Kevin Devine & the Goddamn Band – The Sinclair 4/16 – Opening for Murder By Death

Disclaimer: Even though Murder By Death was the headliner, this review is going to focus on Kevin Devine’s opening set. Murder By Death will be addressed briefly after, but I was there for Kevin Devine and his Goddamn Band.

This was the 10th time I’ve seen Kevin Devine perform live. I’m what you might call a superfan of sorts. I listen to every word he sings like it’s the Gospel According to Kevin (a great album title, by the way). Saturday at The Sinclair was no different, despite him being the opening act.

The show was long since sold out, and full of Murder By Death fans. Devine and Goddamn Co. took the stage and some moron in the crowd shouted, “Who 

 you?” Devine, always the gentleman replied, “We’re Kevin Devine & the Goddamn Band, who are you?” He then launched into his set.

The set was a mixture of both new and old material. The newest ones being “Little Bulldozer,” “She Can See Me,” and an awesome rendition of “Redbird” from the 2013 album 

, “I Could Be With Anyone,” and the title track.

The Goddamn Band was a stripped down version at this show, with Devine on vocals and guitar, a drummer, and a bassist. But this three-man formation really allowed Devine to show off his dexterity on the guitar. I’ve seen them play before with a larger band that has another guitarist doing a lot of the heavy guitar playing. But with just Devine on guitar, the crowd really got to hear just how good he is on his instrument. “Brother’s Blood” and all its guitar solo glory was truly a shinning example of Devine’s guitar skill.

Devine broke up the set with a little stage banter in between songs. He told a story about how his ex-girlfriend introduced him to another Kevin Devine at a bar and how Devine made Kevin 2.0 show him his I.D. as proof. And before playing the K-Dev classic, “Just Stay,” he talked about how the song was about a cocaine dealer who tried to tell Devine to stop buying coke from him. Devine said, “He was a really good guy, just not a good businessman.”

Despite Devine only playing the opening spot of the show, his 45-minute set was the highlight of the show for me personally. Maybe it’s because I’d only listened to a couple of Murder By Death songs in preparation for the show, but I just didn’t get it. All the instruments were in the same sonic range, and fuzzy. The guitar bled into the cello, which bled into the keys, which bled into the guitar, and so on and so forth. Not a single sound was distinct and articulate. Even singer Adam Turla’s vocals just mixed in with the fuzz. The sound was overpowering and unpleasant, at least to me. The people in the audience there to see Murder By Death loved it, so maybe I’m just missing something.

Even though he was opening, I was glad to see Kevin Devine play again. His shows are always energetic and intense. Jumping around the stage while shredding on his guitar, Devine brings an excitement to his live show that is fun and never gets old. I can’t wait until the 11th time I see him perform.

Kevin Devine & the Goddamn Band – The Sinclair 4/16 – Opening for Murder By Death By Evan Frye

Drew Holcomb & The Neighbors with Jill Andrews – The Sinclair 4/8

Friday night, a pretty chilly night in April, but this is Boston. Drew Holcomb and the Neighbors, an Americana band from Tennessee, is playing at The Sinclair, and there I am. After meeting up with photographer Jon Polen, a little mix-up at the door with the tickets and the photo pass, we fina lly made our way inside.

The show was sold out, so the room was packed. And after a brief announcement about the fire exits, opener Jill Andrews took the stage sporting a baby bump with her black dress and cowgirl boots. She played a couple of songs solo, then guitarist Julie Melucci came out and assisted her with some really impressive electric guitar work. The songs were country-ish folk in nature. She played songs off her newest record 

, like “Sweet Troubled Man.” Later she played “Blue Eyes,” a song about her seven-year-old son, and talked about having “another one on the way.”

After Andrews, Drew Holcomb and his band The Neighbors took the stage. Holcomb and several of the band members had on old-timey hats with their suit jackets. The band launched right into the music without so much as a hello, letting the music speak for itself. Guitarist Nathan Dugger took a killer solo on the song “Avalanche,” blowing the audience, including myself, away. For the song “Ain’t Nobody Got It Easy,” the drummer and keyboardist left the stage. The three remaining men on stage stood around a single microphone with acoustic guitars and played. Holcomb later played “Fire And Dynamite” by himself.

Holcomb then told the audience how his brother moved to Rwanda, and then made a pitch for the humanitarian aid group World Vision, trying to get the word out through musicians. They had a spot set up at the merch table.

For the last song of the set, before the encore of course, everyone took a small solo. The three guitarists, Holcomb included, then did a little choreographed swaying to the music. The encore consisted of the band’s “What Would I Do Without You,” a song featured in an episode of 

Drew Holcomb & The Neighbors with Jill Andrews @ The Sinclair 4/8

Andy Hull with Casey Crescenzo, and Nathan Hussey – Brighton Music Hall 4/7

“We’ve been calling this tour the Beard Brothers,” said Nathan Hussey, of All Get Out, when he took the stage. All three performers on this acoustic tour, Andy Hull (Manchester Orchestra), Casey Crescenzo (The Dear Hunter/TREOS), and Hussey, sport thick and gorgeous beards. Lucky bastards.

