Drew Holcomb is slaying the dragon

Photo: Ashtin Paige

Drew Holcomb and The Neighbors is an Americana band based in Nashville, which has been performing and recording since 2006. They have now released six very fine albums, choc full of good tunes, good musicianship and good feeling. Along the way, they’ve played on stages with Ryan Adams, the Avett Brothers, John Hiatt, Needtobreathe and others. Last year Holcomb relaunched the Moon River Music Festival in Chattanooga which had sold out crowds and featured artists like Margo Price, the Avett Brothers, Mavis Staples, Jason Isbelland Brandi Carlile. 

The new album from the band, Dragons, is an upbeat, infectious affair, with songs co-written by Lori McKenna, Natalie Hemby, Zach Williams of The Lone Bellow, producer Cason Cooley, and Ellie Holcomb. You’ll find yourself humming along, tapping your toes and generally the better for having listened to it. It’s an assured slice of sunny Americana. That’s not to say it’s in any way trivial – Holcomb says he has never worked harder on his song-writing than on this album, and the lyrics are in turn wryly amusing, clever, poignant and serious about themes like grief and getting older.

One of the album highlights is You Want What You Can’t Have, featuring Lori McKenna. It’s got an infectious rhythm and tune, but Holcomb says it deals with the “fight for contentment in a world of comparison, greed and dissatisfaction.” And then there’s the title track, Dragons, an out and out country song with an inspirational message which evokes the spirit of Holcomb’s grandfather – “Go swimming in the ocean on New Year’s Day, Don’t listen to the critics, Stand up and bear witness, Go slay all the dragons that stand in your way.” Good advice – but maybe I’ll not plunge into the north Atlantic just after Christmas!

We talked to Drew about the album:

DATC: Drew, the new album, Dragons, is terrific. One of your best, for me, up there with my own favourite, Good Light. You’ve said it was largely inspired by the quote, “Always be kind, for everyone you meet is fighting a great battle.” Can you tell us a bit more about that?

Drew Holcomb; I think there is a lot despair, apathy, and hopelessness in our world today. There is also too much “othering” and marginalizing. I find empathy and loving the stranger to be a baseline moral value that we must cultivate in our lives. I want my music to be something that brings people together, while also not being escapist. I think telling my own story is the way to do that. 

DATC: Can you tell us a bit about, first of all, writing the songs on the album (I gather some were co-written), and then the recording of the album?

Drew: I wrote “Family” and “See the World” first, by myself, then started writing alongside other friends who are artists and songwriters. Lori McKenna, Natalie Hemby, Sean McConnell and others. 

DATC: The first song, Family, is a great opener, a joyous celebration of family, even though “it ain’t always pretty, drive you insane.” How important has family been to you?

I have over thirty cousins, dozens of aunts and uncles and I grew up 5 doors down from my maternal grandparents. I am the 2nd of 4 children and we have 3 of our own now. Family is very important to me. Family has been a majority of the cast of characters in my life. 

DATC: You’ve got some great collaborators – as well as Ellie, you have Lori McKenna, The Lone Bellow and Natalie Hemby. Can you say a bit about working with these artists and why you had each one on these particular songs?

Drew Holcomb: I usually don’t co-write but decided to give it a try this record, and it was mostly with people who I already love and trust. We had a great time. “Dragons” for instance was written with Zach Williams from the Lone Bellow, and it all started about a conversation about the big personalities of our grandfathers. The writing with these friends was very narrative and personal.

DATC: You Want What You Can’t Have is a jaunty, toe-tapping song, but it’s got a bit of a punch, with “we want the spark, but we don’t want the burn, we want the love, but we don’t want the hurt,” doesn’t it?

Drew Holcombe: Yes it does. “Some people stay up all night, praying for a child of their own…” is also a gut-wrencher. Lori and I wanted to say something unifying and universal and stinging while also looking in the mirror. Saying hard things to the world while preaching them to yourself always makes the medicine go down better! 

DATC: And Maybe kind of continues the theme with “everything is never enough…maybe we’re not supposed to try everything.” It’s a pretty explicit comment about the consuming, individualistic society we’ve become. You don’t shy away from making that sort of serious point in your songs. How much is that informed by your faith and how do you tread the line between that and not wanting to be overly explicit?

