Lotus - New Earth Music Hall, Athens, GA (4.29.2010)

It had been one of those days… one of those days where all the elements seem to be against you. The people, they’re trying to drag you down. You’re mind; it’s locked up in a cage of negativity. You try to carry on but consume yourself in thought, wishing for nothing more but to find the source of this ailment and somehow eliminate it. On days like this I turn to music. Music has this uncanny ability to heal. At the very least, it can offer a complete escape or removal from the concrete world for as long as you deem necessary. It was a Thursday night, and driving to Athens was the last thing I felt like doing. But in the back of my mind, I knew that Lotus was the only cure. So Athens it was.

I began my journey in the midst of rush hour. I kept thinking to myself what a horrible time of day it was to try and navigate this sprawling metropolis. Atlanta, our nation’s 3rd largest city, has a metro that plays host to nearly 6 million people. It’s like that ant hill you find on your sidewalk that is just swarming with these six legged insects, all trying to get where they are going, but without enough room to move around. They move back and forth, trying to find an open path, crawling over top of one another in this selfish manner. They are busy. They have a job to do… places to be. Was it a lack of infrastructure? A sudden and uncontrollable influx of inhabitants? Whatever the case, I just don’t understand why someone would ever want to live with this many neighbors. I sat on this seven lane expressway for miles upon miles, choking on fumes, taping my feet and unable to clear my mind. Heat rising, gasoline burning (Mighty Buick sounding like its going to bite the dust at any moment). The volume of my music was barely loud enough to drown out the disharmonious sound of car horns. The trip to Athens is actually a fairly smooth and scenic one once you get outside the perimeter. I arrived at UGA just in time to do a little walking around. The main strip that runs through downtown has everything a college town would ever need; clothing stores, record shops, and enough watering holes to satisfy a herd of thirsty buffalo. I trekked into one of these holes looking for some food and the owner directed me across the street to this very cheap, very phenomenal Mexican joint. “Grab something and then bring it back over her… we do it all the time!” she told me. I did just that, taking note of the Bell’s and Founders Brewery stickers plastered on one of the walls. Small world. After filling my belly, I did some more wandering and eventually found myself being pulled by some unknown magnetic force towards the sound of distant music. I’m not even sure I was aware that I was moving… I just walked. When I discovered the source I found a huge house with Greek letters on the front, a parking lot full of Mercedes, and a gated front lawn scattered with red keg cups. I turned and walked the other way.

I got to The New Earth Music Hall just as they were letting people in. I always like making it to a venue early. Seeing the inside of a place before it becomes overcrowded with hundreds of sweaty animals will give you a new perspective. I snapped some pictures of the different murals lining the inner walls and then made my way towards the bar to grab a PBR. There he stood – Mike Rempel, guitar case in hand. I wasted no time and quickly approached him for a handshake. A young lady took a regretfully blurry picture of the two of us and I took a minute to chat with him. “I’m not really sure if I’m supposed to be saying this” he said in regards to the cancellation of the 2010 Rothbury Festival, “but I heard they kind of put all their eggs into one basket. They had Phish locked in to headline, and then they backed out at the last minute. The Rothbury people didn’t have the resources to recover.” I swear if I ever find this rumor to be valid, I will hereby boycott the music of Phish for as long as I live. Okay that might be a little extreme. But seriously… the nerve! Mike was a super cool dude. He never gave me those “stop bothering me” vibes that you often times receive from a man of his… “prestige” if you will. He was mellow, laid back, and totally content with sitting and shooting the shit with me for a bit. I was glad I had gotten there early.





The opening band was a group called the Givers and they definitely gave it their all. They had a particularly charismatic front-man whose eyes seemed to roll back in his head as he sung and played guitar. I’ve seen a number of musicians do this before and I can never decide if it is authentic or simply part of the act. I mean, give it a go, it’s not the most pleasurable sensation I’ve ever experienced. But maybe for some people, it works. The group did a pretty decent job and seemed to be entertaining at the very least. They stood up in the face of adversity and sung a few acoustic tunes during a short period of technical difficulty and the crowd seemed to be pretty receptive. Maybe they liked the idea that the lead singer was having a near-orgasm on stage. Whatever tickles your fancy, I suppose. They played a quick set to an increasingly crowded venue and then began packing it up. It was time for Lotus.

I secured myself a spot at the front left side of the stage and waited with bated breathe for the band to take the stage. Every time I see these guys, I am absolutely blown away and I couldn’t wait to see the progression they’ve made in the last year or so. Lotus is one of those bands that you can ALWAYS get excited about seeing. The subtle variances they intertwine into their song structure and the constantly shifting and evolving nature of their improvisation work make for an experience that seems to always be fresh. Lotus doesn’t have some massive catalogue of songs to choose from or anything like that. It’s in the delivery of these tunes where the band provides these touches that make it all feel new again. As I stood directly underneath Luke Miller, the band’s keyboard/rhythm guitar player, I couldn’t help but notice the impressive light show we were witnessing. Lotus always has the coolest set-up with these layered, flat panel lights as a background and these wild, spinning, multi-colored lights that only serve to enhance the effect of the music. After a song or two, Luke yanked his guitar from behind his back and started getting loose. This drunk girl next to me kept plopping her purse down right on stage in a careless fashion and didn’t seem to notice that the strap of her big ugly purse was sprawled out directly on top of Luke’s pedal board. He tried to make eye contact with her as he kicked it aside and even ended up having to bend over and adjust a couple of knobs that had been tampered with throughout the process. At one point he even caught my attention and we gave each other a “what is this girl doing” sort of look. So the next time it happened, I saved Luke the trouble, took her purse from off the stage, and politely asked her to get her shit together. Can’t you see the man is trying to concentrate?

Lotus’s music is out of this world. It is honestly the most mesmerizing blend of instrumental rock that your ears might ever discover. These sounds will disconnect your spirit from its body and set you free on the joyride of a lifetime. Deeply rooted in the realm of jam music, this band exhibits an organic spread of electronic beats, textures, and overtones that merge and gallivant with a smooth blend of jazz-funk that almost always reverts back to the pure instrumental post-rock sound that Lotus fans know and love. The sheer versatility of this music makes it just as likely to be found in the headphones of a studios pupil hitting the books at the community library, as it is on the dance floor at the house party down the road.