After Hussey’s set, Crescenzo took the stage and played some of The Dear Hunter songs. Someone asked him to play “This Armistice,” a song from his former band, The Receiving End of Sirens. He responded by saying playing that song was like “carrying around a picture of an ex-girlfriend in your wallet and pulling it out to show people that was who you were.” Needless to say, we did not hear any TREOS songs from him. Crescenzo did tell the story of the first time he and Andy Hull met. The first thing they did upon meeting was to wrestle one another. Later, he talked about how Hull invited him down to Atlanta to record 

, and how without Hull, he’s not sure he would have ever finished it.

When Hull came out, he launched right into the 

 version of “Top Notch.” He played a nice mix of songs from all four of Manchester Orchestra’s albums and Right Away, Great Captain songs. From 

 he played “Wolves at Night,” “I Can Feel Your Pain,” and later in the show, “Colly Strings.” The Right Away, Great Captain songs like “I Was A Cage,” and a really old one, “I’m Not Ready To Forgive You,” were powerful and great. The audience could feel The Sailor in the RAGC trilogy’s pain and frustration emitting through Hull’s vocals.

Hull also played Bad Books’ (his band with Kevin Devine) song “Pyotr.” He explained that it’s about the Russian Czar Pyotr, who finds out his wife is cheating on him. The Czar then cuts off the head of his wife’s lover and puts it in a jar and makes his wife spend time with it every day. Real light, whimsical stuff.

Hull then depicted story of the song, “After the Scripture” (used in the movie 

). There was a Manchester Orchestra fan dying of cancer, and Andy got to play at her prom. He played her “I Can Feel Your Pain,” a song she listened to during chemotherapy. After she had passed, her father asked Andy and the rest of Manchester to come to their house and play after her memorial service. He wrote “After the Scripture” about the experience of playing her memorial. It was a powerful story about music’s effect on people, and really put Hull in a very human light.

After that, Hull played “Play It Again Sam, You Don’t Have Any Feathers,” an old song from an unreleased Manchester Orchestra record that has surfaced on the Internet as 

. Crescenzo came back to the stage to play “Deny It All – Red,” a song from 

Hull is featured on. Hull ended the show with “Untitled (Blue)” from the 

. The song opens with, “If you don’t, love me someone will.” Well, we love you, Andy.

Andy Hull with Casey Crescenzo, and Nathan Hussey @ Brighton Music Hall

They say, “Don’t meet your heroes.” Well, clearly they have never spent any time with Kevin Devine. The musician, singer and songwriter Kevin Devine was gracious enough to sit down with me for an interview after he played WRBB’s Spring Bliss on April 4, despite his difficulties with snow and air travel that day. We discussed his new record, the 

, our admiration of David Bazan, and politics. And when a custodian tried to kick us out midway through the interview, it was Kevin, not me, who said, “We’re going to need this room for at least ten more minutes.” Despite being at least ten years my senior, Kevin treated me like an equal, not just the K-Dev fanatic I am.

What follows here is a transcription of that chat with Kevin Devine. I hope you enjoy it as much as I did.

EF: So we’ve actually met before, last year at the Sinclair. I was slightly inebriated and tried to slip three dollar bills into your pocket.

) Yes, I remember you. Don’t worry, that’s not the worst thing someone has done at a show.

EF: Tonight is the ninth time I’ve seen you play live. And the reason I keep coming back is the energy and intensity you bring to every performance. Like how your shirt is always a different color by the second song because it’s soaked through with sweat. Is it difficult to keep that up every night, and to bring that to every show?

KD: I think it’s probably more difficult, the physical mechanics of that. And the vocal stuff too. Because I’m not an athlete, I’m not somebody taking exceptional care of [myself]. I’m not in awful shape, but that is actually a lot of exertion. That’s with the band. The solo acoustic thing is a different kind of exertion, because it’s a focus thing.

KD: Yeah, I want it to be intense. I don’t want it to be the B performance. I want them to both be A. I actually almost feel like I’ve been straining my voice, or using its fullness more in a solo context. Because I’m trying to fill the whole room with just the voice and the guitar. So, that’s the stuff I notice if I do a long tour. There’s nights where I notice there’s more music in your voice than other nights. There’s nights where there’s more bounce back in your physicality, if you’re doing the jumping around, freaking out thing than other nights. But, no. The thing itself, that’s what we’re doing here. That’s what you’re there, and we’re there to do, and I feel like if I’m going to shortchange that, then what am I doing? Until the day comes where I rip some part of my throat, or throw my back out or hurt my knee, and I’m like, “F**k, I need to figure out another way to do this.” But I’m not an Iggy Pop or something. There’s just some boundaries to it. But I like to be excitable when I play because it’s exciting. It should be. I don’t like watching bands when they don’t care.

