The Spin
Slammin’ at the Bar Car
The Bar Car was as packed as we’ve ever seen it Sunday night, as the crowd eagerly awaited slam poet legend Saul Williams. Williams’ eclectic sensibilities invited all sorts: emo kids and backpackers rubbed shoulders with punks, thugs, bohos and lit majors. Crisis and D-Revolution had the unenviable task of opening the show—Crisis rapped in front of a jazz band and D performed his usual street-life soliloquies. Joi, Nashville’s answer to Erykah Badu, was the surprise guest of the evening, though she disappointed us by not singing. Instead, she played songs from her iBook, giving her segment an unsettling, Andy Kaufman-ish vibe. Well, they say everyone wants to be a DJ. Williams showed up without a band or DJ, which was disappointing, though not surprising. We knew his performance would still be dynamic, and it was—especially his signature poem, “Ohm”—but the a cappella versions of the songs from his LP lacked the power evinced on record. He successfully united a diverse crowd (a feat few acts in this city can manage), yet he was less successful at reforming hip-hop, at least on this stop. Some grew restless, while others, perhaps those who most needed to hear his politically progressive poetry, were outright dismissive. Still, the screams and outbursts of Williams’ hardcore supporters drowned out the apathy, and he promised to return soon, with a band.
Private chaos
The Privates show at the Basement last Thursday reminded us why we keep showing up for one of the local rock scene’s most talented underachievers. It was an exhilarating set of what we love most about these boys: supercharged rants that punch you in the gut, pause for the sting and then punch you in the gut again. The occasion was the release of the band’s new EP, Louder Than Lightning, a fitting title for an act whose live show is an exercise in expertly controlled chaos—singer-guitarist Dave Paulson has the coiled energy of whizzing electrons onstage, and drummer Rollum Haas damn near jumps out of his seat when playing. It’s like watching someone pound the drums while galloping on horseback. Paulson and the boys howled and squirmed through a set of old stuff and worked in some stellar new material. Songs like “Tangelo” and “The Mighty Ducks Are Back” are proof that The Privates are starting to take this songwriting business seriously. After the set was over, the band started to exit the stage, then sheepishly grinned and came back to finish us off with the explosive sing-along “Pocari Sweat.” Yeah, it wasn’t really an encore, since we had clapped our heads off for all of five seconds and they technically never left the stage. But we would have applauded for more if they’d only given us the chance. That’s how underachievers like The Privates are, though—they don’t know how good they are.
Party with a Bang
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Sure, the term “Southern rock” may be an oversimplified way to categorize music, but it’s inevitable for an act like Bang Bang Bang, whose driving, guitar-heavy tunes and drawly vocals pretty much personify the label. The band drew a good crowd for their album-release show last Wednesday at the Exit/In, and most folks seemed to be enjoying themselves—including, the band hopes, the record label execs who showed up to hear them. Frontman Jaren Johnston & Co. were exceptionally tight, displaying their formidable skills as musicians and showmen. Armed with their arsenal of syncopated songs—and guitarist Ben Brown’s trademark goofy facial expressions—the Bang boys brought the new album, I Shot the King, to life. For the, um, record, the oft-made Kings of Leon comparison is handy but sloppy; for better or worse, Bang Bang Bang aren’t as hip as the Kings are. As their name suggests, Bang hammer out hooky, conventional low-register Southern rock—though they could stand to give themselves more room to stretch out, à la Skynyrd—and don’t seem so interested in refined decadence. Their album title says it all.
Not your father’s Opry
From James Brown to Richard Nixon, the Grand Ole Opry has on occasion booked people who’ve had little discernible tie to country music’s as-yet-unbroken circle. Historically, such bookings have been the exception, not the rule. Lately, though, in a move to stay relevant and lower the average age of its graying ticket-buyers, the Opry has been booking a lot more alt-country and younger Music Row acts. Mostly, this has meant turning to no-brainers like Gillian Welch, Elizabeth Cook and Brad Paisley and staging edgier outdoor Opry Plaza shows featuring the likes of the Waco Brothers and Neko Case. The lineup announced for the Opry’s Nov. 19 show at the Ryman, though, represents something of a categorical shift. Anchored by Emmylou Harris, who curated a series of similar shows at Carnegie Hall last fall, the bill includes Elvis Costello—a lover of country music, to be sure, but still the closest that the Opry has come to welcoming a punk-rocker to its stage. (Granted, it’s still not that close.) Also on the bill are actor-turned-singer John Corbett (Sex and the City), Rascal Flatts and such incomparables as Del McCoury and Buddy Miller. Hip, diverse (for the Opry, anyway) and perplexing (Rascal Flatts?), the Nov. 19 lineup bodes well for the future. Can Bob Dylan, Solomon Burke or even Kanye West be far behind?
Upcoming shows
• With October comes Chuck Berry’s birthday, and with Chuck Berry’s birthday, a performance by The Twenty Eights can never be far behind. Taking their name and repertoire from the revered compilation album The Great Twenty-Eight, which culled the cream of the crop from Berry’s first decade as a recording artist, The Twenty Eights feature Nashville luminaries Doug Lancio (guitar), Dave Roe (bass), Brent Little (guitar) Jack Irwin (piano), and Tommy Meyer (drums). If you’re a fan of rock, come see where it started—these guys play the true king of rock ’n’ roll’s catalog like it was written yesterday. (Word of warning: don’t stand too close to Irwin’s piano, because he bangs it so furiously it threatens to tip over.) The boys duck-walk across The Basement stage this Saturday.
• Local singer-songwriter Jonathan Andrews celebrates the completion of Overcoming Gravity with a free CD-release party 7 p.m. next Thursday, Nov. 3 at 3rd & Lindsley. Brimming with strong melodies, smart arrangements and great vocal harmonies, the album is pure power pop—Andrews’ influences include The Beatles, Paul Simon and Stevie Wonder—and features thoughtful lyrics that probe issues of love, family and spirituality.