Punch Brothers: Live at The Clay Center

By: Brendan

My only problem with the Punch Brothers concert at The Clay Center Sunday night was an over-familiarity with their 2012 album, Who’s Feeling Young Now, which is one of my most listened-to albums of the past few years. My eagerness to hear those songs led to some small frustration with the inventiveness of their set list. It was however, a very memorable concert.

Photo by Danny Clinch

Crooked Still’s Aoife O’Donovan was a welcome solo opening act. Highlights from her set included “Lay My Burden Down” and “Beekeeper.” I also appreciated her mention of Irish singer Paul Brady having introduced her to “The Lakes of Pontchartrain,” and the crowd welcomed a mention of local coffee house Moxxee.

The Punch Brothers kicked off with a Josh Ritter cover, “Another New World,” from their Ahoy EP. A a good choice, the wave of music built to climax until a tsunami of sound was unleashed. Chris Thile was amiable as always during his crowd banter, mentioning that since he’s only played here on Sundays, he’s not sure Charleston WV exists outside of that day. During “This Girl,” the seeming effortlessness of Thile’s efficiency with his mandolin was staggering. Paul Kowert’s double bass was given time to shine during a new instrumental “about beer” and Noam Pikelny exhibited his banjo expertise during “This Is The Song.” Thile then managed to get a cheer for Debussy, leading the group in “Passepied” from the composers Suite Bergamasque. He even sang a phrase from “Clair de Lune,” the preceding movement, in his introduction.

Photo by Danny Clinch

Aoife O’Donovan joined the five guys for “Here and Heaven,” which was one of two tracks on which she collaborated with Thile for The Goat Rodeo Sessions. Her voice was very welcome and I wish it had seasoned some more familiar Punch Brothers sings.

Photo by Danny Clinch

The one-quarter West Virginian, warm-toned-suit wearing Chris Eldridge fronted the group for a highlight of the evening, cultivating crowd enthusiasm with particular emphasis on the lyric “well, she ain’t much to see but she looks good to me through the bottom of the glass.” The song was perhaps most famously recorded by The Seldom Scene, a band featuring Eldridge’s father Ben.

Photo by Danny Clinch

The band returned to Who’s Feeling Young Now for “New York City.” I closed my eyes and basked in its light. For me, there’s something magical about that particular set of songs. You can get a taste here.

I was taken with Thile’s movements. At times he looked like a flatfoot dancer, at times like a tree wavering in the wind. Not since Natalie Merchant whirled around the stage at the Joan C. Edwards Performing Arts Center in 2006 have I been so captivated by a performer’s motion. The concert wound down with another new track, “Julep,” which reminded me of the Kent Haruf novel Benediction.

Another charming moment came at the encore. Responding to the crowd’s pleas for a Radiohead cover, Thile said “Would you believe we have one all picked out? Bands and their plans.” I was very happy with their choice, “The Auld Triangle,” which originated in a Brendan Behan play and was featured on the Inside Llewyn Davis soundtrack. The concert concluded with one of their most popular songs, “Rye Whiskey,” with cries of “Oh Boy!” emanating from the audience.

Punch Brothers Official Site

These boys are busy. Gabe Witcher co-wrote and arranged some music for HBO’s True Detective. NPR is now streaming the new Nickel Creek (featuring Chris Thile) album for a limited time. Paul Kowart is featured on this new album with Brittany Haas & Jordan Tice. You can sample Noam Pikelny’s work outside the group here. And Chris Eldridge will soon tour with Julian Lage.

Some other notable Punch Brothers works include the song “Dark Days” for The Hunger Games soundtrack and three collaborations with Dierks Bentley on his Up on the Ridge album. And you can hear Punch Brothers live on Mountain Stage.

Buy Punch Brothers Music @ Amazon

Punch Brothers Promotional Photographs by Danny Clinch, Posted Here With Permission of None Such Records

Aoife O’Donovan: Free Album Download!