Lotus closed the first set out with three of my favorite jams. “Bubonic Tonic” made me feel like I was deep underwater, enclosed in some weightless bubble, floating around in pure bliss. This transitioned seamlessly into the sample-rich and undeniably raucous “Tarasque” and then back into that same underwater utopia for an unbelievable “Spiritualize”. Lotus has this unparalleled ability to completely immerse you in their music and if you don’t force your eyes open for the entire performance (which is virtually impossible), there is a good chance you are going to become entirely lost. It feels good though, to close your eyes, and I welcome the feeling of uncontrollable immersion. The negatives, however, include walking away from the experience not entirely aware of what just hit you. I kept saying to myself “that was amazing! That was AMAZING!” but couldn’t offer any explanation for why it had been so utterly remarkable.

When the band came back out and opened the second set with “Shimmer and Out”, I nearly lost it. This song instantly brings me back to the opening notes of their 2009 Rothbury appearance and it quite literally gave me the shivers. Jesse Miller, with his bass hanging almost down to his knees, takes flight with a blissfully melodic baseline while Mike Rempel delivers a guitar riff that I can recognize over almost any of Lotus’s material. By this point, I had made me way over to stage right, directly in front of the always-smiling Rempel who was seemingly attacking his guitar in the most harmonious manner. This jam was nothing short of extended and the guys even meandered into a song called “Lead Pipe” before bringing it back into “Shimmer” and closing it out. I was absolutely thrilled to hear them play this one. Then when they followed that up with the “Oil on Glass / Feather on Wood” bass thumper “Simian”, and ran through another handful of tunes including the pulsating “Juggernaut” and the set closing “Jump Off”, I knew the night had been complete. But the crowd hadn’t had enough. A “Hammerstrike” encore had me wide-eyed, mind-boggled, and struggling to find words for how insanely good this show had been. These are the moments my friends. These are the moments. I came in search of an escape… in search of a cure. I left on Cloud 9. It was the music that sought the source of my ailment. It was the music that eliminated it. And it was the music, at least for a brief moment, that set me free.

Emmitt-Nershi Band - Smiths Olde Bar, Atlanta, GA (4.26.2010)

I was pumped when I found out the Emmitt-Nershi Band was in town the night of the 26th. I was turning 24 that evening and even though it was a Monday night, I thought I should at least get out there and see some live music for a bit. I had never been to Smith’s Olde Bar before either, and I was curious to see what this place was all about. The scene was pretty decent once I got inside. There was a medium-sized pool room as well as two different rooms set up for music. The downstairs had some open mic gig going on with one lonely couple in the audience who must have been close friends of the awful sounding musician on stage. The upstairs, however, had been reserved for Emmitt Nershi. During the opening band, Saint Francis, I went up to the bar and ordered myself the usual and as I was turning around, I noticed Billy Nershi hanging out near the side of the stage. I went up and shook his hand, welcoming him to Atlanta and I couldn’t help but ask him if he remembered playing a show at Bell’s Brewery in Kalamazoo this past year. I reminded him that Anders Beck and Paul Hoffman from Greensky Bluegrass had joined them on the stage and he quickly acknowledged what a good time that had been. “The Greensky boys are good friends of ours,” he pointed out. We parted ways and I was left trying to keep my head from drooping as this country-twang slide guitarist moved slowly up and down his instrument in this sluggish, sort of whiney way. The band played a few more decent folk songs but I was glad to see it end.

When Bill and Drew took the stage, the crowd was instantly rejuvenated. This time around, the boys had a tall, kind of lifeless bass guitarist named Tyler Grant as well as a quick-fingered banjo player named Andy Thorn to help round out their sound. As soon as the band began pickin’, the crowd was in delight. Mr. Nershi came storming out of the gates with a speedy version of “Johnny Cash”, a song that he had written during his time with String Cheese. This one had all the Cheese fans in the room dancing around like animals. It is truly incredible to watch Nershi’s hands as he navigates up and down the neck of his instrument. His guitar, much like it’s master, had a weathered and worn down finish that told stories of countless Colorado nights spent sitting around the open campfire singing, picking, and carrying on. Bill Nershi moves around that fretboard like a spider monkey. He has this unbelievable reach that allows has his fingers to sprawl out across what seems like 7 frets. He moves each individual finger vertically up and down all six strings simultaneously providing this extremely chaotic, yet very precise and organized sound. His notes were preconceived by experience and seem to be placed in the absolute perfect spots at the absolute perfect times. It was a joy to hear some of the same sorts of noises that I heard that legendary night at Rothbury 2009.

For the next half hour or so, the band put on an impressive display of bluegrass-driven music that strayed ever so subtly into a wide range of more abundant, progressive styles. There were these blues and jazz inspired undertones that would make David Grisman smile and I couldn’t help but notice how much Drew Emmitt contributed to this progressive “newgrass” type of sound. Drew, of Leftover Salmon fame, was as equally exciting to watch as Mr. Nershi as he flicked his wrist up and down across his tiny mandolin. With his hair hanging down in front of his face and a seemingly statuesque posture, Drew sat and picked everyone’s brains apart until their eyes refused to blink and their mouths were left gaping. Eventually, the band produced a fiddle player as well as a guest guitarist who contributed to an already string-rich experience that had everyone in the room flailing around in a bluegrass bonanza. The ladder portion of the set had a couple of fiery recognizable tunes including the traditional “Long Journey Home” as well as the String Cheese ripper, “Black Clouds”. I could spot this riff from a mile away and I couldn’t help but smile about hearing it live once again. It made me realize how badly I need to come up with a plan to see String Cheese play over the summer of 2010. Maybe… just maybe.

At the end of the night, I had certainly gotten my fix and I took a moment to reflect on the incredible month of music that has been April 2010. It has been filled with outdoor festivals, the sound of strings, and the excitement of discovering something new. I only had one more thing to tackle before April was all said and done… Lotus.

Railroad Earth - Variety Playhouse, Atlanta, GA (4.24.2010)

Listen while you read...

Railroad Earth - Variety Playhouse, Atlanta, GA (4.24.2010)


Set 1: Where Songs Begin, Just So You Know, Like a Buddha, Walk Beside Me, Stillwater Getaway, Bird in a House, Bringin' My Baby Back Home

Set 2: The Hunting Song, Carrying Coal to Newcastle, Happy Song, Old Man and the Land, For Love, Goat, Been Down This Road, Dance Around Molly - > Dandelion Wine, Hard Livin', E: Lovin' You, Little Rabbit


After a rainy Saturday afternoon at the Inman Park Festival, it was time to head to Little Five Points for a date with Railroad Earth. Karrin and I were drenched to the bone (thanks to a faulty rain jacket I had purchased earlier that afternoon at the Army surplus store) and were glad we had the forethought to pack a change of clothes. We found ourselves a parking spot in L5P and slid into our dry garments before heading over to Variety Playhouse. Karrin and I had seen the tail end of Railroad’s 2008 Rothbury performance and ever since then, have had an itchin’ to see them again. We didn’t remember much from that overwhelming Thursday night, but agreed that it had undoubtedly been some sweet sounding music.

