latest album, you might not know that Bingham is pissed off about the state of the nation, politics, and the separation between the haves and have-nots.  There's a certain anger that rings throughout the raucous "Guess Who's Knocking" and the restrained "Rising of the Ghetto."  These type songs have been the staple of his career and in a live setting, they come across as poignant and unabashedly fun.

 

Bingham ripped through a set that included all of the crowd favorites, such as, "Bread and Water," "Hard Times," "Sunrise," "Country Roads," "Tell My Mother I Miss Her So," "Hallelujah," and "The Poet."  Each song was sung with an intensity that is specific to Bingham's style of country-infused folk/rock music.  The crowd was entranced and fully enthralled by the music.  Every song turned into a sing-along and dance party.  If you can stand still during the breakdown of "Sunrise," you truly have no soul.

 

Bingham's new backing band was every bit up to the task of keeping up with the talented frontman.  The fiddle player seamlessly weaved in and out of every song.  The lead guitarist ripped and roared with killer slide guitar solos.  The rhythm section kept it all together at chest rattling volume.  By the time the last song of the first set was over, you could tell that no one was ready to go home and it was almost inevitable that we would stay until we got an encore.

 

The encore consisted of just Bingham with an acoustic guitar.  He played a couple of songs before ending with the appropriate "Ever Wonder Why."  With the final line being, "Well, I'll see you all around," it felt like there was no better song to have ended the show on.

 

If you are only familiar with Ryan Bingham because of this well-known (and deservedly so) song, "The Weary Kind," you are doing yourself a disservice.  He is not to be missed.  Maybe his albums could stand to cut out a song or two in order to be truly great, but each album is still important.  And, if you aren't a fan of his albums, go see him live.  Do yourself a favor.  The charasmatic troubadour will win you over. 

Album Reviews: Futurebirds - Baba Yaga

By Matthew Martin

According to Futurebirds' website, the making and shopping around of the new album was a massive headache and seemed to be doomed from the beginning.  Thus, the name, Baba Yaga.  Baba Yaga is a witch in Slavic folklore who could be either good, bad, or ambiguous.  Luckily for us, good prevailed, and the album was able to see the light of day nearly 2 years after it was begun.

One thing that really grabbed me about Futurebirds the first time I heard them was the reverb that drenched every song.  Also, the reckless abandon that permeates out of the songs like any moment things might fall apart.  The whole thing could just collapse.  Maybe the reverb holds everything together.  Whatever it is, I want neither attribute to change for the Futurebirds.

When the first song, "Virginia Slims" kicks in on Baba Yaga, it's clear that we have the same Futurebirds.  You get the distinct feeling that maybe this was all recorded in a church with no air conditioning.  The heat of the South seems to drip from every player in the band.  

Trading off vocal duties, each track feels very familiar, but very distinct.  The straightforward country-rock of "Tan Lines" differs from the slow-burn, dare I say, psychedelic rock of "Death Awaits." The great thing about Futurebirds is they know how to make these styles fit perfectly side-by-side.  They transition, with ease, from one style into another.  

Lyrically, this feels a lot more mature than previous Futurebirds albums.  Themes run the gamut; from death ("Death Awaits") and relationships ("Keith and Donna") to odd character sketches ("American Cowboy").

For many, the reverb added to the vocals is somewhat of a turn off as you can't quite pick up on some of the lyrics.  There is a feeling that it was not mixed correctly.  But, this is part of the charm that I find in the Futurebirds recordings.  If you're curious as to the level of reverb, think My Morning Jacket's The Tennessee Fire. 

For me, this is one of the best albums of 2013.  It's perfect music for a hot afternoon; to just sit on your porch or patio and drink a beer or 3.  This set of songs sees Futurebirds hit their stride and not let up.  The band has benefited from years on the road and has grown into a tight-knit band, albeit a tight-knit band that loves playing closely to the edge.  

Go listen to the album here.  Not sure how much longer it will be up, so do it quickly and discover your next favorite band.

Also, pick up their previous albums here and the new album here.

RIYL: My Morning Jacket, Shovels & Rope, Dawes, Calexico

Live Review: Lucero and Shovels & Rope, D.C.

Lucero and Shovels & Rope - 9:30 Club - 3/20/2013

By Matthew Martin

(Written before Matthew's Ronnie Fauss show review)
It's been a while since I've written about a show, but the pickins have been pretty slim up here in the nation's capitol.  Luckily, that drought ended on March 20th when Lucero came to 9:30 Club bringing Shovels & Rope in tow.

First, Shovels & Rope was up to get the crowd revved up for Lucero.  The past few months have been great for Shovels & Rope.  I have seen Shovels & Rope a few times in the past year and each time the amount of people that are showing up to hear them is larger and larger.  This time was no exception.