Drew Holcomb: I honestly don’t think about the “line,” I just write what I want to write and let the chips fall. This song, “Maybe” was written about a conversation about the never-ending pressure to be interesting on social media. Sometimes what we need is less, not more. 

DATC: I love the positivity of title track, Dragons – can you say something about the background to that song?

Drew Holcomb: My grandfather was a pretty legendary guy… He was a surgeon during World War Two, took his family to Kenya for a year in the late 60’s to do surgery there, he loved to play golf, tennis, fish, hunt and do taxidermy. He died about 17 years ago and this song is about a dream of him coming back to give me advice. 

DATC: You’ve just organized another Moon River festival – tell us something about that and what the festival is all about.

Drew Holcomb: It’s really just about great music, a great location, and community. We have been doing it for 6 years, and it keeps growing and getting better and better. It has sold out in a day for the last two years. This year was especially fun for me because we had Brandi Carlile headlining and we closed the festival with John Prine’s “Angel from Montgomery” together. 

DATC: More generally, Drew Holcomb and the Neighbors have become pretty successful, but I’m sure it’s been a tough ride at times. Did you ever feel like giving up?

Drew Holcomb: All the time… Making your living as a creative person is a roller coaster of self-doubt, high highs and low lows. There have been many times in the last 15 years I have thought about giving up. The travel is brutal, the sleep, eating etc. on the road is hard on your body, and you are opening up your soul on stage every night in hopes that the crowd reciprocates, which is not always the case. 

DATC: Finally, Drew, what sort of music does Drew Holcomb like to listen to and who, would you say are your favourite songwriters?

Drew Holcomb: I listen to lots of things. I would say my favorite bands of the last 15 years have been Avett Brothers and Wilco, but I honestly listen to everything. 

DATC: Thank you Drew!

Richard Thompson at the Ulster Hall: 7 Things We Learned

“The finest rock songwriter after Dylan and the best electric guitarist since Hendrix.” Los Angeles Times.

Richard Thompson, looking fit and healthy, gave a rousing solo acoustic performance in the rather grand surroundings of Belfast’s Ulster Hall, getting a standing ovation from the delighted audience. He’s an iconic figure, featuring on Rolling Stone’s “100 Greatest Guitarists of All Time,” winning a Lifetime Achievement Award from the Americana Music Association in Nashville, several Grammy nominations and an OBE.

He was part of the English folk-rock band, Fairport Convention in the late 60s and early 70s before launching a successful period with Linda Thompson and then his solo career, which has seen him release 18 studio albums and play with a who’s who list of major rock artists and his songs covered by artists like Emmylou Harris, David Gilmour and The Blind Boys from Alabama, Elvis Costello, Bonnie Raitt, and Don Henley. His 18^th album, 13 Rivers was released in 2018 to great acclaim.

Here’s what we learned:

1. A Richard Thompson concert is far from old minor key English folk songs and sea shanties. Yes, there’s folk, but with a huge variety of styles and tempos, and some full-blooded rock’n roll too, all peppered with self-deprecating banter and humour. It makes for a fine evening’s entertainment.

2. Sometimes you need more than three chords and the truth. And with Richard Thompson, you get a kaleidoscope of chords, runs, fills, arpeggios, harmonics and more, in a virtuoso display of guitar playing that will have your jaw dropping and your foot a-tapping.

3. Who needs a band, when you play bass, chords and lead, all at the same time, with great attack and panache to accompany your impressive vocal performance?

4. Lowden acoustic guitars “are the best out there, if you ask me,” said Thompson, praising the highly acclaimed Northern Irish luthiers. On the evidence of this masterful display of guitar wizardry, there can’t be much argument.

5. It’s great to have a trademark – in Richard Thompson’s case, his black beret, which he hasn’t taken off since 1984 (just joking!). His other trademark, of course, is his terrific song-writing skills, aptly demonstrated in song after song from each decade of his long career. Musically rich and lyrically clever, with wit, sarcasm, and great story-telling, the songs’ music and lyrics interweave powerfully.