EF: Yeah, it’s not enjoyable that way. It’s like they’re phoning it in.

EF: So, LP 9? Mixed? Mastered? What can you tell me about it?

KD: I almost never know what’s going on with the records while I’m making them. But later, I can kind of see. I think all my records are documents of what it’s like to be a person. A person [who is looking through the prism] sees me. I’m the one writing it. They’re not always all about me.

I think that when I look back at certain records, I think, that’s a record that’s largely about “this.” They’re all transitional. 

, I see in retrospect, is a record about making sense of shifting opinions in you about spirituality or lack thereof. Or about how to connect, trying to have a peaceful inner life, with living in a really complicated and frustrating world. You know, I can see themes. 

, seem to me now, are like marriage records. I see now that there is so much in those songs that is about this level up that was happening in my relationship, even if the songs aren’t about that. My wife, in specific, with me. So I think that songs on this record, two explicitly, are very clearly “guy preparing to have a kid” songs. But there’s also some social justice stuff, that’s a bit more plainspoken and biting, than anything. There’s a song about police brutality that’s very plainspoken. There’s a song about U.S. militarism and Evangelical Christianity that’s very plainspoken. For me. So, maybe that’s even part of the record. It’s part of the clearing out space, streamlining. I feel like the songs themselves are like that. Structurally, there’s 11 songs, and 8 of them are fuzzy guitar, power pop songs. They’re kind of in the spirit or energy of the 

record. But I think the songs are neater, less punk inflected, and more sort of sunny in places. Then there are 3 guy and a guitar breaths, moments, like folk-singer moments. I love it. John Angello, who produced it, he’s done Dinosaur Jr., Kurt Vile, the Hop Along record, that was great. So, I love the way it sounds. It’s very direct. And I think it’s very likable. But I never have any idea what people are going to like or not like. Any time I think I know, I’m wrong. I can’t wait for people to hear it. Later this year, probably in the fall.

EF: The Deviynl Splits, are you going to continue doing that?

KD: Not immediately. Because it’s a little more spread out than doing a proper album, but it’s almost the same amount of work. What I think is, I’m going to do this record, then maybe Bad Books is going to do a record. We have to kind of figure how that works with Manchester’s schedule, too. And, I think if we do a third Bad Books record, we’re going to do it as though it were a proper Manchester release, or me release [it] and go tour it for real. Because the second record we kind of did way more than with the first one. And we were happy with how it felt, and how people connected to it. It really got some traction. So maybe, my next record, Manchester’s next record, then a Bad Books record, and then maybe I would do another series of the splits after that.

KD: I would love to. You have to have willing participants, because that was not an easy thing. And nobody made a lot of money doing that. I was shocked they were all so interested in doing it. Really surprised, and it was great. So I would love to do more shows if I get six partners who are as interested in traveling in a van for the weekend and making next to no money. (

) But that is not every professional musician’s modus operandi. But everyone was really stoked to do it. It felt really communal.

EF: I liked that you were playing bass, or whatever, on other people’s songs. It was cool.

KD: It was cool for me, and it was cool for my band. We learned like 30 songs. Between my set and the other performers every night, I think we were on stage for like 3 ½ hours a night. So you can’t do much more than three of the shows.

EF: I’m sure a full tour would be a logistical nightmare.

KD: You couldn’t tour that for a number of reasons. But, yes. There’ll be more.

EF: Were the splits inspired in some way by the Bazan Monthly series? I see you guys interact a bit online.

KD: No, they weren’t inspired by that. I didn’t know he was doing that. And I asked him if he wanted to do a split. David and Bob (his manager), were both like, “Yeah, of course, it would be cool. But let’s figure it out.” And it was back and forth, and back and forth, and he was like, “I don’t think I have time, if I’m trying to do this other thing, to do that too.” So, he would be at the top of my list for the second series, for sure. But, no, it was not directly inspired by that, it was coincidental. But, also, that’s not to say there isn’t any number of things he’s done, or the way he does what he does, or the kind of philosophical approach he has. It’s totally inspiring.

EF: I read your review of his album with the Passenger String Quartet, and it was really good.

EF: Arlington Theatre in Arlington, MA. It’s a movie theatre, and they set up a stage.

KD: I ask out of curiosity. Because he’s one of those people, we talk but I don’t ask him, “Hey do you care that you’re not more popular?” But I think he’s so good.

EF: But you’re on that level too. I feel you should be way more popular, not to say that you’re not popular.

KD: Well, thank you. No, I have an awareness of where I do and don’t sit. And sometimes I would like to be, I go back and forth about this. Because I’m like, “You know what, dude, you get to do things like today. Where you fly to another city, to play your songs, and you’re given money for it. And that’s a very far cry from, “I wish I could write a song that anyone would listen to. I wish I could play an open mic and have anyone pay attention to it.” I understand that I’ve developed a career and that’s something to be grateful for, and not taken for granted. And also, there’s times where you look in your neighbor’s yard and say, “Why aren’t I as popular as so and so? Why don’t as many people talk critically about my music? As much as so and so?” We all have egos. But most of the time, I’m happy where I am. Or try to be. And worry about my own grass. I feel that way about Bazan. I think he’s the f**ing best. I really mean that. Talent-wise, and consistency-wise, he’s at the very top of living songwriters for me. A very short list.

