Review: Old 97s, Lucero

(Above: The Old 97s road-test the new song “Every Night Is Friday Night Without You.”)

By Joel Francis
The Kansas City Star

The 16-year history of the Texas-born Old 97s follows a trajectory well worn by other bands: start out with plenty of youthful energy and fire in the belly and gradually grow more mellow and/or pop-oriented. For theirThursday night’s performance at Crossroads, the alto-country quartet shrugged off its pop trappings and attacked their material with vibrant intensity.

The first sign of the evening’s energy came on the second song, “Dance With Me.” Recorded as a pop song for their latest album, 2008’s “Blame It On Gravity,” guitarist Ken Bethea tore into the main riff like a buzz saw, pushing the tempo to nearly double its original speed. When bass player Murry Hammond was given the mic shortly thereafter for a cover of Merle Haggard’s “Mama Tried” the band pushed and prodded the laid-back vocalist.

Flanked by Bethea and Hammond in nearly matching red plaid shirts, photogenic singer/front man Rhett Millershook his hips like Elvis behind his Stratocaster. He yelped, yowled and screamed his way through the 90 minute set list that featured as many cuts from their first album – four- as their latest.

The band’s third album, “Too Far To Care,” is widely considered its best. They treated the crowd to six cuts, or nearly half the album and they consistently received the biggest responses of the night. “Big Brown Eyes” and “Barrier Reef” got everyone dancing and Miller took an audience request of “Niteclub” during the encore.

Miller seemed to enjoy playing the scorned lover and dumping extra venom into likes like “I hope you crash your momma’s car” and “Thought so much about suicide/parts of me have already died” on back-to-back trips down lonely street during “Lonely Holiday” and “Wish the Worst.” A couple songs later, on “Melt Show,” he emphatically kicked the air during the chorus.

Bethea spurred Miller’s energy, leaping into the air at the start of “The Fool,” dropping a Dick Dale-style guitar solo into “Smokers,” another Hammond vocal showcase,” and adding a nice countermelody to the most delicate and upbeat song in their catalog, “Question.” His solo leading into “Timebomb,” the traditional closer, turned the already fast number into something like a punk song.

Drummer Philip Peeples was the brick on the accelerator that never let up. His cadences consistently pushed the band harder and faster. His kit was at the center of “Every Friday Night Is Lonely Without You,” a staccato-riffed song from the band’s upcoming fall album. It was the only song the half-capacity crowd didn’t sing or air guitar along to all night, but embraced just the same. Peeples also took nice mini-solos during “Doreen” and “Early Morning.”

Lucero rock the Bottleneck in 2008.

The drum solo after “Early Morning” led into a reading of R.E.M.’s “Driver 8,” one of covers the band cut for its new “Mimeograph” EP. The arrangement hewed closely to the original, but it was interesting to hear the lyrics through Miller’s enunciation.

Normally the more rambunctious of the two bands, Lucero was more subdued that night. Singer Ben Nichols embraced the band’s mellow side with numbers like the gospel piano ballad “Goodbye Again,” “Kiss the Bottle” and the one-two of “Hey Darlin’ Do You Gamble?” and “Nobody’s Darlings.”

The five-piece band displayed its Memphis roots by adding a two-piece horn section for a set that featured several cuts from last year’s album “1372 Overton Park.” Early in the set the horns competed with the pedal steel in the mix, but they soon settled in adding extra punch and depth. The brass gave “That Much Further To Go” and “Sixes and Sevens” an E Street sound.

Lucero’s 65-minute set ended with nearly everyone taking a solo during the joyous “All Sewn Up.”

Old 97s setlist: Streets of Where I’m From; Dance With Me; Won’t Be Home; Mama Tried (Merle Haggard cover); Lonely Holiday; Wish the Worst; The Fool; Smokers; Melt Show; Question; Stoned; Up the Devil’s Pay; Barrier Reef; Driver 8 (REM cover); Early Morning; Can’t Get A Line; Big Brown Eyes; Doreen. Encore:Every Night Is Friday Night Without You; Niteclub; The Easy Way; Timebomb.

Keep reading:

Review: Old 97s (2008)

Review: Cross Canadian Ragweed (with Lucero)

Review: “The Oxford American: Book of Great Music Writing”

Review: Cross Canadian Ragweed

(Above: Cross Canadian Ragweed show off their new song “51 Pieces.” What’s with the Raiders shirt on an Oakie?)

By Joel Francis
The Kansas City Star

The television show “CMT Crossroads” found a niche by pairing seemingly disparate artists like Taylor Swift and Def Leppard or Lucinda Williams and Elvis Costello for a one-hour performance. With their blend of arena-ready country channeled through classic rock radio, Cross Canadian Ragweed could fill a show all by themselves.

The Oklahoma-based quartet preached to a half-full Crossroads Friday night delivering nearly two dozen tracks from across their 12-year career and several songs from their just-released seventh album. Singer and lead guitarist Cody Canada played like a character from the latest edition of “Guitar Hero,” flipping between Eddie Van Halen’s finger-tapping technique, the heavy rhythm riffs inspired by Angus Young and subtle finger-picked solos a la Mark Knopfler.

Although it’s fun and easy, the congregated faithful weren’t playing spot the influence. They were too busy dancing in bliss, rocking to the music, hands raised, hallelujah. Their following is so loyal Canada could toss a lyric to the crowd and get it back twice as loud, but even he was impressed when the boisterous bunch sang along to material released just 10 days ago.

The high points of the two hour set came from opposite ends of the spectrum. “Anywhere But Here” opened like the country cousin of “Panama” and benefited from the extra muscle the band put into the extended reading. When snippets of “Won’t Get Fooled Again” appeared, it was less a cover than an assimilation.

Canada’s three-song solo acoustic set showed off his songwriting and storytelling chops. “Lonely Girl” was inspired by his sister while new number “Bluebonnets” was written for his four-year-old son. The trilogy of acoustic numbers was followed by a three-part medley Canada dubbed “The Trifecta,” which swaggered from rock to blues before ending with another new cut, “Pretty Lady.”

Bass player Jeremy Plato gave Canada a smoke break by handling lead vocals on two songs. His voice was a nice change of pace but too many bass solos – including two in the final three numbers – bogged the energy a bit. Ditto for the drum solo that preceded “Number.”

Ragweed’s set ended with guaranteed crowd pleasers “Carney Man” and “Late Last Night.” For “Time To Move On” Jonathan Tyler, who led the first act on the bill, joined the quartet on guitar. The night ended with a new song that felt old. Although it wasn’t officially released until Sept. 1, the crowd went ballistic for “51 Pieces” based on the opening lines of the story that introduced the number.

Lucero got sandwich billing between opener Jonathan Tyler and Northern Lights and Ragweed. The Memphis-based quartet sounds like the E Street Band via Uncle Tupelo and front man Ben Nichols sounds like Jay Farrar after too many cigarettes and way too much whiskey.

Their one-hour set was heavy on fan requests and included “Kiss the Bottle,””Raising Hell” and new material like “Darken My Door.” Although Lucero weren’t the band most of the crowd came to see, they did a great job of firing up the sizable swarm in front of the stage.

Setlist: Sister, Alabama, Burn Like the Sun, Mexican Sky, Deal, To Find My Love, Hammer Down, 42 Miles, Soul Agent, Anywhere But Here (including Won’t Get Fooled Again), Drag, drum solo, Number, (acoustic set) Let the Rain Fall Down (unsure if this title is correct), Lonely Girl, Bluebonnets, The Trifecta (including Pretty Lady), Carney Man, Time to Move On (with Jonathan Tyler), Late Last Night, (encore) 51 Pieces