tntracy

Works for me…

Tom

Lucinda Williams, Circus
May 26, 2013
Score: 4

When Lucinda Williams in an interview in 1996 was asked what she is most afraid of, she replied “to die and to fly.” I do not know what triggered the panic attack that hit her on KB’s scene in Malmö on Thursday, but probably she did not come suddenly to worry about the flight home. Such an attack is normally not something you just shrug off, and I can only imagine the stress inside when it is done in the full glare.

At Circus this ösregniga Sunday marked none of this when Williams piloted out of the darkness and alone begins to sing “Lake Charles.” Already in the second song, “Side Of The Road” from the 1988 self-titled album, the concert highlights more notch to a level that subsequently get slumps. With him she bassist David Sutton and troföljaren and guitarist Doug Pettibone, both belonged to her band for many years. On tour poster reads An intimate evening with Lucinda Williams, and right attachment without drums gets her own attributes to shine even stronger: the scratchy, drawling voice, sydstatsdialekten, vibrato. And above all, the timeless songwriting.

Thematically, the most sexual undertones, Southern USA, highways, religion and life in general darkness. Three of tonight’s number was written to deceased friends, just such a thing. The newly written “Something Wicked This Way Comes” and Skip James Covern “Hard Time Killing Floor Blues” Williams demonstrates his skills in singing the blues, but on the whole, is the most melancholy country rock that apply, which is to her advantage because it is where she sounds best. “Blue” is just as beautiful as I hoped, “Fruits Of My Labor” as well. When she sings a wistful road trip in the “Jackson” I look up towards the lone spotlight in the middle of the ceiling above the audience that shines down like the moon on a clear night on a deserted country road. Right there and then pedal steel the main instrument in the world.

“Blessed,” the fine title track from their latest album, is one of three encores. Blessed are both Lucinda Williams and we saved in the audience with such a talented guitarist who mentioned Pettibone, who without trying to outshine the songs picks up their own – pardon the pun – essence, something that requires both humility and talent beyond the ordinary. Blessed is also this Sunday evening with a concert containing a series hallelujha moments. Amen.

Relatively short set list there, tonyg – was Annie the opener?

Tom

@Lafayette wrote:

I have autographed copies of her latest EP for you tnt and lwj. 8)

NO WAY!!! Well, aren’t you the sweetest, Lafayette! 😀

Tom

Via Google Translate:

Lucinda Williams finds crass from the stage that it was some time before she got a record deal because she constantly fell down into the gap between rock and country. There, she finds herself still and embedded with a little soul, blues and gospel music is of course a perfectly good place to be.

With good game mood and two eminent musicians, Doug Pettibone on guitar and David Sutton on bass, and not least with a handful of newly written songs, she takes an gig at Pustervik. The first song, Passionate kisses, feels more like a way to get started but the trio will soon find their feet. Can not let go and Lost it done with a knixigt turn and Drunken Angel is just so sad and beautiful as you want it to be.

With grandfathers were Methodist preachers, and with the musical roots of predecessors and colleagues as well as Lucinda Williams does not shrink from life’s dark side is all songs about sin and forgiveness, anger, and sorrow, passion and resignation. But all the time with pride as scarlet benchmark.

Fruits of labor is extremely good and the new When I look at the world penetrates the soul away raspigheten in Lucinda Williams voice. Towards the end of the evening, the band pulls up the volume and Williams hanging on to the electric guitar in the equally new Something wicked this way comes, (title borrowed from Macbeth). David Sutton hit with fist against the back of the instrument. No, you really miss not a drummer, this trio manages all shades. The Honeybee lets you through the blues turns into clean, frame grunge and where the gap is filled with even more content. In Joy, which she gave to Bettye Lavette, and Changed the locks are Williams overridden cursed only to deepen the feelings deep in the delta of the Covern Hard time killing floor blues.

The evening ends with Nick Drake’s River Man and utterly chilling version of Hank Williams Cold, Cold Heart. As we saunter into Friday night, it’s not just the heat that makes it feel like to Gothenburg for a little while turned into Baton Rouge.

Tom

Hayes’ show tonight at the relatively new (open just over a year) venue, Terminal West (Downtown, near Georgia Tech) was simply fantastic.

First the venue. A very cool, railroad-themed industrial space, with plenty of brick, ironwork & rough hewn timbers, it is a smallish room (maybe capacity of 250?) with an open floor, bar tables in the back downstairs & a standing-room only small balcony above. In the very back, bathrooms, and a giant, black, cast iron boiler, like from an old steam locomotive. For tonight’s show, there were five rows of folding chairs up front with an aisle down the middle, standing room space behind them (about 10 – 15 feet deep) & then the bar tables. Three bars, two downstairs, one up, serving a huge variety of craft beers (Mrs. Tracy was very pleased) & mixed drinks. A good-sized stage, elevated about two feet. And a GREAT sound system. A room clearly engineered for live music. All in all, likely to become one of our very favorite Atlanta venues – a true “hidden jewel” for us (this was our first show there).

The opening band, The Warren Hood Band, was damn good. The front man, Mr. Hood himself, played one mean fiddle. Not until after their set when Hayes took the stage did I realize they were also Hayes’ touring band, so their opening for him was a page right out of the “Buick 6” playbook.

Hayes’ set was incredible. The band was tight, and he was as entertaining and humorous as ever. I did not take note of the complete set list, but I was holding an on-going conversation on Facebook with ParkerCA (another big Hayes Carll fan) during the show, and I included many of the song titles in my posts. Here is what I posted there, along with a couple other from memory (song order is close, except for the ones that I did not post on Facebook):

Drunken Poet’s Dream

Another Like You (duet with female keyboardist from Warren Hood Band, Emily Gimble, singing the female part & whose voice, particularly on this tune, reminded me of Iris DeMent)
I Got A Gig

Bad Liver And A Broken Heart
KMAG YOYO
Live Free or Die
One Bed, Two Girls, Three Bottles of Wine (an instant classic, with a great introduction)
She Left Me for Jesus (one of my very favorites)
I Don’t Wanna Grow Up
Hard Out Here (complete w/ a line dance of sorts of attractive young ladies dancing together right in front of the stage – God, is this a great country, or what? 😉 )
Stomp and Holler