6. Forty and fifty-year-old songs can still be magical. Thompson’s Bright Lights which “brushed the lower regions of the Top 40” in 1974, along with Dimming of the Day and Sandy Denny’s Who Knows Where the Time Goes, all stirred great memories and were warmly received by the enthusiastic Belfast crowd. Songs that stand the test of time.

7. In your 8^th decade, you can still look fit and robust and give nearly two hours of fabulous entertainment, singing and playing your heart out. It helps, clearly, if you play tennis and cricket regularly.

Oh, and the sweet, sweet voice and song writing talents of Katherine Priddy who was the evening’s support deserves a mention. One to keep an eye on.

 

 

 

Keb’ Mo’ – Put A Woman in Charge

You expect a new Keb’ Mo’ album to deliver the goods. For the last 25 years, he’s been releasing high quality blues and roots albums. Oklahoma, even by Mo’s standards is top notch – and surely puts him in line for another Grammy award. Produced by Mo’ and Colin Linden, who plays electric guitar alongside Mo’s resonator on several tracks, the album not only delivers the characteristic laid-back Mo’ sound, but engages with a number of current issues including environmentalism, mental health and immigration.

Mo’ is joined by some formidable musical collaborators, including his wife, Robbie Brooks Moore, Robert Randolph, Taj Mahal, Jaci Velasquez, Rosanne Cash, and Andy Leftwich. All-in-all it’s a wonderfully enjoyable album, seasoned with accomplished musicianship and thought-provoking lyrics.

In 2018, Mo’ produced and performed on Ana Popovic’s I Like It On Top, perhaps her best album, [catch our interview with Ana here] which appealed for equality for women, and now on Oklahoma, he continues to be a spokesperson for the cause with Put A Woman In Charge. It’s a catchy number, enhanced by Rosanne Cash’s vocals, where the efforts of men have left us “standing on the brink of disaster.” That being the case, Mo’ says,

“We’ve got to turn this world around
Call the mothers
Call the daughters
We need the sisters of mercy now.”

It’s time, he says, “to put a woman in charge.”

Now, in case you think this is all some sort of feminist plot, research shows that when more women work, economies grow. Women’s economic empowerment boosts productivity, increases economic diversification and income equality in addition to other positive development outcomes. Increasing the female employment rates in OECD countries to match that of Sweden, could boost their GDP by over $6 trillion.

A report last year from McKinsey and Company said that women’s economic equality is good for business. Companies greatly benefit from increasing employment and leadership opportunities for women, which is shown to increase organizational effectiveness and growth. It is estimated that companies with three or more women in senior management positions score higher in all dimensions of organizational performance.

Interestingly, a study by global consulting firm Hay Group found that women outperform men in 11 of 12 key emotional intelligence competencies and said that “If more men acted like women in employing their emotional and social competencies, they would be substantially and distinctly more effective in their work.” And then there’s some research by the Pew Research Center saying that 34% of American workers say that women have an edge over men when it comes to being honest and ethical, while just 3% believe men are better.

The positive effects of favouring women become very pronounced when we consider developing countries, where traditionally girls are not well educated, are forced to marry young and are restricted from reaching their potential. Investing in the education of girls has been shown to bring high returns in terms of breaking cycles of poverty and aiding economic growth. Importantly, it also improves children’s and women’s survival rates and health, delays child marriage and early pregnancies, empowers women both in the home and the workplace, and helps tackle climate change. Girls’ education also has a transformative effect on health, which can be passed on through generations. Every additional year of school a girl completes cuts rates of infant mortality – the death of children under one year – dramatically.

These benefits to individuals and communities by educating girls and promoting the equality of women are well documented. Yet still:

• Around the world 130m girls who ought to be in school are prevented from attending
• 15m girls will never get to attend school
• Globally, over 2.7 billion women are legally restricted from having the same choice of jobs as men.
• Of 189 economies assessed in 2018, 104 economies still have laws preventing women from working in specific jobs,
• 59 economies have no laws on sexual harassment in the workplace
• In 18 economies, husbands can legally prevent their wives from working.

And at present, fewer than 20% of the world’s heads of state, prime ministers and government ministers are women. Despite recent improvements in women’s political representation, they still occupy fewer than 25% of national parliamentary seats worldwide.

