Concert #678 - Ruthie Foster at McCabe's Guitar Shop (June 14, 2013)

Without exaggeration, the show put on by Ruthie Foster at McCabe's last Friday was one of the finest musical displays I've ever seen on any stage, in any decade. Two days after the show, the spell she cast upon me keeps lingering on. Her disarming smile and the sound of her voice are still here with me, as vivid as they were during the concert.

Ruthie came out without a band and completed the whole show without anyone else joining her. Not that it mattered - she is a strong performer, perfectly capable of holding a crowd captive all by herself, from start to finish, without ever losing anyone. It was a joy observing Ruthie's body language. What I saw there was energy, confidence, a sense of freedom and a healthy dose of humility. Then there's her voice. And her old-school singing style. And guitar playing. And storytelling. And humor. And her songwriting. And her uncanny ability to make my secular self belt out "hallelujah" with the conviction of a church-goer. Well, I could go on and on praising Ruthie and I would probably still fall short of an accurate depiction of her artistry and persona.

Ruthie Foster at McCabe's

Accompanying herself on an acoustic guitar and with due credit given to her early musical influences - Sam Cooke, the Soul Stirrers and Sister Rosetta Tharpe - Ruthie delivered a set that included many of my favorites, such as Terri Hendrix's gorgeous "Hole In My Pocket" and the traditional "Woke Up This Mornin'". One of the evening's most rapturous moments came when Ruthie put down her guitar, left the stage and walked deep into the concert room to sing "People Grinning In Your Face", a cappella style.

Ruthie Foster heading into the audience at McCabe's

I enjoyed watching Ruthie's expressive body language put on display during her a cappella moments. Here are a few photos illustrating what I mean:

Ruthie Foster singing a cappella at McCabe's

Ruthie Foster singing a cappella at McCabe's

Ruthie Foster singing a cappella at McCabe's

Ruthie Foster singing a cappella at McCabe's

The evening's set list included many covers, as well as a few outstanding songs penned by Ruthie herself, such as "Full Circle", "Another Rain Song" and "Smalltown Blues". The covers came from sources as varied as Lucinda Williams, June Carter Cash and Mississippi John Hurt, whose "Richland Women Blues" was a special treat. I also enjoyed Ruthie's much-changed treatment of "Ring Of Fire" as well as her gentle interpretation of Steven Foster's "Oh Susannah".

Ruthie Foster's set list (not fully followed)

The set-ending "Travellin' Shoes" was yet another highlight, delivered by Ruthie with full vocal power and total abandonment. The sell-out crowd went absolutely crazy. Ruthie then returned for one final epic delivery, the traditional "Titanic", a performance that still haunts me.

Overall, Ruthie Foster's performance was one of the finest I have ever seen. Everything she did was at the highest level. The way she blends blues, gospel, soul and folk is nothing short of masterful. Throw into the mix her exceptionally likeable personality and what you get is a unique artist whom I will continue to follow with devotion.

Ruthie Foster's final bow

The evening kicked off with a decent set delivered by Australia's Jordie Lane. Endowed with a great voice, good guitar-playing skills and a nice personality, he kept me interested for the entire duration of his forty-minute set. Jordie received part-time support from back-up singer Clare Reynolds, introduced by Jordie as "his partner in crime". The song I liked the best was "Black Diamond".

Jordie Lane & Clare Reynolds at McCabe's

Jordie Lane's set list

Concert Director Lincoln Myerson letting Jordie Lane in

The McCabe's crowd

Concert #677 - Anne McCue & David Olney at McCabe's Guitar Shop (May 31, 2013)

Most concerts at McCabe's are quite inexpensive. Tickets for last night's concert, for instance, cost $20 and for this paltry amount I got to see not one, but two first-rate sets. My initial reservations about the pairing of two artists as dissimilar as Anne McCue and David Olney turned out to be totally unfounded, as the resounding success of the concert was primarily the result of the many things Anne and David had in common. Like stellar songwriting. Or the ability to lift the crowd up. Or deliver songs with passion and intensity. Or surround themselves with superb musicians.

Accompanied by string-wizard Sergio Webb and wearing an elegant hat, David Olney took the stage first and played a sixty-minute set that was exceptionally well received by the crowd. I loved it, too, and it did not matter that I was mostly unfamiliar with his music - each and every song sounded great at the first listen and I suppose he wrote them all. David also shined in the "delivery" department, as he masterfully switched from one role to another, at times looking and sounding pretty much like an accomplished stage actor. Oh yeah, he can also play the guitar.

My vote for the best song goes to "Smoke On Ice", with "Postcard From Mexico" and "Turn This World Upside Down" not too far behind.