As we walked inside Variety, we heard the sounds of the opening band, Josh Phillips Folk Festival, blasting from the stage. These North Carolina natives were brining a super positive vibe to the Playhouse and I couldn’t help but smile. Josh Phillips, the band’s chief songwriter, seems to have a natural ability for crafting songs that are heartfelt and sincere. But this music was by no means strictly folk. In the short time that we had the chance to listen to them, the band seemed to bounce around amidst this truly soulful blend of roots, reggae, and R&B tunes, expressing their jam side as well with fairly extended keyboard and lead guitar improvisation (compliments of Ryan Burns and Casey Cramer respectively). In addition, I couldn’t help but notice the sheer intensity and impressive chops of drummer Nik Hope (click on this picture, zoom in and check out the look on his face!). When it was all said and done, I wondered why the hell we hadn’t been there for the Folk Festival’s entire set. I plan on seeing this band again as soon as I possibly can.

After a short intermission, it was time for Railroad Earth to take the stage. The crowd was very receptive and welcoming as the sextet took to their respective positions, but in no way were we prepared for the auditory assault we were about to witness. If you have never heard RRE before, all I can say is listen to them. I’m not going to sit here and get into the whole genre classification game because frankly… there’s just no point. Railroad is one of those bands that just completely defy musical taxonomy. For them, having a label means putting chains on their capacity for creative expression (songwriting), so they choose to avoid the name game altogether.

The band opened things up with a slower paced tune called “Where Songs Begin” that really set the tone. Andy Goessling let loose on the straight saxophone during this one; just one of the absolutely absurd amount of instruments he would pick up and dominate over the course of the night. Andy is one of those freakishly talented musicians, quite possibly from another planet, who turns everything he touches into pure gold. My jealousy runs deep for these types. Playing music just comes naturally to them, as if it were some innate characteristic they’ve had since the womb. Karrin and I literally lost track of how many different instruments Andy picked up over the course of the night but I wouldn’t be the least bit surprised if it were in the double digits. Acoustic guitar, flute, pennywhistle, banjo, dobro, mandolin, three different types of saxophones (two of which he played at the same time) … you get the idea. And not only that, but he played each and every one of them as if he’d been playing them for his entire life. I was blown away by his natural prowess and I couldn’t wait to hear more.

Todd Scheaffer, the band’s chief vocalist and guitarist was doing some serious picking on his slightly effected acoustic guitar that had this perfect blend of electric and acoustic overtones. He was just getting warmed up. Todd is the brains behind a good portion of the band’s songwriting and arrangement composition. In addition, he carries with him one of those strangely unique / spectacular singing voices that induce instant recognition upon hearing him. On his left stood Tim Carbone, a highly recognized violin player with a magical touch to his instrument. It was almost dizzying to watch his fingers dance effortlessly up and down the neck of his violin. He played with ease and confidence. Amidst the second song, “Just So You Know”, Tim was giving his violin this howling sort of voice that gave the impression that a train was headed into town. You could already feel the intensity starting to build. From here, the band went into a 15 minute version of “Smile Like a Buddha”. The mandolin player, John Skehan, laid down a very playful intro before Goessling broke out the flute and gave this number a real Celtic vibe to it. At this point in the set I started to realize how well this band complimented one another. Often times, especially in a group as large as this, you will tend to hear a lot of discrepancies in the volume level and intensity of certain instruments at certain times throughout the show. But RRE had an absolutely perfect blend of instruments, never allowing one player to overshadow the rest of the band. Each member seemed to be extremely attuned to one another and the group chemistry was just radiating. It was like a sea of stringed instruments all bombarding your brain simultaneously and attacking all of the tiny little receptors responsible for perceiving sound. It was one of the best feelings I have had at a show in a VERY long time and one of those moments that made me realize why I love this music life so very much. “Buddha” traversed into an infectious groove titled “Walk Beside Me” that had everyone in the room bobbing up and down and throwing back their heads in blissful delight. Tim, with unbelievably precise timing, was shredding the main riff on his violin and it sounded outstanding. At the end, Andrew Altman, RRE’s brand new bassist, took the spotlight and laid down a groovy bass line that had the roof of Variety Playhouse ready to come caving in. If I hadn’t known any better, I would have guessed this guy was playing an electric bass the way he navigated his instrument so quickly and effortlessly. Andrew fit right in with the group and played like he had been there since the beginning. A few more songs rounded out the first set including the bluegrass-driven “Stillwater Getaway”, crowd favorite “Bird In a House”, and a smokin’ version of “Bringin’ My Baby Back Home” where Carey Harmon nearly peels the skins off his drum set. I took the opportunity to grab myself a fresh brew and Karrin a nice, cold, $4 water (those bastards) and we got all giddy about another set of Railroad Earth.

The second set opened with “The Hunting Song” where Andy started blowing on this goofy looking instrument called a pennywhistle. It gave this slower paced tune that same Celtic vibe again. Tim Carbone sent me into a trance-like state with his meandering violin as the bass and drums seemed to be pulling this steam engine along with a deep, steady rhythm. About halfway through the set, Railroad played this 12 minute jam titled “Goat” that went into this delightfully trippy breakdown where John was caressing his mandolin and strumming these quick, quiet notes that made my head swell up with tension. With Tim adding some real strangeness on the violin, Karrin and I both turned to each other and acknowledged the fact that we were hearing something that sounded like a hybrid mix of Greensky Bluegrass and String Cheese Incident. Greensky is infamous for these types of wild breakdowns and the slow heavy bass and drum were very Cheese-ish indeed. The boys brought it back up like a storm and Andy began blowing an incredible sax solo to close it out. It was certainly a highlight for me. Immediately following, the band played a gorgeous sounding version of “Been Down This Road”. This song is the first to appear on the album “Amen Corner” and I was definitely hoping to hear it live. It’s one of those tunes that you listen to and it sticks in your head for the rest of the day (but in a good way). The next song “Dandelion Wine” was a complete bluegrass ripper that could have very easily been an old Irish drinking song. It made me want to swing m’lady round n’ round and I definitely recall being unable to resist the need to move my feet in a fast, cigarette stomping motion. A little knee slapping never hurts either. It’s my signature move. Almost every member of the band took an unbelievable solo throughout the course of this song. It made me realize just how good they really are.

