The Mountain Stage Podcast recently released an mp3 of July’s Mountain Stage concert featuring Over the Rhine, Brendan James, Vienna Teng and The Black Lillies. You can download that mp3 and several others at the link below…
The stage was lit with what appeared to be vintage glass baubles hanging from the ceiling and a ghostly mist rolled through as opening act Chuck Mead & His Grassy Knoll Boys took the stage. They gave a peppy, old-fashioned set. I loved their retro Spaghetti Western vibe and harmonies. Mead’s croons and yodels are from another era. They elicited a standing ovation from the crowd with a twisted song about The Andy Griffith show featuring a pot smokin’, moonshine drinkin’ Opie.
Old Crow Medicine Show then took the stage, launching into the title track from their 2012 album, Carry Me Back. From the opening notes they had members of the audience on their feet dancing in the aisles.
They ripped through “Alabama High Test” with flashing lights and roadies switching out guitars for harmonicas mid-lyric.
Lead singer Ketch Secor threw out a lot of love to “the Charleston skyline,” “the Mountaineer state,” “the KRT bus terminal,” “the Kanawha Valley” and “where hillbilly music comes home to roost, West-by-God Virginia,” which earned him a lot of love in return from the exuberant local crowd. It also helped they have local boy Chance McCoy in the band.
There’s no greater musical sight to this country gal than a string band huddled together jammin’. And it must be said Secor plays his fiddle like Eddie Van Halen plays his electric guitar.
The concert was comprised of newer material from the Carry Me Back album as well as some gems from their earlier works.
Most notable was the rousing fan favorite “Wagon Wheel” from their debut, O.C.M.S..The song was written with a co-authoring deal with Bob Dylan, and it is by far OCMS’ best known, beloved and oft covered tune. The entire audience was on their feet cheering and singing along for the duration of the song and the band seemed to pause after it to stare, soak in and appreciate the adoration of the crowd.
Despite my disappointment with 2008′s Tennessee Pusher album, Old Crow’s “Methamphetamine” was one of the most powerful live performances I’ve witnessed.
I had hoped to hear more from 2006′s brilliant Big Iron World (#2 on my Best of the Decade list and one of my all-time favorite albums), but they did play “Cocaine Habit,” “Union Maid” and a soul-stirring, harmonious mashup of “I Hear Them All” and “This Land is Your Land.”
Other highlights were “Mississippi Saturday Night,” “Humdinger,” “CC Rider” and “Big Time in the Jungle,” but it was really a fantastic concert from beginning to end. One of the best I’ve ever attended.
Old Crow Medicine Show have a rare mix of chemistry, energy and artistry. They masterfully bridge the gap between the downhome bluegrass (and blues) past and rowdy rocked up modern Americana. They built the multi-instrumental, multi-genre stage groups like The Low Anthem, The Lumineers and Mumford & Sons now play upon.
OCMS’ sweet backwoods harmonies and barn burning instrumentation made for a very lively, impressive and thoroughly entertaining show.
Though it must be said the true star of the show was the Grassy Knoll Boy I believe Mead called “Reverend Dan,” who popped back on stage to “buck dance” during Old Crow’s set. That dude had pizazz.
Chuck Mead & His Grassy Knoll Boys joined Old Crow on stage for encore duets of Mead’s old BR549 hit “Cherokee Boogie” and a concluding cover of “The Night They Drove Old Dixie Down.”
You can read my full review of last night’s Carrie Underwood concert in Charleston, WV at The Charleston Gazette website. An edited version of the review was also featured in today’s print edition of the newspaper.
I wasn’t a huge fan of Carrie Underwood (and certainly not of opening act Hunter Hayes) before the gig, but it turned out to be one of the best concerts I’ve ever attended. Both artists put everything they had into every song. The otherwise spectacular stage lighting was terrible for photos and I forgot my camera, but I snapped a few cell pics. And thanks to YouTube, you can see some videos by other concert goers below.
May is going to be a spectacular month for concerts in Charleston, WV…
Country star and former American Idol winner Carrie Underwood will be at the Charleston Civic Center, with opener Hunter Hayes, on Wednesday, May 8th. Look for my review of that concert in next Thursday’s edition of The Charleston Gazette.
Lyle Lovett will visit The Clay Center on Friday, May 10th.
Comedian Lewis Black will hit The Clay Center on Thursday, May 16th.
Singer-songwriters Shawn Colvin and Mary Chapin Carpenter will perform as a duo during an extended set at a special Mountain Stage at The Clay Center on Sunday, May 19th. Crooked Still’s Aoife O’Donovan is also on the lineup. As an almost lifelong fan of Shawn Colvin, I’m very excited to be reviewing the show for Muruch.
Just when you think it can’t get any better, Old Crow Medicine Show will put on a full concert at The Clay Center on Friday, May 24th! OCMS is one of my favorite modern bands, so reviewing their concert for Muruch is also cause for much excitement.