David Olney's Partial Set List

Smoke On Ice

Wait Here For The Cops

Frank Is Gone

Postcard From Mexico

Jerusalem Tomorrow

Girl Up On A Hill

Women Across The River

If My Eyes Were Blind

Turn This World Upside Down

Sergio Webb's contribution to the success of David Olney's set cannot be overstated. 
Whether playing electric, acoustic or just ukuleleing, Sergio added both depth and volume to Dave's performance. He is a devilishly good guitar player and I absolutely loved the way his electric guitar complemented David's acoustic chords.

David Olney (right) & Sergio Webb at McCabe's

David Olney (right) & Sergio Webb at McCabe's

All-in-all, my introduction to David Olney's music went very well. I will now start paying a lot more attention to David's work and I hope that his studio recordings will impact me as much as his live act.

Wearing a hat that looked pretty much like the one worn by David, the lovely Anne McCue came out with her band and together, they played for a little more than an hour. Just like David's set, there wasn't a single throw-away song among those offered by Anne to her fans. I was very happy to hear a few of my favorite McCue songs, among them "Driving Down Alvarado", "Stupid" and "I Want You Back". There were a few new songs as well, and they all sounded great.

Anne McCue playing electric at McCabe's

Anne's band consisted of three outstanding musicians, the same ones who played with her in 2005, when I first saw her live, also at McCabe's. The musical chemistry was still there and it was a pleasure observing how much the musicians enjoyed each other's company. There were no flashy solos, as the boys tastefully ploughed ahead as a unit and reached full tilt for the playing of Tony Joe White's "As The Crow Flies" and Anne's own "Hangman". The place went crazy.

 Anne McCue's Band (playfully introduced by Anne as "Chicken Wire")

Carl Byron - Piano, keyboards, accordion

Dusty Wakeman - Bass, backing vocals 

Dave Raven - Drums, backing vocals

Anne McCue and Dusty Wakeman at McCabe's

Anne McCue playing acoustic at McCabe's

Anne McCue's encore: "Say Bye Bye"

Anne McCue's set list

Dave Raven & Carl Byron at McCabe's

I can't emphasize enough how good a performer Anne McCue is and I'm at a loss trying to understand why she does not have a larger following. Only about eighty folks showed up last night to see David Olney and Anne McCue and that baffles me beyond belief. The way I see it, Anne is the complete package - the voice, the guitar chops, the songwriting - now throw in her good looks and delightful Australian accent and what you get is an artist who definitely deserves a much wider fan base.

A few words about the sound: it was outstanding, even though I sat in the front row, much too close to the band. I could clearly hear each and every instrument and everything was in perfect balance. Some credit most also go to drummer Dave Raven, who toned down his playing to a level that was well-suited to the size of the room.

The stage

David Olney signing autographs after the show

The merch table

 

Concerts #352, 676 - Tom Rush at McCabe's Guitar Shop (January 21, 2005 & May 17, 2013)

I'm a latecomer to Tom Rush's music. I have always been aware of his presence somewhere out there, but it wasn't until January 2005 when I first said "OK, the time has come for me to see what the fuss is all about". First, I got myself a ticket to see him at McCabe's, then I bought a CD titled "No Regrets - The Very Best of Tom Rush". Overall, his January 21, 2005 concert was good. Tom played solo. There were very few songs that I knew, but I liked most of his material. I liked his stories, too. I went home happy, but I distinctly remember thinking "OK, I saw him, it was good, but there's no need to catch him again". In retrospect, that was a terrible call.

Since that concert in 2005, Tom Rush's music has been slowly creeping into my brain, thanks to gorgeous songs such as "East Of Eden" and "River Song". By the time Tom took the stage last Friday at McCabe's, I could certainly call myself a fan in the know.

At seventy-two, Tom is still a powerful performer, both in a musical and physical sense. I caught the 8 PM show, with a late show scheduled for 10 PM. Yes, that's two shows back-to-back, yet Tom cut no corners and performed his entire first show without a pre-determined set list and without sitting down. Alternating original numbers with cover songs, and throwing in a healthy dose of humorous stories, Tom kept his audience captive for the entire duration of the show. His baritone voice was as expressive as ever, his bluesy guitar licks were top notch and everything he did just screamed credibility, as one would expect from one of the folk music's greats.