A lot of people like to think of Railroad Earth as being a jamband. I too would probably tag them with this label considering their incredible aptitude for extended improvisation. But there is one thing that really sets them apart from the others in the world of jam music. As I was reflecting upon this concert experience in a car ride the very next day, I was explaining to Karrin how RRE uses jams to compliment their songs. Their true nature, their true talent, lies in the band’s ability to craft songs. A lot of jambands approach their music the other way around, using songs to compliment jams, maybe only playing the “song” portion of their music for 3 or 4 minutes of a 20 minute jam session. This is clearly evident in the studio work of bands in this category. More often than not, a jamband’s studio album is somewhat boring (if not painful) to listen to (at least in comparison to their live shows). The songwriting just isn’t there. But Railroad Earth completely shatters this idea. Just today, I got on the band’s website to read their bio and found this excerpt that was just too perfect not to share…

“Indeed, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point, they give the improvisation a starting point. The jams sort of ‘comment’ on the songs, and give them color. Some songs lend themselves to improvisation. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.”



The set closing “Hard Livin” had Andy Goessling blowing the roof off on two different saxophones simultaneously. I can quite honestly say that I have never seen anything like this before. With an electric guitar in the mix, this was one of the more rocking jams of the night and left everyone screaming for an encore. Ask and you shall receive. Railroad came back out with a beautiful ballad titled “Lovin’ You” and then closed the show with an old time fiddle tune by the name of “Little Rabbit”. The band was absolutely gleaming and you could tell that they felt good about this particular performance. Two days later I went to see the Emmitt-Nershi Band play at Smiths Olde Bar downtown. I approached a man wearing a Railroad Earth shirt and asked him if he had been at the show the other night. Turns out he was an avid fan that had seen the band a whole shitload of times. Without batting an eye he looked at me and said “ That was the best Railroad Earth show I have ever seen.” After the show, my sweet-hearted lady Karrin took the reigns and drove my drunk ass home. After all, it was my birthday weekend and I had yet to go downtown without having to limit my beer intake and make a responsible drive back home. It was great having her there and we ranted and raved all the way home about how incredible the show had been. It was one that neither of us will be forgetting anytime soon and I think we both have a newfound appreciation for this incredible, incredible band. See them. The train will be headed your way soon.

Inman Park Festival - Atlanta, GA (4.24 & 25.2010)

Saturday, April 24th

Things got off to a rainy start for Atlanta’s annual Inman Park Festival this year. It was a near monsoon out there but that had little affect on the spirits of the parade participants. Most of them were running up and down the street and around their hand-built floats with a great big smile and a happy demeanor. There were even a few people throwing out candy as if it were a beautiful, sunny afternoon. Sort of strange to think that anyone would actually want to pick soggy candy off the soaking wet streets and gobble it down with enthusiasm. Karrin and I learned quickly the whereabouts of the large covered tent that served as the “Euclid Avenue Tent Stage”. We also learned very quickly that this festival, although not clearly stated, allowed you to walk around with your own beers in hand as opposed to the $5 ones at the vendors. Good thing we had come prepared. After moseying down a number of streets, it was clear that most of the vendors had left their booths closed up and decided to just throw in the towel for the afternoon. There were a surprisingly large amount of people there, considering the weather, who looked like they were still having a good time regardless of how soaked they were.

Karrin and I made it to the Euclid Ave. Tent just as soon as the band “The Holland Dutch” was getting started. This group was fronted by two very sub-averagely talented women who were just not doing it for me. After a bit of humming and hawing, we decided to find a place to eat and let the rain cool off a little bit. A cozy joint called The Northside Tavern hit the spot and then we were off to find the Delta Park stage for an encounter with Deep Blue Sun. Needless to say, this performance wasn’t quite as enthralling as the last time I had seen them. Rhythm guitarist Katie Marsh didn’t have the sweet sounding singing voice that I had for some reason remembered her having, and the overall energy of the band (perhaps due in part to the weather and lack of a crowd) was very low. We did get to see the band’s regular guitarist however, Matt Lynn, who did a phenomenal job.

After Deep Blue Sun, it was time for Southern natives, Delta Moon, to take the stage. These guys were a real treat. Front man Tom Gray sat poised with overalls and a lap slide guitar that he was shredding to the bone. With a whiskey weathered voice that would make Tom Waits smile, he sung some serious blues numbers that seemed to come howling out of the speakers. To his right stood Mark Johnson who also had a glass slide on his finger, giving this band a unique sound that is hard to beat when it comes to slide blues. After being mesmerized by these two and their guitar playing aptitude, it was time for Karrin and I to head to the Railroad Earth show. This turned out to be the best decision we made all day.



Sunday, April 25th

I think it’s safe to say that Sunday was a bit more suitable for an outdoor festival at least in terms of the weather. The people were out in masses and Karrin and I walked around in what seemed like an endless sea of vendors, checking out all of the goods. Street vendors seemed to be the focal point of this festival. At one point, we walked into a booth, only to come walking back out wearing sun hats on our heads. Perfect for festival season. Shortly thereafter, a street magician whose name I don’t recall caught our attention and we went over to see what was happening. There weren’t many people gathered around so I jumped at the opportunity to volunteer for his next trick. He pulled me into his performance area, opened up a fresh book of matches and ripped one of them out, placing it in my right hand. The onlookers watched as he proceeded to light the entire book on fire, making sure that every match in the booklet had been burnt. He then placed the burnt book into my left hand and instructed me to close my palm. With a wave of his hand and some verbal nonsense, he had me open my left hand, containing the book of matches, to find that there was now one, lonely, un-burnt match fixed to the inside of the booklet! And then, as if that wasn’t cool enough, he had me open my right hand to find the original match had completely disappeared into thin air. I was truly impressed and sat scratching my head for quite some time about how he could have pulled that little stunt off. He did a few more cool bits and then read Karrin’s mind for his grand finale, reciting her phone number without ever even peaking at the slip of paper she had written it down on and stuffed into a covered envelope. We dropped some money in the man’s hat and walked away with our jaws scraping the pavement. It was time to check out some music.

We sort of wandered around from stage to stage on this afternoon, getting a real hodge-podge of exposure to all the different music that Inman Park had to offer. But I would like to say a few words about a man named Ike Stubblefield. On the schedule, this show was billed as “Ike Stubblefield and Friends”. Little did we know that resident badass, Jeff Sipe, would be one of these “friends” of his. Jeff is an incredible drummer with hugely versatile capabilities that span across numerous genres. Some of his more notorious projects include Leftover Salmon as well as extensive touring with Keller Williams, String Cheese bassist Keith Moseley, and guitarist Gibb Droll. For the majority of the show, Ike and Jeff exchanged blows with some of the wildest jazz fusion I have ever heard. Jeff was throwing in fills at spots that I wouldn’t even consider possible and Ike was whipping his hands and feet all up and down his Hammond B3 Organ in the most outlandish fashion. This guy knew what he was doing. A couple of guests came out including a talented harmonica player and a saxophonist who could really play. The band definitely laid it down.