EF: A lot of your songs are politically influenced. Has this current election, and the circus it’s become, been a source of inspiration?

KD: I wrote the record in October 2015. So there was no reacting to Trump, and Cruz specifically. And there’s no pro-Bernie song on the record. But there’s a song on the record that’s about the American political cultural climate, that I think the closer we get to the election, feels like it was a reaction to that stuff. But there’s a little bit more “camera pulled back.” It’s not specifically about that.

Interruption by the custodian knocking on the door

But Bernie’s not perfect. None of them ever are. But he’s [the] closest thing to a major party candidate that I’m full-throated in my endorsement of. Because he’s kind of a third-party candidate that happens to be a Democrat. He’s not quite Ralph Nader, but he’s not too far off. I think his is a campaign of ideas, anyways. It’s not as much about him, as it is about everyone who has become inspired by it. But I’m rooting for him.

EF: Songs like “No Time Flat,” that came out ten years ago are still very relevant today. Does that concern you at all? It’s like you wrote it yesterday.

At this point the custodian is kicking us out. Kevin is offering me the extra food from the dressing room while we put it in a bag for him to take to the hotel with him. I took a couple of apples

). I definitely think they’re still relevant. I remember when “No Time Flat” came out, talking to Fred Feldman (of Triple Crown Records) about, “Do you think it’s too topical, this song? And that it’s not going to be relevant by the time the record comes out?” And that was 11 years ago. But I would prefer that it wasn’t relevant. But it does concern me. I’m not thrilled that the climate is still f**king awful. I mean, not awful, scary. It’s scary to see how degraded political dialogue has become. Trump is just what they made him. The climate they have fostered for the past 15 years made a clear path for a guy like him to resonate with people, and bring people out of the woodwork, that are really scary. I’m less scared of Trump than I am of the people who support him. He’s giving them a mainstream voice. And you can’t put that back in the box once it’s out. So I’m more curious about what happens next with his supporters than I am with him and this election. I have a hard time thinking he’s going to win a general election. But even if he doesn’t, those people are just going to go away? Now they’re out. The fact that they think Paul Ryan could be the nominee when he hasn’t even declared himself a candidate for that role is scary.

EF: Congrats on your new daughter. Are you afraid some day she’s going to stumble upon the 

(Now we’re trying to get on the elevator, and some guy, who Kevin thinks might be drunk, is talking to us. Kevin offers him some of the food in the bag and he takes the loaf of bread. He couldn’t figure out how to unwrap it, so bites through the bag with his teeth, takes a bite of the bread and says, “Yummy.” Then puts the rest of the loaf back in the bag. Super awkward exit.)

KD: That was awesome. I think he’s drunk. That is the least of what I worry about, that I’m in on the internet.

EF: I like the Manchester podcast, when you’re in the batting cages letting yourselves get hit with the ball.

KD: I feel like there is a whole lot of embarrassing sh*t that her father’s done. We will see the extent to which it surfaces. But it’s there.

And that’s it. I’m super glad he was willing to sit down and talk with me and I hope I get to do it again in the future. Kevin, you’re Devine.

Q&A with Kevin Devine

Deer Tick: “Acoustick” at the Somerville Theatre – Somerville, MA

Mandolins, bouzoukis, and fifes, oh my! Yes, boys and girls, Providence, Rhode Island’s beloved Deer Tick played an “Acoustick” show at the Somerville Theatre as part of their acoustic tour. The show consisted of Deer Tick playing their own tunes and a couple of covers, just with (mostly) acoustic instruments instead of their usual electric guitars. It’s that age-old publicity thing that all bands seem to do, that doesn’t always work out. In this case, though, it was awesome.

Deer Tick, already a pretty heavily folk and old country western influenced band, plays music that is very suited to be performed with acoustic instruments. And the arrangements that John McCauley and his very talented cohorts created worked really well. Ian O’Neil’s (looking like Bob Dylan wearing a crazily colored psychedelic shirt and a bit of a ’fro) amazing guitar work sounds just as good on an acoustic guitar and a mandolin as an electric. McCauley, in addition to his acoustic guitar, broke out a fife, played on “Smith Hill,” and a traditional Greek stringed instrument called a bouzouki. It wasn’t fully an acoustic show, as both played electric guitars—Chris Ryan played an electric bass when not playing his standup bass, and Robert Crowell’s keys were plugged in. But the night showed a softer, more intimate side of the normally raucous and wild Deer Tick show.