Tom Rush at McCabe's

Set list (not in the true order)

Hot Tonight (show opener)

These Days (old Jackson Browne tune)

Mole's Moan (Geoff Muldaur instrumental)

Let's Talk Dirty In Hawaiian (by Fred Koller & John Prine)

The Fish Story Song

Circle Game (Joni Mitchell's composition)

Fall Into The Night (Eliza Gilkyson gem)

River Song

What I Know (title song of Tom's most recent album)

Baby Please Don't Go (early blues classic)

Lost My Drivin' Wheel (by David Wiffen)

Panama Limited (Bukka White classic)

Ladies Love Outlaws (by Lee Clayton)

Old Blevins (Austin Lounge Lizards song)

Who Do You Love & Bo Diddley Medley (one-song encore)

Tom Rush at McCabe's

The songs I liked the best were Eliza Gilkyson's "Fall Into The Night", Bukka White's "Panama Limited" and Tom's own "Hot Tonight". The humorous songs ("The Fish Story Song", "Old Blevins" and "Let's Talk Dirty In Hawaiian") were great too. With so many highlights, it was only while driving home that I noticed the absence of "No Regrets" and "Urge For Going" from Tom's set.

Old friend and musical collaborator Trevor Veitch, an outstanding guitarist himself, joined Tom for the playing of three or four songs. They had fun together.

Tom Rush is one of the finest. If you like folk, blues or just good music, catch him when he comes to a venue near you.

Tom Rush (right) and Trevor Veitch at McCabe's

Tom Rush with fans, after the show

The stage

Tom Rush in front of the venue

The merch table

McCabe's Guitar Shop in Santa Monica

Concert #675 - Sara Watkins at McCabe's Guitar Shop (May 10, 2013)

I first saw Sara Watkins three years ago, when she opened for Vienna Teng at McCabe's Guitar Shop in Santa Monica. Since then, Sara has become a highly visible presence on the Los Angeles music scene, so I leaped on the opportunity to see her again at my favorite venue, this time in a headlining role. And I did have an inkling that some unannounced guests were likely to pop up. So did they? Read on.

Sara and her band took the stage while the PA system was playing "Amor De Loca Juventud", a popular Cuban song. This thing intrigued me quite a bit, but Sara, without offering an explanation, launched straight into "Lock And Key", a song that appears on "Sun Midnight Sun", her second and best yet album. A great song, I must add, but the mystery of the inclusion of a Cuban song remains unexplained. 

Band line-up

Sara Watkins (vocals, violin)

Sean Watkins (vocals, guitar)

Tyler Chester (bass, piano, vocals)

Mark Stepro (drums)

Early in her set, Sara brought out Blake Mills, the young producer of "Sun Midnight Sun". I became acquainted with Blake's dazzling guitar playing last year, when he guested on Val McCallum's solo show. Now I know that he's a lot more than just a virtuoso guitarist. His sophomore producing effort yielded an exceptionally listenable album, with rich sounds and plenty of variety. Moreover, he co-wrote a few of the songs appearing on the album. Keep your eyes and ears on Blake Mills, he is a special talent.

Sean Watkins (left), Blake Mills and Sara Watkins at McCabe's

And speaking of talent, Sara is no slouch herself. From singing to fiddle playing to songwriting, Sara does it all. One of the best songs of the evening, "You And Me", was written by Sara herself.

Sara's set included a number of cover songs and some sounded better than others. Tom Waits' "Pony", delivered by Sara without the accompaniment of the band, was an absolute delight. It was also a rare opportunity to truly enjoy Sara's delicate voice. I was less enthralled by her treatment of Linda Ronstadt's "Different Drum" and Bob Dylan's "Senor".

A poor photograph of Sara's set list

The entrance of unannounced guest Fiona Apple gave me a huge thrill. She remained on the stage for twenty minutes or so. Together with Sara, Blake and the band, she helped out on three songs:

Take Up Your Spade (written by Sara Watkins)

You're The One I Love (an old Everly Brothers tune)

Where I Ought To Be (a Skeeter Davis classic)

Blake Mills, Fiona Apple and Sara Watkins at McCabe's

Sara Watkins and Fiona Apple at McCabe's

To these ears, the best two songs of the concert were "You're The One I Love", sung with high energy by Sara and Fiona and Bob Dylan's gorgeous "Tomorrow Is A Long Time", the song that wrapped-up the evening. The latter song was delivered by Sara and Sean completely unplugged, with the purity of Sara's voice once again taking center stage.

Sara Watkins at McCabe's - The final bow

Sitting close to the stage, just a few feet away from a full drum set, is a risky affair. I don't know how the drums sounded in the back of the room, but in the second row, where I was sitting, the drums were too loud and a few times during the show they overpowered everything else, including Sara's delicate voice. But it wasn't all bad: other than the high volume, I really liked Mark's drumming and I found myself observing him quite often.