Needless to say, it was a beautiful Sunday afternoon that made up for the monsoon that we experienced the day before. Karrin and I were glad we got to see Ike and Friends and I think the true magic that afternoon was in the fingers of Ike Stubblefield, and the drumsticks of Jeff Sipe. Even though the two of them might not have the ability to make a match disappear right before your very eyes.

Sweetwater 420 Festival (Day Two) - Candler Park, Atlanta, GA (4.18.2010)

Listen while you read...

The Packway Handle Band, Live at The Fox Theatre, Boulder, CO (7.27.2006)

or...

The Stanton Moore Trio, Live at The Jewish Mother, Virginia Beach, VA (5.22.2006)


But definitely not both... that might get a little confusing.

It was Sunday morning when we decided to head back to Candler Park for another afternoon of 420 festivities. We had so much fun on Saturday that it just seemed to be the most logical decision. Minimal traffic and accessible parking made the trip to Candler a much smoother one and as soon as we got inside the gates, it was clear that the festival grounds were much less crowded than the day before (which was fine by me). The Sunday music lime-up sounded like another solid billing with George Porter Jr. filling the main slot and the Stanton Moore Trio featuring Anders Osborne warming up the early evening set. We strategically made our way around to the art booths early in the afternoon while a less-than-exciting Donna Hopkins Duo sang some folk music in the background. The vendors at 420 Festival had some really captivating work on display. There seemed to be a recurring trend that focused on the use of recycled art which I thought was pretty cool. But as it usually happens when you attend a shindig like this, most of the goods were overpriced and we walked away empty-handed.

After the Donna Hopkins Duo wrapped things up a local group, dubbed the Jamie McLean Band after their talented guitarist and lead singer, took to the stage. Jamie spent a number of years playing funk guitar for the Saturday night headliners, The Dirty Dozen Brass Band, before exploring the possibilities of a solo career. This classic example of a power trio sounded fairly good but I felt like their music could have used one or two additional personnel. Jamie’s knack for songwriting was definitely recognizable as the trio laid down a fairly straightforward blend of swampy, southern rock ‘n’ roll. It was bluesy and it was catchy, but at the same time, it was somewhat repetitive and we were ready for a change.

As the changeover was taking place, I noticed a man walking an enormous instrument case onto the stage that I knew could only be an upright bass. After him, 4 more musicians came walking out wielding various stringed instruments and I knew that we were about to be treated with some bluegrass music. The Packway Handle Band, as they call themselves, hail from Athens, GA and have been making waves on the bluegrass scene ever since their formation in 2001. The band began receiving national recognition after becoming finalists at the 2002 and 2003 Telluride Bluegrass Festival. They took 2nd place in 2004. From reading up a little bit about their background, I get the sense that none of these musicians have a real extensive history of performing bluegrass music. Drawing from a diverse set of influences such as Bela Fleck and building off nothing more than an interest in the bluegrass genre, the band has developed a style that is fresh, innovative, and anything but “traditional” in the bluegrass sense. This approach has allowed them to conduct this ongoing learning process and establish their own unique ideas about what can be accomplished in the realm of “newgrass” music.

Two tightly spaced condenser microphones were set up in the center of the stage – a traditional approach to amplification that I’m not sure I have ever seen at a bluegrass show before. These days, you tend to see each individual instrument with its own personal mic rigging, but I really liked the idea of this “gather round the microphone” set-up. It not only gave the band a very cohesive and playful facade, but it allowed them complete control over the volume and intensity of each individual instrument. If one musician was taking a solo, he would step close to the microphone and let his presence be known while the others backed off a bit and gave him the spotlight. Right from the start, The Packway Handle Band played with a cheerful exuberance that reflected just how much they enjoyed performing. Their on-stage antics and facial expressions contributed to an almost theatrical interpretation of the stories they were telling through their music. The lyrics were playful and original and the band broke out these 4 part harmonies that were almost humorous to listen to. Of course, a couple of whiskey drinking songs and one or two traditional bluegrass tunes came out throughout the course of the afternoon. For without these, some might not even consider them to be a “true” bluegrass band! But that wasn’t all. About halfway through their set, PHB busted out an outrageous cover of The Pixies’ “Where Is My Mind”. Although most only recognize this song because of its appearance at the end of the movie “Fight Club”, the crowd was really into it and I truly think there is nothing more fun than a bluegrass interpretation of a song that was never meant to be a bluegrass song.

Towards the end of the set, I had my head turned talking to Heidi when all of the sudden, in the middle of a classic bluegrass song “Fly Around My Pretty Little Miss”, I heard the sounds that were once emanating from the stage speakers come to an abrupt halt. Before I could turn my head, the entire band had leapt off the stage and were a mere 20 feet away from us jumping around and dancing amidst the crowd. I quickly grabbed my camera and rushed over to join the party. I was nearly knocked over a number of times as the band was thrashing around and sprinting from one side of the crowd to the other all while jamming away on their respective instruments. The bass player, Zach McCoy, struggled to keep up as he lifted his enormous upright bass above his head and still managed to keep plucking away at his strings. Fiddle player Andrew Heaton seemed to be at the forefront of this follow-the-leader type of game the band was playing and he was shredding so hard that the strings of his fiddle bow began to fray and hang loosely off of the bow’s shaft. Josh Erwin had an enormous smile on his face as he flatpicked his guitar into a delightful bluegrass frenzy. It was clear that this was the band’s favorite part of the show. The crowd was even feeling loose and comfortable enough with the chorus to sing along to this traditional tune as the closing notes brought an uproarious applause from the entire festival.

After this engaging performance from The PHB, it was time for New Orleans native Stanton Moore to take the stage. On this occasion, it was Anders Osborne sharing the spotlight with the trio and it made for an exceptionally badass musical experience. Stanton Moore is a true professional. He has quite literally written a book about funk drumming (titled Groove Alchemy) and is one of the founding members of the veteran jamband Galactic. Moore has had an extensive solo career as well, collaborating for albums and live performances with A-list musicians such as Charlie Hunter, John Scofield, Karl Denson, Warren Haynes, John Medeski and Chris Wood… the list goes on. Not only that, but Stanton’s jazz-funk side project, Garage A Trois, is a quartet of insanely talented musicians including keyboardist Marco Benevento and the infamous saxophonist, Skerik.

Osborne, a Swedish born drifter, spent a number of years traveling through Africa and other parts of the world before ending up in New Orleans, the place he calls home. Anders came out on stage looking like a rock star with aviator sunglasses and a blonde, well-established beard that hung down past his collar bone. With a hot-fingered keyboardist to add to the mix, Stanton and Anders blew the 420 stage apart. I found it shocking that Osborne had ever lived anywhere but the Southern United States because his style was just oozing with this dirty, down-home, blues rock tone that came pouring out of his guitar amp.