Here’s what’s happening in a world run by men:

• There are more than 40 wars going on, causing untold misery to millions. (New Humanitarian)
• Some 820m people in the world do not have enough food to lead a healthy active life. (about one in nine people), with millions of children not getting the nutrition they need. Most of these are in developing countries, where 12.9% of the population is undernourished.
• An inadequate response to climate change has led to rising seas and coastal flooding, disasters due to extreme weather, destruction of marine ecosystems, severe drought, affecting poor people disproportionately and much more.

Excluding women from education, the workplace and government hasn’t done us any favours. So yeah, as Keb’ Mo’ says, maybe it’s time we “put the women in charge.”

[For details of one great organization which is working to empower girls and women in impoverished communities, check out Saphara’s Girls Champions Programme.]

Best Blues Albums 2019 – So Far

A Baker’s Dozen

We’ve had a tasty batch of blues albums during the first half of 2019. Here’s the ones that have risen to the top for us:

Elles Bailey, Road I Call Home

Superb sophomore album from English singer-songwriter. Blues-infused Americana, with eleven strong songs featuring Bailey’s impressive, soulful vocals.

Tulle Brae, Revelation

Ten original, well-crafted and hugely enjoyable songs, full of energy and emotion. Blues rock, delivered with a huge amount of soul and underpinned by Tullie’s gospel roots. Here’s our review. 

Savoy Brown, City Night

Savoy Brown’s Taste and Try Before You Buy was one of the first blues songs I ever heard on Decca’s 1969 World of Blues Power. With many line-up changes along the way, the band has been powering through the blues for over five decades – this is their 40^th album. Now a 3-piece, headed by original band member Kim Simmonds, they’ve given us a thoroughly unreconstructed, but hugely enjoyable album of powerful blues rock

Gary Clark Jr., This Land

Texas bluesman’s 3rd studio album and his best. Seventeen tracks where he cleverly and successfully fuses a number of styles from rock, R&B, hip-hop and soul, with a dash of reggae. Check out our piece on this album. 

Rory Gallagher, Blues

New collection of blues recordings from the Irish artist released in what would have been his 50th year of recording. Gallagher was one of the great white blues guitarists of the rock’n’roll era. 36 tracks over 3 CDs – electric and acoustic and live – exude a raw energy, and include special guest sessions with legendary blues artists Muddy Waters and Albert King. An wonderful overview of Gallagher’s career.

Christone Ingram, Kingfish

Quite simple a terrifically enjoyable album, with twelve original songs that feature Ingram’s mellifluous vocals and stunning guitar work. The album is very definitely the blues, with familiar themes of lost and unrequited love but there’s a positivity throughout that is very tangible. Full review. 

Keb’ Mo’, Oklahoma

Rich, typically Keb’ Mo’ style rootsy blues, featuring collaborations with Rosanne Cash, Taj Mahal, Jaci Velasquez, and his wife, Robby Brooks Moore. Producer Colin Linden and Robert Randolph pitch in to, to great effect in a potent and hugely enjoyable set of songs which will surely compete for a Grammy.

Kenny Wayne Shepherd, The Traveler

Eight originals and two covers from the ever-consistent Shepherd, accompanied by a group of talented musicians. Shepherd has become not only a not class blues rock guitarist, but a fine song-writer. Mind you, it’s the acoustic Tailwind, with its positive vibe, that stands out for me.

Joanne Shaw Taylor, Reckless Heart

Blues rock, full of energy from Detroit-based British artist. It’s an upbeat album with some fiery, up-tempo tracks, driven by Taylor’s top notch guitar work (with no guitar pedals) and her superb, raspy vocals.

Mavis Staples, We Get By

Remarkable vocal performance by the 80 year old Staples, aided and abetted by producer Ben Harper. In songs of hope and determination, she sings, “things gotta change around here” and we’re “not too far down the wrong road to turn around.”

Walter Trout, Survivor Blues

Walter Trout’s 28^th album covers songs that have inspired him along his long musical journey, including numbers by Elmore James, John Mayall, Hound Dog Taylor, Fred McDowell and J.B. Lenoir, putting his own inimitable stamp upon them. Walter Trout is an exquisite guitarist, an accomplished singer and he’s given us another gem.