’s “Twenty Miles,” the band played a nice mixture of old, newer and some brand-new, unreleased songs. During 

’s “Smith Hill” McCauley whipped out a fife-like flute from a little sleeve-looking apparatus on his mic stand to play the intro and bridge melody on. Afterwards, drummer Dennis Ryan sang and played drums on “Clowning Around,” which was met with whoops and audience members shouting “Yeah, Dennis!” I guess when you only sing one song, if you do it well the audience appreciates it.

The band played a couple of classics from their first record (my personal favorite) 

, like “Nevada” and “Art Isn’t Real (City of Sin).” And after a brand-new song, “Only Love,” McCauley sauntered over to a keyboard while rolling up his sleeves because, “this here’s a fighting song.” After threatening to beat up every one of his band mates after the show and telling the story of the time he and Dennis almost fought because McCauley tried to dump a cooler of ice on him, he launched into a 

 style rendition of “Christ Jesus.” The 

 version of that song is arguably much better with the raw, distorted electric guitars, but this piano version fit the acoustic vibe of the show well.

After another brand-new song (“Cocktail”), and a Velvet Underground song (“Pale Blue Eyes”), Deer Tick finished off their main set with an extended version of “Mange.” Each band member took a little solo before leaving the stage. McCauley went first, and afterwards gave the audience an awkward, humble little bow. Of course they came back to the stage a minute or two later for the encore (Surprise!). The encore had a cool version of “Main Street” and a cover of “Dirty Old Town” by The Pogues. They ended the show, like they almost always do, with their most popular song, “Ashamed.”

All-in-all, the “Acoustick” show was a cool experience. It was almost like Nirvana’s (Deervana?) MTV Unplugged set, providing a stripped-down perspective of their usually loud electric songs. And the quieter acoustic instruments didn’t blow my eardrums out like the last time I saw Deer Tick play. McCauley thanked the audience for paying attention and caring, sighting the other venues on this tour, bar rooms and less refined rooms, as being “less appreciative” of the acoustic arrangements. I, for one, appreciated the effort, McCauley, and as always, F*CK DEER TICK!

Deer Tick: “Acoustick” at the Somerville Theatre

Devinyl Splits No. 6 – Kevin Devine, Jesse Lacey

The Devinyl Splits, put out by Bad Timing Records, is a series of 7” vinyl split singles featuring Kevin Devine and assorted musician friends. The records consist of a single on each side, one song from each artist. So far, Devine has paired up with artists like Meredith Graves, Tigers Jaw, and Cymbals Eat Guitars. Now, for the sixth release in the series, Kevin Devine has teamed up with his friend and Brand New frontman Jesse Lacey to cover two different R.E.M. songs, “Bad Day” (Lacey), and “Imitation of Life” (Devine).

The original R.E.M. song “Bad Day” was a previously unreleased song, later being released on 

 The band performed an early version of the song in 1985 in Albany, NY, and it is often considered to be a predecessor to “It’s The End of The World As We Know It (And I Feel Fine)” as it is similar in message and style.

Lacey’s version of “Bad Day” is a very cool acoustic cover, starting out with some hectic guitar feedback before kicking into the first verse. His pained delivery fits the anti-media message of the song. Providing harmonies and background vocals for himself, the Brand New singer doesn’t just copy Michael Stipe’s original vocal performance, but makes it his own while still honoring the original. Lacey’s voice is a good fit for this cover of “Bad Day.”

 “Imitation of Life” – Kevin Devine

Kevin Devine is an artist that, to me, can do no wrong. His cover of R.E.M.’s 2001 song “Imitation of Life” is a much mellower version than the original. With just voice, acoustic guitar, and a subtle-yet-effective string arrangement, it is much more intimate than R.E.M.’s bigger sounding original.

During the chorus, it sounds like Devine’s voice is double tracked, giving the chorus a little more weight than during the verses. The wobbly way Devine sings the “no one can see you cry” line sounds very genuine and sincere. The strings provide an old-timey, dreamy vibe that the original lacks, giving credence to the song being an “Imitation of Life.”

I’m not sure if these two songs are “the greatest thing since bread came sliced,” but I think they are the best two covers in the Devinyl Series. Keep doing what you do, K-Dev.

Devinyl Splits No. 6 – Kevin Devine | Jesse Lacey

Album Review: Thoughts That Float On A Different Blood – Dustin Kensrue

Where can you hear Lorde, Bruce Springsteen, Brand New and Tom Waits all from one stage? Why, it’s Dustin Kensrue’s new live album of cover songs, 

Thoughts That Float On A Different Blood,

 of course. Recorded during two shows last December in Santa Ana, California, the Thrice frontman gives us ten cover songs ranging from old to new. Kensrue brings his brand of deep, dark and booming vocals to songs by somewhat extremely varying artists like Cold War Kids, Radiohead, Miley Cyrus and Leonard Cohen.

