Jam of the day, late-night TV, music discovery, SXSW, and left-handed guitarists: Gary Clark, Jr. / "Bright Lights"

This song is a straight jam, no ifs ands or buts or becauses or what-have-yous about it. I don't know much about Gary Clark, Jr., though. I stumbled on this tune via a message board a number of months ago, and I remember really digging it when I heard it (and it was this specific video, too, not a studio recording). I didn't investigate the guy further, though, for whatever reason, thinking him too "mainstream" or something silly like that, then totally forgot about it until earlier tonight.

I was watching late night TV because the featured bands actually piqued my interest: Sharon Van Etten (*swoon*) was on Conan playing "Leonard", and then The Shins were on Letterman playing "Simple Song". I flipped over to Fallon to catch Jon Hamm (I find him hilarious whenever he's on 30 Rock and SNL) and left the TV on in the background as I came back to my laptop to do some more writing work. Eventually, Carson Daly's show came on and he said that this episode would be devoted to artists they saw and loved at SXSW.

This brought to mind a couple of things. First, it made me think about how people discover music these days, who we view as "go-to sources" for music discovery, who we trust as musical litmus tests. It's strange to think of times when, I dunno, Rolling Stone might be your one and only print publication by which to judge new releases. Or shit, the radio, even! What was music discovery like before the internet?! Personally, I didn't discover any music outside of classic rock radio that my dad played in the car up through high school, so I can only imagine what kind of dark ages the 80s and 70s and … well, fuck, there was some great music coming out back then, right? And people were finding out about it, I presume. Is the internet actually a good thing? My vast digital music collection says, "Hell yeah motherfucker!", but my exploding inbox of "Listen to my music pleeez!" says, "Hell no, motherfucker!". Only time will tell, I suppose.

Second, this reminded me of a Tweet from some friends who were down in Austin at SXSW last week. Apparently, Carson Daly was onstage playing drums with Thee Oh Sees?!?!?!? I love that band and their garage rock awesomeness, and it's hard to imagine Mr. TRL drumming along to such tune-age at all, let alone live with these dudes. Still, it makes me wish I had been there to see it, because I'm sure it was a spectacle, an experience, something interesting to witness. I've never been to any kind of music festival, so that's something on my agenda for the future.

What else was I talking about? Oh, you'll notice that the second guitarist in this video (the first guy you see in the first frame) is a left-handed guitarist. As a staunch ambidexterian (if you ask, I can list all of the things I do lefty and all of the things I do righty; there are plenty of each), I find it particularly interesting to see people doing something lefty that is vastly more commonly done righty. Guitar-playing, golfing, hand-writing, masturbating … just kidding. No really, I'm kidding, don't show me. Jimi Hendrix and Paul McCartney stand out as striking left-handed guitarist examples. Do you have any others? Famous or otherwise?

Where were we … back to this Gary Clark, Jr. tune, right! This was recorded at Eric Clapton's Crossroads Guitar Festival, and it has some great footage of Clark singing and guitaring, plus his backing band of guitarist, bassist, drummer, and brass. His voice is outstanding. I think that's what really gets me, that he's belting out these lines while strumming some sweet licks and solos. Not to mention how cool those shades are …

"You're gonna know my name by the end of the night"



Gary Clark Jr. on the web: Website Facebook Twitter YouTube

Concert Review: The Lemonheads + Meredith Sheldon @ Stage AE / 01.20.2012

Not being a hardcore Lemonheads fan and seemingly not having been exactly the right age in the early 90s, I have some mixed feelings about this show. Did I have a good time there? Yeah, pretty much; for hanging out by myself at the Stage AE club stage on a Monday night in January, it was swell. Was I wowed by the music or the performance? Not really, but I didn't quite expect it to be, so it's fine. If I'd had some expectations or heavy knowledge of Evan Dando and his personality and the band's songs, I might have had some more nuanced thoughts about the show, but overall, I'm feeling like the big proclamation is: "It was a concert. It was ok."

I caught a bus downtown then walked across the river in a slight drizzle, and missed the first opening act, who was apparently just the Lemonheads' bassist. The second opener, Meredith Sheldon, was actually really good, and I'm glad I made it there just before her set started. Her look was kind of that "focused slacker" style—kinda baggy gray t-shirt, hair a little stringy and framing her face, tight jeans, huge heels, eyes closed or staring at the floor the whole time—and it suited her songs well. Her voice was gorgeous, her guitar playing was solid and expressive, and alternately with/without a backing band of bass and drums, she could move around from slow and somber songs to more upbeat rockers. Her last song was a stellar cover of a Big Star song. I was impressed and was glad I was up close to hear them well, because it didn't seem like anyone except for the first few rows of standing people were even paying attention. It's a shame about Meredith.