Tedeschi Trucks, Signs

4^th studio album from the impressive Tedeschi Trucks outfit, with its typical meld of classic rock, old soul and blues, into a full-bodied Americana. It’s a calmer than previous outings, however, with Tedeschi’s incredible vocals to the fore, supported, as always by Trucks’ exquisite slide guitar.

Jontavious Willis, Spectacular Class

Wonderful album of acoustic blues, produced by Keb’ Mo’. Described as a “wonderboy” by Taj Mahal, no less, Willis matches his skilful country blues guitar with rich, soulful vocals.

 

 

 

Aretha Franklin: The Miracle of Amazing Grace

“It’s an act of cinematic resurrection if ever there was one. You might even call it a miracle.” (Washington post)

I watched the movie Amazing Grace last night, which shows the creation of the 29-year-old Aretha Franklin’s gospel album, Amazing Grace, recorded over two nights in 1972 in front of a live congregation and accompanied by the Southern California Community Choir in the New Temple Missionary Baptist Church in Watts, Los Angeles. The album was hugely successful, winning the 1973 Grammy Award for Best Soul Gospel Performance, selling over 2m copies in the US alone and effectively re-inserting black gospel into the American mainstream.

The film was never released because of difficulties syncing the audio with the video. The film was relegated to the vault at Warner Bros. and despite producer Elliott successfully syncing it and paring it down to 87 minutes in length, Franklin resisted it being released. It was only after her death in 2018, that her family agreed to release the film.

Quite simply the movie is extraordinary – riveting, inspirational and deeply emotional. I felt like I was right there, transported back nearly five decades, mesmerized by the power of the gospel music, the musical talent of James Cleveland, the musical director and pianist, and the young choir director, Alexander Hamilton and the fabulous choir – and, of course, by the wonder of Aretha Franklin’s singing. Jon Landau at the time described her singing as “a virtuoso display of imagination.”

But it wasn’t just her voice – it was the evident feeling she had for the music and the lyrics. Her father, invited to say a few words, related an incident when he took some clothes into the laundry, when someone he met commented on how glad she was to hear his daughter was going back to the church to sing. By this stage, the 29 year-old Aretha had had a string of hits, won multiple Grammys, and was a household name. “Truth is,” he said, “she never left the church.” So much was clear by the passion with which she sang Carole King’s You’ve Got a Friend, now amended to refer to Jesus, which then ran seamlessly into Precious Lord, Take My Hand. Introduced by Rev. James Cleveland, intoning, “And Jesus said, call my name, I’ll be there,” Aretha begins to sing slowly, with a sparse organ and piano accompaniment, encouraging the congregation to “close your eyes…and meditate on him.” As the piano chords segue into Precious Lord, and the choir launches in, it really is the most spine-tingling experience. I admit to the tears slipping down my cheeks at this point.

And then there is the scene toward the end of the movie, where, after a stirring performance of Never Grow Old with Aretha accompanying herself on piano, and a short follow up sermonette by Cleveland, Aretha asks for the microphone and, in a startling moment, launches into an unaccompanied I’m Glad I Got Religion, singing a verse, before proceeding to urge the choir into action and then, in an electrifying turn, sings directly toward the choir, with her back to the congregation. It looked entirely unrehearsed, as if Franklin was truly feeling at home, back in the church, and feeling the Spirit move her.

Atlantic engineer, Gene Paul, who worked on Amazing Grace, said he saw producer Jerry Wexler “looking at her like she was really in her place.”

Franklin herself didn’t seem to think she’d moved away from the church. A year after she’d begun singing in nightclubs in 1961, she had written in a black newspaper, “I don’t think that in any manner I did the Lord a disservice when I made up my mind…to switch over.” She went on to say, “After all, the blues is a music born out of the slavery day sufferings of my people. Every song in the blues vein has a story to tell…I think that because true democracy hasn’t overtaken us here that we as a people find the original blues songs still have meaning for us.”