Anders, with a glass slide on his pinky finger, was completely lost in his music as he stood and told the stories of his past and let this bluesy, psychedelic sound come ripping off of his strings. It was unbelievable how well this trio kept things together without the steady, rhythmic foundation offered from a bass guitarist. This, in large part, was due to Stanton’s incredible timing and spot-on chops. This was some of the tightest, most funky drumming that I had heard in a very long time. And don’t count the keyboard player out either. Taking visual cues from Osborne, he would let loose on some outstanding organ solos that really complimented the band’s overall sound.




It was another incredible afternoon at Candler Park. Jo and I once again had to pass up the main act, George Porter Jr., since we needed to get her to the airport in time for her flight home. Nevertheless, I was extremely happy about the music we got to see that afternoon. Discovering great new music is like opening gifts on Christmas morning. And discovering great new music in the LIVE setting is the bow on top.

Sweetwater 420 Festival (Day One) - Candler Park, Atlanta, GA (4.17.2010)

In celebration of the approaching Earth Day, Sweetwater Brewing Company played host to the 6th annual 420 Festival in Atlanta’s Candler Park this past weekend. A two-day music and arts festival focused on inspiring environmentally conscious action, facilitating community involvement, and of course, enjoying great beer. The sun was shinning bright on this Saturday afternoon and it was time to kick off festival season! I was mostly unfamiliar with the bands that had been scheduled to play over the course of the weekend, but that made no difference whatsoever in the decision to check out Candler Park. So Jo and I got our things together and headed towards the city. After spending a bit of time in traffic (as usual) we were circling Candler Park in The Mighty Buick, searching for a spot to park. For blocks, the narrow streets surrounding the festival grounds were lined with vehicles resting bumper to bumper, making it quite difficult to navigate the area. Eventually, we found a suitable little space and began our venture towards the entrance.


It wasn’t until late afternoon when we finally got in line for our wristbands. It was $5 for the privilege of drinking Sweetwater beer all afternoon, a portion of which goes back to the Candler Park community for allowing this festival to happen every year. The other part covers the brewery’s operating expenses (even though they probably make a killing on the thousands and thousands of beers they sell at $5 apiece). The wristbands weren’t required though. As we would soon find out, this was a rather family-oriented festival that played host to an enormous variety of people of all ages. Young kids, old kids, new parents, parents of parents... Even the dogs were out en masse. The website clearly states no pets allowed. But I have a feeling the owners of this particular brewery would probably say something along the lines of “No pets. Except for dogs… dogs are cool.” Needless to say, there were plenty of hounds, pups, panting pooches, and one particularly quirky Parrot to keep us on our toes. As we waited in line, a few festival-goers pointed out how many Beatles covers they kept hearing off in the distance. I had done my homework and I knew what they were hearing was The Mystery Trip – an authentic Beatles tribute band. Unfortunately for all of us still in line, The Mystery Trip would be closing out their set just as we were getting inside the gates.

It seemed as if we arrived at 420 Fest amidst a rush of people and I could feel the grounds getting more and more crowded by the minute. We walked past a number of jewelry and recycled art vendors and quickly jumped in the beer line and got our paws on a couple of cold ones before conducting our search for a lawn spot. If you have ever been to Sweetwater before, you know that most of their beers have two distinct qualities; the first being phenomenal taste, and the second being a strangely unique name. “Motor Boat”, the seasonal “Road Trip” ale, “Happy Ending”, “Sch’Wheat”, and the festival titled “420” extra pale ale are just a few of the beers on tap this weekend. Jo and I took a brief look around the park for a bit and ended up popping a squat in the shade while the next band, Deep Blue Sun, began setting up. The main stage lay in a perfect position amidst this gradual, wrap-around hill that provided everyone in the park a view of the stage. We noticed the venue, slowly but surely, getting increasingly crowded so we hopped up and found a decent sized plot of land right up next to the stage. In all honesty, I was entirely unprepared for the musical storm that was about to hit me right square in the face.

Right from the opening notes, I knew this band was going to throw down. Deep Blue Sun had that screaming, psychedelic jam-band sound that I couldn’t help but compare to The Allman Brothers Band. In fact, at this particular performance, Yonrico Scott (of The Derek Trucks Band) sat in on drums and provided a link between these two veteran Georgian jam-bands. After a decade of performances, DBS has crafted a truly powerful blend of funk, rock, blues, and pure psychedelic improvisation that leaves fans pulling their hair back in attempt to keep their faces from melting away. Keyboardist John Marsh hops around behind his instrument, commanding an impressive display of soulful vocals and funky organ riffs while his wife, Katie, compliments him with a sweet, feminine singing voice and a steady rhythm guitar. Bassist Ben Hernandez even jumps in behind the microphone with an infectious, high energy demeanor. Some of the bass lines that he was throwing down that afternoon were the type of sounds that lift you up off your feet and have you bouncing around before you even know what hit you. With Yonrico holding it down in the back, the rhythm section duo was spot-on the entire night. He absolutely loves playing with this band and has even been quoted saying that Deep Blue Sun is “the best kept secret in the jam-band world”. In addition, DBS had a guest saxophonist who added some real flavor to the mix. But the highlight of this show in my opinion was the lead guitarist whose name I am not entirely sure of. On the DBS website, the lead position is accredited to Matt Lynn, who is vastly different in appearance to the guitarist that took the stage at 420 Fest. I know this band has a history of numerous line-up changes, but whatever his name might be, one thing is for sure… he could PLAY! With emotion written all over his face, this guy was laying down what I can only describe as the definition of southern, improvisational jam guitar. It had a touch of blues and a truckload of psychedelia. Needless to say, I was thoroughly impressed and couldn’t seem to pull my eyes away from his fingers as I got close to the stage for some photo opportunities. After an hour of shredding, dancing, and partying with Deep Blue Sun, I was sad to see them start breaking their stuff down. But fortunately for 420-goers, The Pimps of Joytime (following a short, mediocre set from the band “The Sundogs”) would be up soon.