Crooked Still’s Aoife O’Donovan will release her solo debut, Fossils, on June 11th. In the meantime, she’s offering a free, legal Noisetrade sampler featuring live and studio tracks from Fossils. You can download the mp3s by entering your email address below…

Buy Fossils @ Amazon

Aoife O’Donovan Official Site

Ruth Moody: These Wilder Things

The Wailin’ Jennys is spawning some excellent solo albums. First Heather Masse, now Ruth Moody is set to release her sophomore solo album, These Wilder Things, on May 7th. Moody’s angelic, lilting soprano tangles with pop-polished bluegrass and folk. The new album also features guests Mark Knopfler, Jerry Douglas and Crooked Still’s Aoife O’Donovan.

The standout tracks are the old-fashioned, slightly eerie opener “Trouble and Woe” and the spectacular Mark Knopfler duet “Pockets.”

Other highlights include the beautiful title track ballad, “One and Only,” “Trees for Skies” and the exquisite, Celtic-influenced “Life is Long.”

The album also features a pretty, slowed and stripped down cover of Bruce Springsteen’s “Dancing in the Dark.” You can listen to the track, “One Light Shining,” in the following Soundcloud stream…


Ruth Moody Official Site

Maura O’Connell: Naked With Friends

Maura O’Connell’s unparalleled vocal power is beautifully displayed in her impressive new album. Naked With Friends is the Irish singer’s humorous way of describing this very serious and poignant work of vocal art. Determined to show that “just a singer” can possess as much talent as any musician, O’Connell recorded this collection of a cappella performances with the help of singers Kate Rusby, Dolly Parton, The Settlers Connection, Jerry Douglas, Crooked Still’s Aoife O’Donovan, Sarah Dugas of The Duhks, Altan’s Mairéad Ní Mhaonaigh, Clannad’s Moya Brennan, Mary Black, Alison Krauss, Tim O’Brien, Darrell Scott, Paul Brady, Liam Bradley, Declan O’Rourke, and Áine Derrane.

Maura’s haunting a cappella opens “The Bright Blue Rose”. The earthy depths of her voice are so astounding, I wish she were unaccompanied for the duration for the song. But Kate Rusby, Dolly Parton, and The Settlers Connection make for a pretty choir on the song.

Jerry Douglas joins Maura for a gut-trembling performance of the traditional “Mo Sheamuseen”, Crooked Still‘s Aoife O’Donovan and Sarah Dugas of The Duhks provide ethereal harmony on the ballad “Arrow”, and Alison Krauss contributes her soft croon to a cover of “Some People’s Lives”.

Tim O’Brien is outshone by O’Connell’s pipes on “The Blacksmith”, but Paul Brady does a fine job of keeping up with her on the traditional “Anach Cuain”. But you really must leave it to Irish gals to sing with each other, such as when Altan’s Mairéad Ní Mhaonaigh, Clannad’s Moya Brennan (formerly known as Máire Brennan), and Mary Black lend their voices to “I Know My Love”.

Maura sings solo on a few tracks, beginning with a rafter shaking take on “Ae Fond Kiss” by Robert Burns. She also delivers a stunning rendition of Joan Armatrading’s “Weakness in Me”, which is one of my favorite songs of all time. The result is one of the most chill-producing vocals I’ve ever heard. Those who have heard the original know it’s difficult to imagine anyone successfully mimicking Armatrading’s heart wrenching delivery, let alone bringing anything fresh to the song. Yet the delicate trill and deep chasm of O’Connell’s voice evokes new facets of emotion from the tune.