One song, a particular favourite of mine on the album, which didn’t make it into the movie, is Robert Fryson’s Give Yourself to Jesus. The song was the first single after the release of the album. It closes the first side of the original LP and wasn’t one of the traditional gospel songs Franklin grew up with – it’s got a more modern gospel feel to it, more akin to an Andre Crouch song. It’s an incredibly moving piece, with Franklin reciting the words of the 23^rd Psalm in the middle of the song, as the choir “oohs” in harmony behind her. As you listen to this, it’s impossible to think of Franklin without faith in the words.

The interplay between Franklin and the choir throughout Amazing Grace is a thing of wonder. James Cleveland was the musical director and for some considerable time had been the preeminent name in the production of gospel music. He was a hugely talented musician, a wonderful pianist, soulful singer who could rock churches wherever he went. and had produced a prodigious number of successful gospel albums. Cleveland’s piano playing, much in evidence in the concert, is truly virtuosic, tugging at people’s emotions and undergirding and interplaying with Franklin’s vocals. For Amazing Grace, he worked with the youthful Alexander Hamilton, one of his circle of talented musicians, who prepared the choir with intensive drills. Hamilton had written musical scores at the age of six, studied classical music and accompanied Mahalia Jackson. Along with a group of outstanding backing musicians, the foundations were laid for the precision and musicality needed to underpin Aretha Franklin’s singing.

Throughout the performance, Aretha Franklin said little – the speaking parts come from Rev. Cleveland and her father. Was it her well-documented shyness, or simply a sense that it was enough to speak through her luminous singing? Franklin at this stage was one of the most popular and influential singers in the world, but was content to collaborate with the choir and the other members of Cleveland’s working band. To be sure, at the end of the movie, when all the words have fallen to the ground, Aretha’s glorious, inspirational singing resonates on.

Franklin’s Amazing Grace album has been frequently overlooked in her back catalogue, despite it being the biggest selling disc in her career. In Mary J. Blige’s tribute in the Rolling Stone issue in 2008 that named Franklin as the greatest singer of the rock era, the album wasn’t mentioned. And only one song from it was included in the 4-disc compilation released in 1992, Queen of Soul: The Atlantic Recordings. This movie surely redresses the balance. Amazing Grace actually was a very important album that “touched on social and political changes far outside” the doors of the church in which it was recorded” (Aaron Cohen). A friend of Franklin’s, poet Nikki Giovanni, suggested that the title track, (some 11 minutes long) tied together Franklin’s personal history, the state of black America at the time and an image of composer John Newton’s change from being a slaver and human trafficker. “Aretha is just so key to everything: she too is saying, “We have to change…It’s time to change. We can no longer do what we did. And she’s going to be the person to reach generations. She’s going back to my mother, my grandmother, and she’s going to go forward.”

Amazing Grace showed a black icon at home in that traditional black home – the church. In a recent New Yorker article, Emily Lordi points out that Franklin’s concert in New Temple Missionary Baptist Church ought to be seen in the context of the 1965 riots/rebellion in Watts and other black cities across America, and the numerous black deaths of previous years, of which Martin Luther King, Jr.’s assassination was the most visible, and that “black people continued to ask whether America could be a home. The black church continued to serve the function it has long served: as an alternative site in which to create one.”

The music – and now the film which draws renewed attention to it – had wide resonance in the black community and beyond, bringing Gospel music into the mainstream, a recognised part of America’s musical heritage, part of the foundation that would eventually give rise to rock ‘n roll. But in watching this movie, there’s more to it than that. Gospel music is both music and lyrics. The chord changes, the musical dynamics, the soaring voices all make it what it is – but so too do the inspirational and faith-filled lyrics. The very word gospel literally means “good news” and that is the essence of gospel songs. “I once was lost, but now am found” – that belonging that Aretha found in the church; “what a friend we have in Jesus, all our sins and griefs to bear;” “Precious Lord take my hand…I am tired, I am weak, I am lone.” These all speak profoundly of the human condition – but more than that, to the fact that we need not be alone, because of the presence of God, and the possibility of redemption. In that lies the enduring power of gospel, of Amazing Grace.