I had seen the name before, The Pimps of Joytime, mostly because of their scheduled 2010 appearances at some major summer festivals – Wakarusa, High Seirra, and All Good to name a few, but I knew little about them. As the band got all set up to play, one thing was for certain - they had style. The lead singer and guitarist, Brian J, came out looking like a true pimp. Snazzy shoes, jewelry, an American flag-patterned waist accessory, and a slanted top hat that only served to compliment his air of confidence. In addition, the bass guitarist and commander of the moog synth, Clark Dark, came out wearing this other-worldly sort of space helmet on his head. He too, was oozing with confidence and his bright green shoes added a real quirk to his flair. The PJT’s drummer was larger than life and as soon as he took the stage he cracked an enormous smile that never left his face throughout the duration of the performance. Chauncey Yearwood on congas and Mayteana Morales on percussion and sampler were no exception to the stylish appearance put forth by this fresh looking group of musicians.

I think one of the most intriguing characteristics that makes music so unbelievable to me is its inability to be described. There are those times when you hear a band or see a performance that leaps so many boundaries and jumps so many genres that its really difficult to put your finger on what exactly it was that you just witnessed. It’s beyond explanation. But I will try my best, since… that’s what this project of mine is all about. The Pimps of Joytime play a unique blend of funk that, in contrast to the powerful, in-your-face sound of say, The Dirty Dozen Brass Band, has you moving and grooving in a very sensual way. Coming from Brooklyn, it was interesting to see how geography plays such a prominent role in the development of a band’s style. Not that I am an expert on the subject or anything, but this East-Coast group had a much more smooth approach to their sound than other bands that I suppose you could say are in the same category as the PJT’s. But hold that thought. Like any good band seeking their own unique sound should do, The Pimps have spent formative years living in numerous geographic locations, most notably Los Angeles and New Orleans. In fact on their most recent album, “High Steppin”, the band collaborates with New Orleans legends Cyril and Art Neville to give their album some down right dirty funk that they otherwise might not have been able to capture.

Each instrumentalist on the festival stage that evening contributed to a very unique, very danceable brew of music that had 420 fans moving and grooving in a borderline embarrassing way. As the night went on, the beers got poured and as the beers got poured, the people got loose and as the people got loose, they began to find their groove (in large part due to the PJT’s). Unlike previous acts, a mob of people pushed their way towards the front of the stage and seemed to be having a blast as The Pimps massaged their central nervous system. I snapped a few pictures and couldn’t help but join in. Chauncy on the congas gave the PJT’s sound a real groovy afrobeat foundation. Nothing wrong with a little world flavor. In addition to Clark Dark’s funk-driven bass playing (one of the more prominent sounds amidst this group) he gave his moog synthesizer a whirlwind a few times, providing this other-worldly electronic vibe that I would have never guessed would come from this band. Even Mayteana, when she wasn’t shakin’ tambourines or adding other percussive elements that provided a certain level of Latin or salsa flair, was layering some samples into the mix that gave this music a truly unique feel to it. Smooth funk, jazz, afrobeat… call it what you want. In an interview with NPR Music, lead singer Brian J had this to say…

“When all those lines and genres get blurred, anything can be soul: rock ‘n’ roll, punk. It’s all soul to me, if it’s soulful”



Like I’ve said before, when you are exposed to music that has true soul, you know it as soon as the first notes strike you ears. I had a blast partying with Jo, the 420 festies, Deep Blue Sun, and The Pimps of Joytime and I can only hope that we encounter each other again before the summer is over. It was a fantastic way to close out day one of this cozy little beer festival and regretfully, my sister and I had to skip out on the main act, The Dirty Dozen Brass Band, as we had a date with the Atlanta Braves at Turner Field… too bad The Rockies shut us out. But that’s okay… we let our allegiance be known a number of times as Heidi shouted “GO TIGS!!” for all of Turner Field to hear.

Todd Snider - Variety Playhouse, Atlanta, GA (4.16.2010)

My sister and I sat patiently, watching the steady stream of people strolling by the open –air storefront of the Little Five Corner Tavern. This little eatery probably has the best seat in the house for those of you looking for some prime-time people watching activity. And the mix of people walking around Little Five is nothing short of interesting to say the least. Heidi was in town for the weekend and I couldn’t have been more thrilled to have her as a companion for this particular trip to Atlanta’s Variety Playhouse. She had never seen Todd Snider before and I knew we would be in for a treat. Oddly enough, this will be my first time reporting on Variety Playhouse, even though I’ve probably seen more shows here than anywhere else since I have been in Atlanta. Variety is really nothing to write home about. A medium sized theatre-type venue with overpriced food and a monopoly (for the most part) on Little Five Points entertainment. At least as far as music in concerned. This venue books the acts that are too small to play The Tabernacle or Fox Theatre, but draw too big a crowd to play The 5 Spot down the road. Tall, exposed ceilings, plain red walls, theatre seating, and an over-hanging balcony provide the Playhouse’s structure. Not the most aesthetically pleasing venue I have ever been in, but it serves its purpose.


Heidi and I vacated our people watching perch and started walking down the road to Variety just as the opening act, Bobby Bare Jr., was set to get started. It’s been quite awhile since I’ve been on time for a show. I don’t know what’s gotten into me lately, but for some reason or another (perhaps a dwindling capacity for endurance), I consider myself lucky to catch the last few songs of an opening band. It’s really quite silly to pay for a show and not take advantage of the opportunity to discover new music. Some of my favorite bands have been uncovered while waiting for a “main act” to begin. Needless to say, Bobby Bare Jr. will serve as a good reminder that I need to do a better job of this. As we stood in the ticket line at the Playhouse, a middle-aged man caught our attention and approached us with an extra ticket to the show. My buddy Frazier has been known to drop a free ticket on some unsuspecting recipient and I admire the good-will of everyone who shares this idea. It would be easy enough to knock $5 off of a ticket price and sell your extra to a fan in need, but karma will thank you for taking the higher road and brightening someone’s day with such a generous act of kindness. We thanked the man and headed inside.

It wasn’t long after we found our seats that Bobby Bare Jr. took the stage and got ready to do his thing. The area in front of the stage (usually reserved for dancing) had been converted to seating for this low-key event. Cocktail tables and plastic chairs allowed patrons an up-close view of the stage. Bobby Bare, following in the footsteps of his father, Robert Sr., is a songwriter from Nashville, TN with a natural storytelling prowess and a uniquely pleasurable singing voice. From a distance, Bobby had the appearance of a crazed Benicio Del Toro character, straight out of Fear and Loathing in Las Vegas. He had the look of a struggling, roughneck musician, slightly weathered from the wear and tear of life on the road and the persona to back it up. Bobby came on stage, beer in one hand, guitar in the other, and began playing with an unexpectedly tender yet powerful touch to his instrument. He added some sort of choral effect to his vocals and I couldn’t help but tap my feet as he used the microphone to tell his story. He sung with genuine despair yet light-hearted humor in his voice as he told undoubtedly true stories of ex-wives and rehab stints.