Muruch’s Mid-West reviewer/photographer Jen “Coble” Hopper caught The Joy Formidable’s concert at Notre Dame’s Legends Nightclub last Thursday, April 11th. You can read her thoughts about and see her photographs of the show below…
The Joy Formidable played Legends of Notre Dame (Notre Dame, IN) on Thursday, April 11th. Their original set date a couple of days earlier was cancelled due to illness, but when the threesome took the stage, they started off playing like champions.
Ritzy took the stage with bright smiles, bouncing around and engaging the crowd as they were treated to songs off of their latest record, Wolf’s Law.
“This Ladder is Ours” looked and sounded amazing as Ritzy and Rhydian donned rockstar poses all over the stage. Don’t be mislead by the sweet vocals and tiny, petite frame: Ritzy dons a guitar like any guitar god, just one of her many talents as the band’s front woman.
Sadly, the magic ended mid-set as Ritzy began to feel faint. The band cancelled the rest of the set so they could get Ritzy to a medic.
The Joy Formidable have a full summer of touring ahead of them, so there are plenty of opportunities to catch them for a full set in their (hopefully healthier) future.
Way To Blue: The Songs Of Nick Drake will be released on April 16th. The tribute to the late, great Nick Drake was assembled by Drake’s original producer Joe Boyd. Recorded live in London and Melbourne with the various artists sharing harmonies and instrumentation throughout the album, Way to Blue features Lisa Hannigan, Vashti Bunyan, Shane Nicholson, Teddy Thompson, Robyn Hitchcock and many more.
Luluc’s opening rendition of “Things Behind the Sun” sounds like Nico covering Nick Drake, which I happen to like.
Scott Matthews’ “Place to Be” is as deliciously gritty as an Eddie Vedder song.
Shane Nicholson (a.k.a. Mr. Kasey Chambers) manages to infuse “Poor Boy” with just enough pep and twang to make it fresh without compromising the integrity of the original.
The standout track is Krystle Warren’s soulful rendering of “Time Has Told Me,” the video of which you can watch below.
Vashti Bunyan and Lisa Hannigan are a perfect fits for their respective covers of “Which Will” and “Black Eyed Dog.”
Teddy Thompson’s “River Man” is surprisingly effective. It’s my second favorite Nick Drake song (after “Northern Sky,” which is sadly absent here) so I was cynical going in. But the piano and string arrangement of this cover is beautiful. You can watch the video below.
None of the tracks are weak, though many others blend into the background. There are so many other artists – Allison Crowe, Rufus Wainwright Shawn Colvin, The Low Anthem, Lost in the Trees, The Lumineers, Brandi Carlisle – that could’ve taken this tribute to another level of brilliance. So Way to Blue is a solid tribute to the legendary Nick Drake, but I can’t help feeling there was potential, lost, for magnificence.
As we first announced here last March, Muruch’s musical mascot Allison Crowe has recorded an all-new, live album of her annual Tidings concert. The album features 19 in-concert performances and previously unreleased audio from Crowe’s popular “Hallelujah” video.
Though Tidings does include some holiday songs, which I’m not into, it has several other great, non-seasonal covers as well as Allison Crowe originals. My personal favorites are her covers of Joni Mitchell’s “River,” Leonard Cohen’s “Hallelujah” and Aretha Franklin’s “I Never Loved a Man (Like I Love You),” the mp3s of which you can download below.
Other highlights include Allison’s renditions of The Beatles’ “Let It Be” and “In My Life” and John Lennon’s “Imagine.”
The album also features a gorgeous, epic, extended, live version of “Disease” (originally featured on Live at Wood Hall and Little Light), which begins with a haunting piano instrumental intro of “Carol of the Bells.” You can stream or download the song via the SoundCloud widget below.
*mp3s provided by & posted w/ permission of artist’s mgmt
Muruch‘s Vic and Heather popped into Taylor Books on Friday night in search of chai and dessert. The cafe was packed with not a single seat to be found. The cause for the crowd seemed to be the scheduled musician for the night: The Disappearing Man (a.k.a. Brandon Mitchell). To be honest, we initially dismissed what appeared to be the standard local guy-with-guitar schtick and headed back toward the bookshelves instead. We eventually sat on the floor in the travel section, which was close enough to hear the music but private enough to chat.
A few minutes later we were pleasantly shocked when the formerly quiet, unassuming The Disappearing Man suddenly burst into a rousing rendition of Violent Femmes’ “Blister In The Sun.” Granted, the song itself is irresistable, but his cover was good enough to have us singing along and floor-dancing. He followed that up with an equally worthy cover of Old Crow Medicine Show’s “Wagon Wheel.”
Later, as we browsed books, The Disappearing Man spun things in a completely different direction with an acoustic rendering of Outkast’s “Hey Ya!” Not only did the crowd sing along, but one very enthusiastic guy jumped up to serve as The Disappearing Man’s backup dancer for the song. You can check out some of The Disappearing Man’s own music below. Even if you don’t like his original music, I recommend catching him live for the covers alone.