in the backwoods they understand

Sometimes a body just needs some boot stompin’, beer-swiggin’ American rock and roll. That’s precisely what the crowd got at the Majestic Theater in Madison, Wisconsin on February 15, 2014 when they saw The Wild Feathers.

Affectionately dubbed “The Snowed Out Tour” according to Taylor Burns due to the sub-freezing temperatures the Nashville quintet has been encountering throughout the Midwest, the band warmed up the room with a blazing set that hit every track on their debut record along with a new song. Highlights included “Hard Times,” crowd-sing-along favorite “Left My Woman,” and barn-burner “Backwoods Company”.  Also of note were their well-chosen encore choices by The Band and Led Zeppelin – where their main set was a stone-solid performance the encore was more akin to a jukebox sing-along with your best pals.

Part of The Wild Feathers’s appeal is the diversity found among the members – drummer Ben Dumas can bang it out with the best of them, Burns has a bluesy bent that calls to mind Chris Robinson, and Joel King’s garage-rock howl is tempered by Ricky Young’s gorgeous delivery. Preston Wimberly rounds out the four-part harmonies but really shines on guitar; his solos actually add to the quality of the songs as opposed to being indulgent or distracting. Such a wealth of talent in one place led to a truly memorable evening.

Opening acts Saints of Valory and Jamestown Revival were no slouches either – SOV’s anthemic rock is ready for an arena stage and the Jamestown boys have buckets of charm. The three bands will be touring together into March. Click here to get dates and free tour sampler.

You can check out all the photos from the show here.

SETLIST
Hard Wind, Backwoods Company, I Can Have You, If You Don’t Love Me, Got It Wrong, Hard Times, I’m Alive, How, Tall Boots, [New Song], American, Left My Woman, The Ceiling
ENCORE
Hey Hey What I Can I Do (Led Zeppelin cover), The Weight (The Band cover)

back, back, back

Caroline Smith has been very popular in Madison, and for years I’ve been on the outside looking in. I first saw Smith with her band The Goodnight Sleeps at the High Noon Saloon a couple of years ago and was so bored that I actually went to go sit down in the back. I tend to be overly picky about female singers, and women in the singer-songwriter category almost never are a hit with me. I saw the band again after the release of Little Wind and while there was a song or two that wasn’t bad I still just couldn’t get excited about Caroline Smith the way so many of my friends did.

Smith released a new album, Half About Being a Woman, in October and it was reported that her sound was markedly different. When I saw she was opening for Charles Bradley & His Extraordinaires at the High Noon Saloon on December 4, 2013 I thought I should give her another look.

What I’d heard was right – she has taken a new approach to her style. Most notably she’s replaced her band and moved from acoustic to electric. The more robust instrumentation allows Smith to push her voice and for the first time I noticed how lovely it really is. While some remnants of her shared past with Haley Bonar and Colbie Caillat remain, the new material references soul and 90s R&B. Generally Smith seems to have left some of the wide-eyed earnestness behind and has embraced fun – her set was full of smiles and dancing and even a few of Kendrick Lamar’s verses. I’m still not head over heels for Smith, but I can say that I’ll no longer skip her set when she’s on the bill.

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Caroline Smith returns to Madison & the High Noon on January 16, 2013 as part of FRZN Fest.
See more photos from her December show here.
You can find more from Caroline Smith here.

1. eddie money is broke. 2. johnny cash is poor.

When I opened Harmony Korine’s A Crack-Up at the Race Riots (1998) I had no intention of reading it – I just wanted to skim and get an idea of what it was like since the only thing I knew about it was that The Hope of the States had named their 2004 album after it and that Korine (Spring Breakers, Kids, Gummo) referred to it as his stab at writing “the Great American Choose Your Own Adventure novel.” Korine’s broken list of thoughts unfurled in front of me like a car crash, however, and I read the slim volume in one sitting.

Music often serves as a cultural touchstone in A Crack-Up at the Race Riots; there are fictional letters from Tupac Shakur, (mostly) innocuous rumors like “Flavor Flav is a classically trained pianist” and “Diana Ross hated the movie When Harry Met Sally,” and non sequiturs in the vein of, “my funnest memory is when I was travelling with Madonna on the Blonde Ambition tour and I got to meet Cat Stevens.”

Some of Korine’s references, though, are incidental and often brutal – a group of black girls in Elton John t-shirts beating a girl to a pulp in a parking lot, death as a result of snorting cocaine off a Pete Seeger record, two hanged teens with Prince’s name-symbol carved into their flesh. Music usually serves as an escape, but in Korine’s world it only further emphasizes the darkness.

For all the horror contained in the book’s 175 pages, Korine often achieves a style that is both beautiful and garish. The book is more like a gallery of disturbing images than cohesive prose or poetry; his vision is the literary equivalent of the works of Diane Arbus through the prism of methamphetamine. Is the litany of suicide, abortion, abuse, and sadness art, a Warholian Death and Disaster collection for the modern era? Or is it merely pulp, a satire, a foreshadowing of America’s increasing obsession with tabloid culture? Whatever the case may be, it’s hard to tear one’s eyes away.

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The reissue of Harmony Korine’s A Crack-Up at the Race Riots will be available through Drag City on April 16, 2013.