I read not too long ago (on NPR maybe?) that you should always try and make it to the opener because in a lot of cases the headliner has hand picked them.  Assuming this is, in fact, the case, Lucero picked a great opener and the crowd definitely showed up.

Playing their particular brand of folk/country music, Shovels & Rope got the crowd moving early on and really never let up.  They played a few songs I hadn't heard them play before such as "Who's Gonna Raise These Babies?"  They also played the standards that have made people fall in love with them so easily- i.e., my personal favorite "Birmingham."  The energy exhibited by Shovels & Rope is transferred to the crowd with ease.

By the end of their set, the crowd was buzzing about how incredible they thought Shovels & Rope were.  There were lots of looks of pure astonishment going around.  It was great seeing so many people appreciate what it is Shovels & Rope are doing.

Next up was the incomparable Lucero.  Seeing a Lucero show is always very interesting- you never know what the crowd is going to be like.  The crowd for this particular show was an excited, but not too rowdy, bunch.  

Lucero has continued to grow into their own on each passing album.  Starting off as  a bit of a rough edged country rock/punk band, they have added horns to their sound to build a sound that is distinctly their own.  A brand of Memphis country-soul-rock they wear with outright pride.

They started off with a strong set of old and new songs all backed by the very talented horn section.  It was worth noting that Todd Beene did not make the show here in Washington, D.C. because his other band, Glossary, had a string of dates they were playing.  So, while his very talented steel pedal playing was missed, everyone else picked up the slack.

Halfway through the set, the band decided to play a set of new songs that will be coming out on an EP soon (maybe Record Store Day- 4/20/2013?).  One of the strongest songs to come out of these songs was "Texas and Tennessee."  Another great lost love song that we have all come to know and love from Lucero.

As is typical for a Lucero show, the pace got a bit more rowdy as the night went on.  More whiskey was consumed than was probably necessary.  Even more beer was passed around.  Songs like "All Sewn Up" and "Tears Don't Matter Much" sent everyone into a whirlwind of elation and energy.

By the end of the show, all of the crowd's energy was spent, but seemed like we could have continued on for a few more songs.  Unfortunately, every thing must come to an end and this show was no exception.  Either way, Thursday was not a pleasant day for me, but any opportunity to see Shovels & Rope and Lucero in one evening is worth every bit of the pain endured!

I say it all the time, but go see either of these bands.  If you're coming to this site, you already know them.  So, go out and see them live to get the full experience.  Until then, pick up every album they own here and here.

Live Review: Ronnie Fauss, D.C.

Ronnie Fauss - 3/24/13 - Hill Country BBQ, Washington D.C.

By Matthew Martin

If you read my review for Ronnie Fauss's album I Am The Man You Know I'm Not, you probably gathered that I wasn't a huge fan of the album.  If you didn't read it, you can check it out here.  I have since changed my mind on the album, but if you want context, you should finish reading this review.

Around February or so I noticed Ronnie would be coming up to D.C. to play at Hill Country BBQ.  I figured the songs were growing on me and if nothing else, it's great to get to hear live interpretations.  To be honest, I was concerned that Ronnie would be a bit sour after the review, but that couldn't have been further from the truth.  He was very friendly and was open to the criticism I may have had with the album.

This was somewhat of a showcase, so there were no openers, just Ronnie playing a solo set with only his guitar and harmonica.  In this setting, his lyrics were able to take center stage and, for the most part, they really shined.

He played every song from his full length, as well as most of the songs from his 2 EPs.  I hadn't heard either of the EPs, but purchased both immediately.  One song that I really liked from his 2010 EP Mulligan was "Just Another Tuesday."  I really loved the bare bones version that he played compared to the souped up version on the EP.  He stated that he plans to record another version for an upcoming album.  It will be great to hear what he has in mind for the re-recording.

Halfway through the set, a group of children got up and began dancing to a lot of his songs which included "Pistols in the Air."  It was pretty neat to see these kids really liking a lot of the music. And, furthermore, Ronnie was more than happy to see them dancing along to songs he mentioned were written with his kid in mind.

By the end of the evening, Ronnie had played a slew of songs including my favorites: "The Night Before the War," "I Don't See You," "Just Another Tuesday," and "I Can't Remember (What You Can't Forget)."  Alongside these tunes, he played some covers of John Prine, Slobberbone, and Merle Haggard.

As I mentioned earlier, I have really grown to like the album I Am The Man You Know I'm Not.  Likewise, hearing the songs in person solidified that these are great songs sung by a genuine and nice guy.  As a lot of Texas musicians are prone to do, it seems like Ronnie does not play outside of Texas too often.  I am hoping that will change.  But, until then, if you see that he's coming around you, you should go see him.  Also, go support him and buy some music here.