Maura O’Connell – The Bright Blue Rose (mp3 link removed) *

*mp3 hosted by & posted w/ permission of Welk Music & Sugar Hill Records

Maura O’Connell Official Site
Maura O’Connell MySpace

Buy @ Amazon

Mountain Stage: Carrie Rodriguez, Vienna Teng, Crooked Still, The Rescues, Mike Gordon

I’d been eagerly anticipating the August 10th Mountain Stage show for months, ever since I saw Vienna Teng and Carrie Rodriguez listed among the performers. My excitement grew even more when Crooked Still and The Rescues were added to the lineup. Though I enjoy discovering new artists at Mountain Stage, it seems my favorite concerts are those that feature artists I’m already familiar with – such as last year’s Eleni, Sylvie, & Anaïs girlie fest, May’s Paddy Casey & Bell X1 Irish boy extravaganza, and the more recent Amos Lee, Sharon Little, Peter Bradley Adams show.

Last night’s concert was even better than I hoped. I had a front row center seat, all of the performances were excellent, the entire lineup was friendly and enthusiastic, the audience was excited, and host Larry Groce was in a very humorous mood – from threatening the sarcastic crowd warmer with a giant hook to jokingly responding to The Rescues’ good natured jibes at the local hillbilly culture. It all made for a fun night.

Carrie Rodriguez impressed me straight away by coming out to tune up her instruments long before the show was scheduled to begin. One of the usual prices to pay to enjoy a Mountain Stage show is enduring the switching out of instruments between bands and the continual tuning of guitars during each set. So I appreciated Carrie’s proactive approach to the show. It not only saved her time at the beginning of her performance, but resulted in an almost seamless set.

It must be said that Carrie Rodriguez is strikingly beautiful. With a voice like that, she pretty much has to be a singer. But she has the looks to be a model or actress. She had a large white flower in her curly hair, and a pink blouse and black skirt ensemble that could’ve been plucked from the 1920s. But it would still have been a stunning performance even if she’d been dressed in a burlap sack with a paper bag over her head. Not only is Carrie’s voice much stronger live than it sounds on her studio recordings, but it was truly a marvel to witness her “multi-instrumentalist” talents. That girl sure can play the life out of a fiddle.

Rodriguez opened with “Infinite Night” before Crooked Still’s Aoife O’Donovan joined her on stage for a rousing duet of “Absence” – featuring a barnburning fiddle solo by Carrie. She then played the title track from She Ain’t Me and “El Salvador” (co-written by Gary Louris), then finished off with a blistering rendition of “Never Gonna Be Your Bride” from her debut Seven Angels on a Bicycle. Whether you like Carrie’s albums or not, I recommend seeing her in concert if you ever have the opportunity.

Vienna Teng was probably the artist that I was most looking forward to seeing at the show. She was accompanied only by her producer and friend Alex Wong, but he had enough instruments to make up two bands. I was a little disappointed that she didn’t play any songs from her most recent release Dreaming Through The Noise, as my love of the album grows with each listen. But she played a nice selection of older songs from her two previous albums as well as some new tunes that will be on her forthcoming collaboration with Wong – tentatively set for release in February, 2009.

Vienna began with a sparse “re-imagining” of “Gravity” from Waking Hour before introducing a new song called “In Another Life”, which mentions West Virginia in its opening verse. Though I recognized most of the instruments that Alex played – including the glockenspiel – and have heard a melodica on many recordings, I had never seen one in person until last night and had to ask Vienna (more on that later) what it was.

Vienna’s voice was particularly flawless when singing “Harbour” from Warm Strangers. Most singers would need a heavy dose of Auto-Tune to reach that kind of vocal perfection. She was then generous enough to allow Wong to play a song from his own band The Paper Raincoat. “Brooklyn Blurs” is featured on the Safe In the Sound EP. They closed with an almost a capella and very bluesy version of “Grandmother Song” from Teng’s upcoming album. Vienna clapped the beat on her thighs and wailed like Bessie Smith. Though I always enjoy her signature serene piano style, I would love for her to record a blues album after that jawdropping performance.