Gary Clark Jr’s This Land – a powerful, blues-soaked howl of protest

Gary Clark Jr’s This Land is the Texas bluesman’s third studio album and without a doubt his best. Seventeen tracks where he cleverly and successfully fuses a number of styles from rock, R&B, hip-hop and soul, with a dash of reggae on Feeling Like a Million, and punk on Gotta Get Something. In bringing the blues bang up to date, he seems to be living up to his reply a while back when asked, “What do you want to be?” and he said, “Snoop Dogg meets John Lee Hooker.” Clark is never too far from his blues roots in the album, though, with the Robert Johnson fuelled Dirty Dishes Blues, and the album’s general underpinning. It’s exhilarating stuff, each song something of a revelation on first encounter and then hugely enjoyable on subsequent listens. Pink Cadillac, where Clark channels his inner Prince, is a sophisticated, full production pop number and The Guitar Man is a thorough-going toe-tapper, with an echo of eighties R&B.

Musically, it sounds fresh and alive, driven, though not dominated by, Clark’s always outstanding guitar work and his sweet vocals. Lyrically most of the songs ruminate on themes like marriage, fatherhood, life on the road and success. But importantly Clark hasn’t held back from making some rather direct political and social points on some of the songs, particularly What About Us, Feed the Babies and the title track.

He kicks off the album with This Land, a powerful, blues-soaked howl of protest about racism in the United States. The song was prompted by Clark’s own encounter with a neighbour is Texas who wondered how Clark could possibly own such a large plot of land. Clark says he’s “right in the middle of Trump country,” with a neighbour who “can’t wait to call the police on me.” It’s shocking in today’s world to hear the chorus of ‘N—- run, n—- run, Go back where you come from, We don’t want, we don’t want your kind,” the edginess matched by the furious music and the Hendrix-esque guitar work. Clark’s expletive-laced anger cries out “I’m America’s son, This is where I came from.”

A 2019 Pew Research Center study found that more than 150 years after the 13th Amendment abolished slavery in the United States, most U.S. adults say the legacy of slavery continues to have an impact on the position of black people in American society today. More than 40% say the country hasn’t made enough progress toward racial equality, and there is scepticism, particularly among blacks, that black people will ever have equal rights with whites, More than 80% of black adults say the legacy of slavery affects the position of black people in America today. (check out our interview with Birds of Chicago’s Allison Russell about the album Songs of Our Native Daughters which is entirely about slavery and its on-going legacy).

The evidence indicates that black people are treated less fairly than whites in hiring, pay and promotions; when applying for a loan or mortgage; in stores or restaurants; when voting in elections; and when seeking medical treatment. That’s even without discussing the problem of interaction with police forces.

A recent New York Times article cited research that shows the United States tolerates a widening chasm between the very rich few and the many with low incomes. And that the burden of poverty falls heaviest on African-Americans and other people of colour. The median white family has more than 40 times the wealth of the median African-American family and 22 times more wealth than the median Latino family. And things are getting worse, not better: the proportion of black families with zero or negative wealth rose by 8.5% to 37% between 1983 and 2016.

In her article, Courtney Martin asks why people of colour do not have more money. The answer she and others give is what she calls the country’s original sins: colonization and slavery. There’s a strong case that closing the racial wealth gap is about addressing these historic injustices monetarily – check out Trevor Noah’s segment on “The Daily Show”  – but as Edgar Villanueva, author of Decolonizing Philanthropy says, “We have to be willing to examine the dark realities of what led us to this imbalance in the first place.”

The Pew Research said that most Americans (65%) say it has become more common for people to express racist or racially insensitive views since Trump was elected president. A recent Vox article tracks Trumps history of racist controversies from the 1970s onward concludes that “At the very least, Trump has a history of playing into people’s racism to bolster himself.” Hence Clark’s reference to “Trump country” in This Land. He told Rolling Stone Magazine, “I think it’s only right at this point in time, if you have a microphone louder than others, to speak out about that anger…I haven’t been through s*** compared to my people. But if I can do anything with my opportunity, and say thank you to Dr. Martin Luther King for sacrificing your life so that I can have a microphone … that’s the least I can do.”

It’s certainly a powerful statement of protest, heightened by the video accompanying the song, featuring images of nooses, fire and Confederate flags. Terrific album and a challenging title track.