There was a long wait between sets, despite no instrument setup of any kind. Evan Dando came out around 9:50 and played a few songs solo. Midway through the first one, he stopped to ask to lower the guitar in his monitor. The crowd was "woo"-ing passionately, like fanboys, and Evan kept his head down. Feeling shy? Not noticing? Who knows? After three or four acoustic numbers, he plugged in and the bassist and drummer came out to play. There was this older married couple standing next to me and they were just shredding guitars in the air and totally loving it. That was kinda cool. Everyone in the front row was singing along. That is not as cool. They started in on playing It's A Shame About Ray in order, and the crowd really loved that. I caught Evan staring up at the ceiling during the title track, like he has to gaze upward to hit the highest notes ("it's a SHAME about Ray…"), and then when he looked back down he had a little grin on his face, like it's his little secret trick no one knows about or sees. My phone notes remind me that his "blonde hair hangs straight, eyes downcast, looks coyly happy".

Every once in a while, he slipped up some lyrics or missed a vocal cue, and I caught him checking for the bassist to cue him in sometimes. I found that kind of endearing, actually, like it's amateurish but he knows it and doesn't care about doing what he has to do to keep the set moving. He never looked angry or disappoined in himself, and even chuckled a little bit. Finally, he started some banter like 40 minutes into their set. It was at this point that I was actually enjoying myself, taking in these unfamiliar tunes and enjoying the show, in the sense of the performance. However, reading this review in the Post-Gazette makes me think that being a nonfan colored my experience differently. Scott Mervis laments about Dando's initial performance and relates it to his troubled history with drugs (meanwhile completely mislabeling the opener; The Shining Twins did not play this show, and he didn't realize that even though he was apparently there for her set?). He noted this turning point where Dando started talking with the crowd, even though it was kinda mumbly. I wouldn't call it a "transformation" in his performance, but it was a noticeable moment.

The band left the stage and Dando played solo for a little while, starting and stopping a song he forgot he had already played, asking the audience outright for suggestions of "rare songs" of theirs to play (like he couldn't remember them or something), talking awkwardly about pills, and eventually stopping and walking off to genuine but half-hearted applause. The audience pretty much assumed an encore, it felt like, and they did get one. The band came back out to play and I just took off. I had been feeling bored for a while. It was just too long of a night for a band I don't know. At least in the beginning I was enjoying their songs for the performance aspect, the interesting character study of Mr. Dando—in that sense, I enjoyed the show—but eventually, it was just all too much of the same sounds—in that sense, it was a lackluster concert. Perhaps, if I was a true fan, like Mr. Mervis, my feelings would have been a mirror image of that, but as it was, I was happy to be walking out at 11:15 and strolling along the river by PNC Park, soaking in the brisk night air, leaving the amps behind and letting my ears enjoy the sounds of flowing water and distant cars, and heading in the direction of home.

The Lemonheads on the web: Website / Facebook / Twitter

Meredith Sheldon on the web: Website / Facebook / Twitter / Bandcamp

Concert Review: Jeffrey Foucault + Big Snow Big Thaw @ Club Cafe / 01.13.2012

Just catching up on some shows I've seen this year. I used to do these things for every concert I went to, and it served as a nice list of shows/bands I saw, at the very least, in addition to a record of my thoughts about them. I'm gonna try to keep up with that this year without falling behind too much (and some better reviews appear on Draw Us Lines when I have more thoughts to share and care more about my writing style).

I try to catch Big Snow Big Thaw at every chance, not just because they're my friends, but because they're great. I remembering being initially surprised at how much I dug these kinds of folksy/bluegrassy sounds, but then I realized that's just me being picky and closed-minded about musical tastes. Call it what you want—newgrass, folk rock, midwest rock 'n roll, somethin' else made up—it doesn't matter. It rocks. And every time they play, they've got new songs to share. They've been hard at work at J Bird Studios and their first album should be out real soon. (In the meantime, do yourself a favor and check out their Winter/Spring EP combo on Bandcamp.) That very same J, he of J Bird, played bass on a bunch of their songs, too, since he has been adding some bass parts during the recording. It rounded out the sound a little bit, and was a nice addition. Here's hoping they explore that route in the future. I caught their set at the Carnegie Library's Sunday afternoon acoustic series (photo above) a few days before this show, too, and that was great to see lots of strangers walking through and sit down and enjoy their tunes.

Jeffrey Foucault was an oustanding performer! Jim and David kinda warned me and the rest of the audience, saying that his soundcheck performance was amazing (he just walked up, no prep, and that voice belted out like he was born singing) and he strikes quite a presence with that magnificently thick beard. He was swigging something from a steel cup, and had been on the road all day, this being the first stop on his tour a long way from his previous night's activity of watching The Muppets with his daughter (why I remember that anecdote, I couldn't tell ya). I hadn't heard any of his songs before and yet I found myself mesmerized. The crowd skewed a little older, I think, and there were some seriously chatty drunkies in the back by the bar, but other than that, everyone was pretty much rapt as JF strummed and sang in front of those Club Café starlights. He did a great Neil Young cover (forget which song) but this number really stood out and was stuck in my head:



Apparently, you can join this Facebook group if you think Jeffrey Foucault isn't famous enough.

Jeffrey Foucault on the web: Website

Big Snow Big Thaw on the web: Facebook / Twitter / Bandcamp