The concert kicked off with a short set delivered by Seattleite Kris Orlowski, an emerging musician of some talent. I liked his songwriting, I liked his singing, I liked his stage presence, but I had a problem with his song selection. In spite of all the aforementioned "likes", Kris' set did not get my toes tapping and did not make me want to jump up on my feet. I know, I know, I'm difficult to please on Friday nights, but one slow song after another was not the shot in the arm that I needed at that late time of the week. Still, Kris deserves credit for his well-crafted songs, among which "Warsaw" and "All My People" stood out.

Kris Orlowski at McCabe's

Kris Orlowski's set list

The stage

The merch table

Concert #674 - The Proclaimers at McCabe's Guitar Shop (April 27, 2013)

Last night's concert at McCabe's came nineteen years after I first saw them in concert at the Troubadour, in Los Angeles. I went to that show with my older son, Danny, who was as big a Proclaimers fan as I was. Had someone told me then that roughly two decades later I would attend a Proclaimers concert accompanied by my son's son, a.k.a. my grandson, I would have shaken my head in disbelief. But it happened.

My grandson Austin at McCabe's

Since my first live encounter with the Proclaimers in 1994, I caught them a couple of more times, but not since 2002. Needless to say, I could not have passed up the chance to see them again in the intimate backroom of my favorite venue, so I grabbed sixteen tickets as soon as they went on sale, in December 2012. As expected, there were plenty of takers among my friends, so I did not get stuck with any unwanted tickets.

In preparation for the concert, I started listening to "Like Comedy", the most current release of the Proclaimers, and so I discovered one of the best albums of the last few years. How good is the album? Well, it's mind-numbingly good. No filler tracks at all. Each and every song is a gem. Gorgeous melodies, fantastic vocals, clever lyrics, great production, and I could go on and on with nothing but superlatives. If you don't have the album, grab it now (trust me, I'm not a salesman on commission).

Last night's concert may have been the last stop of their all-acoustic American tour, yet the boys from Leith showed no signs of fatigue whatsoever. Performing with total abandon and unleashing some epic vocals, Craig and Charlie put on a fantastic show, the kind that makes you feel privileged for having had the good fortune of attending.

The Proclaimers at McCabe's

The adoring fans were treated to a decently long set, nineteen songs in all, but surprisingly, eleven of them were culled from the first two albums, released in 1987 and 1988. This left room for only three numbers from "Like Comedy", namely "Spinning Around In The Air", "Women And Wine" and "There's". I would have loved to hear more from the new album, but I had no problem accepting the band's desire to play the older songs.

The set list (precisely adhered to)

The songs of the Proclaimers are anything but easy to sing. Without looking at each other and with the greatest of ease, Craig and Charlie interweaved their huge voices and disimilar singing styles with spectacular results, with Craig typically leading the way and Charlie backing him up in his inimitable style. I was amazed by the power and durability of their voices, as they finished the show with the same intensity with which it started. They played to only one-hundred-and-fifty lucky ticket holders, but they gave it all.

There was some storytelling, which of course came complete with their delightful Scottish accent and I was very pleased to hear Craig describe the host venue as "an amazing place".

The Proclaimers singing their hearts out at McCabe's

Although I liked each and every song they sang, I would mention "Throw The R Away", "Spinning Around In The Air" and "500 Miles" as the highlights of the show. "Role Model" and "Let's Get Married" were also outstanding.

The crowd was just a tad more exuberant than your regular McCabe's crowd and when Craig and Charlie launched into the opening chords of "500 Miles", the whole place was rocking real hard. It felt great being there.

According to the web site of the Proclaimers, the band's opening act for the entire US tour was supposed to be JP Jones, the acclaimed singer-songwriter and recent Chrissie Hynde collaborator. For unknown reasons, JP did not appear. Instead, I was exposed for the first time to the music of David Poe, someone totally new to me. Overall, he made a good impression on me, but not all of his songs were easy to take in at the first hearing. But some were. Two songs in particular stood out to these ears: "Devil" and especially "Big Bloody Heart", performed together with the attractive Amy Raasch. David appears to be an artist who is worth exploring and I will start with his T-Bone-Burnett-produced first album.

David Poe & Amy Raasch at McCabe's

Last night's show was definitely one of the best ones I've ever seen at McCabe's, or anywhere else, for that matter. Austin, my grandson, loved it too. He is now listening to a "Best Of The Proclaimers" mini-compilation that I prepared especially for him, and you guessed it just right, "Women And Wine" was left out. Not inadvertently.

The Proclaimers mingling with fans after the show

A ticketless fan with a sense of humor (she did find a ticket)