 

Larkin Poe in concert – 7 things we learned

“It’s easy to love this duo’s brand of barnstorming blues.”

Larkin Poe are the Lovell sisters from Atlanta, Georgia. “I’m not Larkin, and she’s not Poe,” quipped Rebecca Lovell during their sold-out gig at Inchyra Arts Club near Perth, Scotland. Larkin Poe, rather, is an ancestor of the sisters and relative of the famed author Edgar Allan Poe. Rebecca and Megan, formally trained musically, got into bluegrass in their teens and, after forming the band, have developed their own distinctive sound which is a unique blues-based Americana rock. Adept at taking traditional blues and bringing them bang up-to-date at the same time, the pair are exceptional musicians, wonderful singers and high-powered performers. And, as we discovered in an interview with Larkin Poe before the gig – thoroughly nice people, who give thoughtful consideration to the roots tradition that underpins their music.

Photo: Robbie Klein

The band played at a most unusual venue – a refurbished cattle byre in a sprawling country estate in Scotland, Inchyra Arts Club. With a vaulted timber roof, hard wood floors and original wood used wherever possible, it’s got great acoustics and can pack in around 600 people. It’s a unique, welcoming space and made for a great atmosphere to welcome the Lovell sisters and their band.

Broadcaster Lins Honeyman, from The Gospel Blues Train radio show and I had the opportunity to interview Larkin Poe and then attend the gig. Here’s what we learned:

1. This was a performance full of energy, passion and joy from the opening Trouble in Mind (not the traditional version, by any means!) to the glorious Robert Johnson Come On In My Kitchen The Lovell sisters and the two other members of their band didn’t hold back throughout the whole captivating set. They seemed to be enjoying it just as much as the packed crowd, with smiles aplenty from the duo and plenty of chit-chat to engage the audience from live-wire Rebecca.
2. Walking through the audience while playing scorching lap steel slide guitar is quite a trick and one which Megan Lovell pulled off with some aplomb, much to the delight of the Inchrya fans, who quickly whipped out their mobile phones to record and photograph. I’ve only seen this done a few times, most notably Buddy Guy – and it sure is a crowd pleaser.
3. As I listened to Venom and Faith (the band’s latest acclaimed album) in the safe confines of my car, I tried to categorize it – is it blues, Americana, rock or even at times pop? In the full throttle, ear-bending cauldron of Inchyra Arts Club, with the hair-flinging, guitar-slinging, leather-jacketed Rebecca, and the searing sounds of Meghan’s slide guitar, there was no doubt that this was rock music. Blues-infused, genuine, old-fashioned, full-bodied, head-banging, modern rock. Glorious.
4. The banjo can hold its head up in a rock concert. Yes, really. It featured in two songs, fully amped up, California King and John the Revelator, with a banjo solo taking pride of place in the latter. In the middle of all this high-energy, full-throated rock concert, we get a banjo solo!
5. Megan Lovell is a terrific slide guitarist. A classically-trained violinist, she took up playing slide guitar as a teenager and, boy, she can make that thing sing. Nothing like some lap steel slide to conjure up the ghosts of the old Delta blues masters.
6. You can successfully talk about something serious in a rock concert. Before launching in to Mad as Hatter, Rebecca Lovell appealed for a more sympathetic attitude toward mental illness, and dementia in particular, talking about her own family experience. For those of us who have seen the devastating effects of dementia in their family, it was really something to hear:

Time is a thief
It’ll steal into bed and rob you while you sleep
You’ll never feel it
It pulls off the covers, and rifles through your head
Then you’ll wait to find you can’t remember what you just said.

7. Larkin Poe is firmly underpinned by the blues. They played Leadbelly’s Black Betty, Son House’s Preachin’ Blues, Willie Johnson’s John the Revelator and the superbly reworked Hard Time Killing Floor Blues from Skip James. The band is respectful of the tradition, but not bound by it and their versions of these classic songs are some of the very best I’ve heard.

If you can ever get to Scotland, be sure and make you way to the Inchyra Arts Club. More importantly, check out the incredibly talented Larkin Poe.