For a live record, the sound quality is pretty good, and the audience isn’t distracting at all, waiting until the songs are over and then some to applaud. These renditions are interesting, and for a lot of the covers it brings a cool new light to the songs. Some songs, such as “Buzzcut Season” by Lorde, don’t work as well as Kenrue’s acoustic version of “Wrecking Ball.” Highlights of the record are the awesomely done Counting Crows’ song, “Round Here,” and “Down There By The Train” by Tom Waits. On “Round Here” in particular, Kensrue doesn’t just stick to the original, but changes the melody around a bit to fit his style better, with great results. And the Tom Waits’ cover (which I saw Kensrue end a live, acoustic show last April with) is incredible and goose bump raising. The record is a fun treat for fans of both Kensrue and the various artists that he covers.

Album Review: Thoughts That Float On A Different Blood – Dustin Kensrue By Evan Frye

10th Anniversary Remastered: Rabbit Fur Coat – Jenny Lewis With The Watson Twins

If “you are what you love,” then I guess I’m beer, salsa con queso, and 

. The record, which just turned 10 years old, was released in January 2006 and features some of my favorite musicians. In addition to the wonderful Jenny Lewis of Rilo Kiley and the indie-country duo The Watson Twins, Conor Oberst (of Bright Eyes), Ben Gibbard (of Death Cab for Cutie), and M. Ward all appear on the remastered album. And on a cover of the Traveling Wilburys “Handle With Care” no less.

This rerelease comes on red vinyl (the same hue as the dress Jenny Lewis is wearing on the cover) and has been remastered for its anniversary. So, after eating some chips and queso, drinking a beer, I’m going to go through each song, one by one. I suggest you listen along while reading this. Enjoy.

The three-part harmony of this song, repeating the title over and over, gives a preview to the minimalistic approach to the album. Less is more. The song is mostly acapella, with a little acoustic guitar being strummed very softly in the background if you listen carefully. It’s a somber, slow intro to 

, but “Run Devil Run” serves to exorcise the demons, and clear the path for the rest of the album.

“I’ve won hundreds at the track, but I’m not betting on the afterlife.” This questioning of religion is something Lewis really explores a fair amount, especially later throughout the album. This upbeat instrumental, with its driving acoustic guitar and pounding drums, fits nicely with Lewis’ and the Watsons’ harmony in the chorus. “Why am I always messing with the big guns?” is a blanket statement we can all relate to. Why am I doing this? Why am I trying to do something I can’t? It’s a short, but powerful song about being powerless.

, Lewis said this was her favorite song on the album. It’s a catchy, soulful, classic-sounding rock tune, with beautiful harmonies by the Watsons. When Lewis sings “Thought I saw you in Vegas, it was not pretty, but she was,” the Watsons sing “Not your wife” overlapping the end of the phrase. It’s simple little things that set the record apart. It’s a great tune about overcoming obstacles, especially yourself. “I will rise up with fists, and take what is mine.”

 “I’d rather be lonely, I’d rather be free.” “Happy” is a country/folk-inspired song. It encompasses the idea of wanting solitude, and the freedoms that presents, but still being drawn to someone who could make you happy. Just a simple acoustic guitar accompanying the first verse and chorus, with a subtle electric guitar coming in during the second (and my favorite) verse until distorting and feeding back until the end. Like Lewis says, we all “worry about cancer and living right,” these days.

 This brings us back not only to the questioning of a higher power from “The Big Guns,” but the questioning of lots of things like government, and other groups. “It’s a surefire bet I’m gonna die, so I’m taking up praying on Sunday nights,” is a great way to address the existential fears we all feel. It’s a rather serious topic for a swinging country-folk song. However, sometimes all we can do is “share with our friends a couple of beers, in the belly of the beast.” We’re only human.

 A whispered vocal, acoustic guitar, a little piano, and haunting harmonies. This is a powerful ballad about never living up to your own expectations and losing the person you once were. The last verse is about sleeping with someone you don’t really care about and how it can make you “hate yourself in the morning.” It’s a sad song, but “like a Valentine from your mother, it’s bound to melt your heart.”

 With the drums like a march, this song is a declaration of an ideology. “You are what you love, and not what loves you back” are words to live by. Lewis sings about insecurities in a relationship, and not wanting to be “yours for the taking.” She calls herself a “coward” and “fraudulent,” trying to persuade the person who loves her not to. It’s an illusion, a front, not to allow oneself to be potentially hurt by someone. But, at the end of the day, you’re on that person’s “doorstep, pleading for you to take me back.” This vulnerable track exposes Lewis’ self-doubt and somewhat destructive nature on the pursuit of happiness.
 

 Reminiscent of old folk songs that tell a story, Lewis sings about her mother and her “rabbit fur coat.” Her mother is poor, but has this rabbit fur coat, and a rich lady throws her into a river. The mother goes to the lady’s mansion and seduces her husband out of revenge. The story then jumps 20 years in the future and the mother is waitressing in a diner, then they move into a mansion. It’s a confusing plot, really. By the end, Lewis doesn’t know where the mom is, but last she heard she was “putting that stuff up her nose, and still wearing that rabbit fur coat.”