Enter insanely annoying Bobby Bare Jr. fans who just so happened to find a pair of seats directly to our right. These two were literally a concert-goers worst nightmare. Drunk and obscene, the female counterpart began shrieking both during and after every song that Bobby played. Her voice was like a sharp, thin blade splintering your ear drums over and over again. The male, just as drunk and probably more obscene, quite honestly thought he was having a question an answer session with Bobby himself even though he sat over 50 yards away amidst an increasingly crowded venue. Bobby, pointing out the obvious, announced that his friend Todd Snider would be next on the billing and this idiot responded with a loud and proud “FUCK TODD SNIDER!!” as if everyone in the venue was there to see Bobby Bare Jr. and had an equally close-minded outlook about any other musician who might be playing with him that night. After a couple of firm “shut-ups” from other annoyed concert-goers, things quieted down a bit. But the drunken woman’s shrill voice never ceased until the second Bobby was off the stage. Lucky for us, this trashy duo only stuck around long enough to see their coveted Bare play and they were off to annoy some other group of people trying to enjoy a night out on the town. The crowd applauded not only the performance of this skilled folk-singing musician, but the exit of dumb and dumber who none of us wish to ever encounter again.

If you’ve ever seen Todd Snider before or listened to any of his live albums, you might have heard him open with something along the lines of…

“My name is Todd Snider and I’ve been traveling around for 15 years makin’ this shit up and playing it for anyone who will listen. Some of it’s sad, some of it’s funny, some of it’s short, some of it’s longer than others, and sometimes I will ramble on for as many as 18 minutes between the song. But I will tell you this ladies and gentlemen without batting an eye… I absolutely LOVE this shit.”

Right from those opening lines, you get a glimpse of Todd Snider’s sincere love for what he does. Todd makes a point of telling people exactly how it is. He will tell you that some people like to label his music as being opinionated. Fine. But never does Todd think that because he has a guitar and a microphone, that he is in the position to force his opinion on you or tell you how to live your life. And he doesn’t ever claim his opinion to be right. He’ll tell you that he says what he says because quite simply, it rhymes. But on a deeper level, he says what he says because it’s therapeutic for him. When things go wrong for Todd, he writes. He writes heartfelt, authentic tunes FILLED with the humor that makes his music so unique. On this particular evening, Snider opened up with a song called “Greencastle Blues” that reinforces this concept of songwriting as therapy. Todd takes an unfortunate situation and tries to make light of it, lifting himself out of these depressive lows that may or may not be a result of his bipolar diagnosis. In “Greencastle Blues”, Todd, a man well into his 40’s, writes about being stuck in an Indiana jail for marijuana possession and about when it might be too late to learn from your mistakes. There is a serious side to this music (a side he will surely deny) and a much more humorous side that Todd does an unbelievable job of tapping into.

“So there’s nothing left for me to learn here. Just this half full of half empty cup.
Less than an ounce of possession, shit, I could do that kind of time standing up.
Some of this trouble just finds me, some of this trouble I earn.
How do you know when it’s too late? How do you know when it’s too late to learn?”

It’s witty, it’s playful, and it’s what makes Todd Snider’s music so unique. Fans of Todd wont sit there and boast about his guitar playing proficiency or his vocal range. They are fans because of his natural ability to craft songs. These lyrics aren’t just thrown together haphazardly. Listen, and you will hear a story. From here, Todd moves on to a song about his current residency called “East Nashville Skyline” and then into one of my own personal favorites “Tension”. Here, the Bob Dylan in Snider comes out as he breaks out his mouth harp and voices his opinion about government, religion, and the omnipresent tension felt amidst the American society. He even pokes fun at his own personal issues surrounding former drug addiction and time spent in rehab.

“Well they roped off all of my problems and pointed their fingers at addiction cause they know if you’re doin’ the pointing then no one’s looking at you. But you know this war on drugs is funded by the Tobacco and Alcohol Commissions… It’s not what drugs you’re strung out on they care about as much as… whose. You see, people still dig drugs. I mean ya’ll do anyway… I’m over it.”

After “Tension”, Todd breaks into a few crowd favorites such as “Tillamook County Jail” and the infamous “Money, Compliments, Publicity” off of his most recent album “The Excitement Plan”. These songs navigate into the first lengthy story of the night, a prelude to “KK Ryder”, where Todd tells the tale of an indoor rope swing and the “classic showbiz example of being in the right place at the right time”. These stories are what really draw me to this music. If you have heard any of Todd’s live releases, then you know exactly what I’m talking about. Snider, as if sitting around a campfire amidst a group of friends tells witty, captivating stories that have everyone in the room erupting in laughter. It’s quite honestly one of the most humorous live experiences I have ever had. After “KK Ryder”, Todd runs down an impressive set list including “DB Cooper”, “Alright Guy”, “Keep Off the Grass” and my sister’s favorite of the night “Conservative Christian” – a sarcastic tune where Todd makes no secret of his political views. In addition, he plays one of my very favorite songs “The Ballad of the Devil’s Backbone Tavern”. Although we weren’t lucky enough to hear the accompanying story, Todd still delivered a great version of a song about this sweet old bartender whom he came to know at a Texas bar in the middle of nowhere.

“And then one night after closing, she poured me up a beer
She said "Come over and sit down you little shit I got somethin’ you oughtta to hear"
She said "Life ain't easy gettin’ through, everybody's gonna make things tough on you
But I can tell you right now if you dig what you do, they will never get you down"

She said life's too short to worry, life's too long to wait
Too short not to love everybody, and life's too long to hate
I meet a lot of men who haggle and finagle all the time
Trying to save a nickel maybe make a dime
Not me, no sireee, I ain't got the time

Now I ain't seen Ol' Virgy in must have been about ten years
I've been bummin’ around this country singing songs for tips and beers
Now the nights are long, and the driving's tough, the hotels stink, and the pay sucks
But I can't dig what I do enough, so it never gets me down”


This last line pretty much sums it up. Underneath his signature low-brimmed hat, Todd sports an enormous smile. One of the greatest things a performer can do to engage an audience is to simply enjoy themselves on stage. Todd does this better than anybody and it’s infectious. In summary, this was a phenomenal show that easily topped each of the two performances I had seen prior to this one. The South seems to be a lot more receptive to this style of music and I am happy that I had the chance to be a part of it. At the very least, this show offered the “90-minute distraction” that Todd promised us the second he walked on stage. At the end of the show, Todd brought Bobby Bare back out on stage and the duo did a hilariously bad version of Dr. Hook’s “Cover of the Rolling Stone” in which Bobby declared “We were drunk when we thought this would be a good idea”. But Elvis took the cake with a surprise guest appearance at the closing of this one. The icing on the cake.