The Rescues followed and more than held their own in the daunting shadows cast by Carrie Rodriguez and Vienna Teng. The singer-songwriter trio seemed even more thrilled to be at Mountain Stage than those of us in the audience were. Gabriel Mann took pictures from the stage and joked about encountering some local Appalachian folk who introduced themselves by what county they were from and said they were visiting Charleston just to shop at the mall. And people wonder why I hid my location for the first seven years of this blog…

They launched into a soaring unified vocal on “Lost Along The Way”, then Kyler England sang a beautiful rendition of “Matter of Time”. Gabriel took lead on “California Rain”, and Adrianne finally got the more prominent vocal on their cover of The Outfield’s “I Don’t Want To Lose Your Love Tonight” – in which they incorporated part of Fleetwood Mac’s “Go Your Own Way”. Their mesmeric finale was the a cappella “vampire pirate ballad” “My Heart With You”. The Rescues proved without a doubt that the beautiful harmony heard on their Crazy Ever After album is no mere studio creation.

I think I would have liked Crooked Still’s set even more if they had gone first. Their genteel bluegrass sound initially seemed a little pale in comparison to the three powerhouse performers that preceded them. However, their instrumentation is absolutely brilliant and Aoife O’Donovan’s voice is timelessly angelic…albeit difficult to hear at times. I was very pleased that they played my two favorite tracks from their new album Still Crooked: the haunting “Undone in Sorrow” and “Captain, Captain”, during which Carrie Rodriguez returned to the stage to lend backing vocals. They also covered “When First Unto This Country”, then played “Did You Sleep Well”, “Little Sadie” from Shaken By A Low Sound, and “The Absentee”.

The saxophonist from Carrie Rodriguez’ band joined Mountain Stage piano player Bob Thompson for a Thelonious Monk interlude. Though Thompson’s piano playing is always impeccable during his solos, the saxophone accompaniment greatly complimented and enhanced his sound.

Former Phish bassist Mike Gordon was the last to perform, and I really hadn’t intended to say much about his set. Other than my undying affection for Grateful Dead’s American Beauty album, I tend to intensely dislike jam bands. Also contributing to my dread was the fact that I neither liked nor hated Gordon’s The Green Sparrow CD enough to bother reviewing it. So I thought that Gordon’s set would be long and tedious. It was long and the first song was boring for a non-jammy fan like me. But I have to give Gordon due credit, as he is definitely great at what he does. He was so warm and friendly with the audience, obviously enjoyed playing, and his band was so good that they even had my feet tappin’ by the last song. That is the mark of a truly good performer, to even engage people who normally dislike their genre of choice.

All of the acts returned to the stage for the group finale of “Everything’s Broken”. It was a rare finale in which every performer either sang a verse or played an instrument. I was reminded of the very first Mountain Stage show I ever attended in 1997 when Joan Baez, Laura Love, Dar Williams, and Sinead Lohan amicably played together during each other’s sets and joined in for the finale. That kind of eager, synergetic participation adds so much to the atmosphere of the entire concert.

After the show, I didn’t recognize Aoife O’Donovan until after she had breezed past me in the lobby. Even after all of these years, it still seems odd to so easily mingle with the performers at Mountain Stage. After a failed attempt to talk to Alex Wong (I don’t like to interrupt the conversations of other fans, which usually results in me being pushed back by less polite enthusiasts), I did get a chance to talk briefly with Vienna Teng. She was very friendly, so I asked what instrument Alex had been playing during “In Another Life”. She said it was a melodica and seemed as fascinated by the strange looking instrument as I was.

Then I approached The Rescues, and for once introduced myself as the author of this blog. All three singers were so nice and thanked me for my review of their album. They signed my CD and sang a small ode to Kyler’s silver pen to the tune of “Silver Bells”. I hope they can hold on to that gracious humor when they achieve the big mainstream fame I think they’re headed toward.

As I was leaving the venue, I noticed that Mike Gordon was swarmed by a crowd of tye dye clad Phish fans in the lobby. I will gladly give away my copy of Mike’s CD if one of his true fans who attended the Mountain Stage show can comment with their email address and the color of the jeans Gordon was wearing last night.

Mountain Stage Official Site

Listen to Mt. Stage Sets on NPR