A cover of the Traveling Wilburys, the classic rock supergroup with Bob Dylan and Tom Petty, etc., with a whole new super group. The song, in addition to Lewis with the Watson Twins, features Ben Gibbard, Conor Oberst, and M. Ward. It’s a pretty awesome cover, and fits well with Lewis’ originals. Plus, Conor Oberst sings my favorite line in the song, “I’ve been uptight and I’ve made a mess, I’ll clean it up myself I guess.”

 Back to the religious themes for this deep cut on the album. With the Watsons as their own little choir, Lewis looks for god. “God goes where we wants, and who knows where he is now, not in me.” Set over an almost waltz drum beat, with a piano reverberating like in a mighty cathedral, “Born Secular” feels like an old hymn Lewis updated to fit her feelings of being lost and alone. “God gives, and he takes, from me,” serves as the outro line, repeated over and over while fading to the background as the drums kick it up a notch and the Watsons bring us out with an array of “ahhhs.”

 Another slow, ballad-esque song, but this time set over a solo electric guitar. “It Wasn’t Me” is Lewis’ phrase to avoid responsibility for her actions and their repercussions, and the “humiliation, that’s free,” that follows. She alludes to sleeping with someone she shouldn’t have with “it wasn’t me, I wasn’t there, that’s not my lover, that is not even my friend.” Alcohol probably paid a part, “it wasn’t me, I wasn’t there, I was stone drunk it isn’t clear. And it doesn’t count, because I don’t care.” “It Wasn’t Me” is the last stand-alone song on the album, and Lewis “ends with a closer” and says “goodnight.”
 

 The “Happy (Reprise)” is just the chorus from “Happy” over and over, but sounding very far away. There is also a prominent woodblock percussive sound keeping time at the forefront of the song. It’s a fitting end, because 

 leaves us feeling “happy, so happy.”

. It’s been ten years since its release and it still holds up today. Love, loss, existential/religious crisis, and our search for happiness despite ourselves getting in the way all addressed and wrapped up in a beautiful red vinyl record for us to enjoy again and again. Jenny Lewis and the Watson Twins are doing a couple shows to celebrate the anniversary of 

, so let’s hope that their playing together again will inspire another record. If not, we’ll always have our 

Album Review: Rabbit Fur Coat by Jenny Lewis With The Watson Twins  (10th Anniversary Remastered)

Deer Tick: Narragansett’s 125th Anniversary – Lupo’s Providence, RI 1/2

LOUD! Too loud, is how I would describe Deer Tick at Lupo’s Heartbreak Hotel in Providence, RI. Granted, that could partially be the fault of being right up against the stage in front of the giant PA speakers, but that location wasn’t my choice. I blame my idiot friends, and also the Lupo’s sound dude.

Don’t get me wrong. I love Deer Tick. I’ve seen them multiple times before this show and already have tickets to see them again in March at an acoustic show they are playing in Somerville (hopefully at a lower volume). And even though the volume in the room was so loud I felt physically ill, the band was great. John McCauley, with his gold tooth and Bob Dylan-on-crystalmeth voice, and guitarist Ian O’Neil shredding away were amazing per usual, and the Ryan brothers, Chris and Dennis, held down the rhythm section without a problem.

My night started off by being handed a Narragansett koozie (which I’m using while writing this) by a ’Gansett Girl. After being dragged down to the very front of the stage, to the exact spot I watched Deer Tick from the first time I saw them, coincidently, McCauley started the show off by thanking Narragansett and telling everyone that the day the ’Gansett factory moved out of Rhode Island was the day his grandfather quit drinking for the rest of his life.

The show started off with “Main Street” from 

 and then “The Dream’s in the Ditch” from their latest record. Next was the crowd pleaser from their first album 

“Art Isn’t Real (City of Sin).” They tore through a couple of 

 songs like “Nevada,” “Dirty Dishes” and the classic and my personal favorite, “Ashamed.” And not the “lounge version” of “Ashamed” like the last time I saw them, with just McCauley and saxophonist Rob Crowell. No, this was the bona fide “Ashamed” with McCauley using the banjo picks on his electric guitar.

Mid-way through the show, McCauley’s wife Vanessa Carlton (Yes, that Vanessa Carlton who sings “A Thousand Miles”) came up and sang the duet, “In Our Time” from Deer Tick’s 

. After that a Springsteen cover, “Hungry Heart,” and then another old classic, “These Old Shoes.” McCauley also sat down at a keyboard and plucked out “Goodbye, Dear Friend.” It was a pretty vulnerable moment for the singer who usually finishes the 12-pack of beers he brings on stage. The song is, of course, about a friend of his who suffered an untimely death.

After the obligatory band-leaves-the-stage-so-they-can-do-an-encore, Deer Tick returned with a super-long and jam-y rendition of “Mange.” For the final number, and a complete free-for-all with half-full cans of ’Gansett flying all over the room, they ripped through “Let’s All Go To The Bar” in typical sloppy Deer Tick fashion.

They’re maybe not the greatest band, but Deer Tick is one of the few rock bands that live that authentic, degenerate, rock ‘n’ roll lifestyle (at least on stage). And, best of all, they’re just plain fun to see. Until next time, F*CK DEER TICK!

Deer Tick: Narragansett’s 125th Anniversary

David Bazan is a bit of a live performance innovator. Deciding that touring in traditional venues, with all the costs associated with that such as paying the band, van to travel, etc., Bazan asks for hosts to hold small acoustic performances in fans’ living rooms. Hence, I pull up to a four-unit townhouse on a dark, slightly creepy, road in Allston, MA. I go around the driveway to the back, per the instructions on my ticket, when I run into a group of other slightly confused people looking for the apartment. It’s dark, and we’re all nervously hoping we don’t get murdered here.

So, going to a stranger’s home to see a show is not a new idea. DIY house shows have been around for many years at this point. But, in general, those are in a dirty basement and it is more of a party. When our host Brad greeted us at the door, he took our names and offered us snacks. He had a cheese plate and a veggie platter. It was then I decided we (probably) wouldn’t be murdered tonight.

Watching the end of the Patriots game, a ridiculous come-from behind victory, we waited for the show to start. David Bazan walked into the room silently and picked up his guitar, maybe a third smaller than a typical guitar. Mumbling “Hey,” then launching into a 

Being in a living room, the format was really informal. Bazan took questions from the audience in between songs. Of course, in situations like this, there’s always someone asking stupid questions. For this show, it was Bandana Guy (guy wearing bandana on his head, took every break between songs to ask the stupidest things/request songs Bazan hasn’t played in 20 years). But other than Bandana Guy, a lot of the questions asked were really interesting. Bazan talked about how his Christian record label wouldn’t let him end the 

 record on a dark note. So the last three songs on the record had to be positive and he talked about regretting ending the album with “Promise.” He said he hasn’t played that song in over 20 years.

 songs, Bazan played some of his older songs. After a story about telling his young daughter about the changes her body would soon undergo he launched into “When They Really Get to Know You They Will Run,” a satirical song about preferring girls to look like body-hair-less skinny models. Bazan quickly broke out into laughter, saying, “See, I’ve been helping girls for years.”

Bazan discussed the future of his music. He talked about releasing a new album with the Passenger String Quartet he had previously worked with. Bazan thinks it will be all original songs. He is also working on an album made up of his 

After a brief discussion of politics, Bazan does “Feel the Bern” but also “Felt the Nade.” He ended the show with a great acoustic version of “Strange Negotiations.” He talked about it being about Wall Street and the strange negotiation that the government has with Wall Street and corporations. It was a moving rendition and a very fitting ending to a cool night.

To do a tour of shows in fans’ living rooms is a unique and interesting idea. If it helps David Bazan make money in order to be able to keep making great music I would definitely go again. And now that I am (slightly) more reassured that I won’t be murdered in a ritualistic living room sacrifice, I’ll be able to enjoy it even more.

David Bazan – Living Room Tour (Random Living Room in Allston) – 11/15

Many bands try for that “classic rock” feel. That instrumentation, the vocal style, the lyrics. But many of these bands come across as a cheap imitation of the golden age of Rock ‘n’ Roll. Dawes is not one of these imitators or imposters. They are the real deal.

When Dawes came on, lead singer Taylor Goldsmith said that Boston was the fastest-selling show that they had on this tour. The room was packed with fans. Next to us in the crowd were a couple of women with homemade T-shirts with the phrase “Dawes is Dawesome!” written on them. When the band took the stage and launched into “Things Happen,” the first single off their latest record, 

, the crowd was ecstatic. While singing, and playing the guitar Goldsmith would almost act out the lyrics, singing his name during the lyrics, “Like an honest signature on a fake I.D.” We were hooked.

For the first half hour of the show, they mostly played songs from their newest record. “I Can’t Think About It Now,” “Somewhere Along the Way,” and the album closer (and my favorite song on 

) “Now That It’s Too Late Maria.” With extended solos on each song, they were even better than the studio versions.

Going in almost backwards chronological order with their career, the next segment consisted of a lot from 

, their 2013 album. “Most People” and “Bear Witness” with extensive solos from the band elicited a huge response from the crowd. And “From the Right Angle” foreshadowed the potential of an audience sing-a-long.

Like all bands with an extensive four-studio-album career, you’ve got to play the old hits. Goldsmith and Co. ripped through great versions of “Time Spent in Los Angelos” and “A Little Bit of Everything,” accompanied with a sing-a-long by the crowd. “Peace in the Valley” was by far the most impressive number of the night. It was roughly a 10-minute version of the song from their first studio album, with a solo from each member of the band. Turns out Taylor Goldsmith isn’t just a great lyricist, but can absolutely shred on his guitar. I personally would trade one of my fingers to be able to do anything as well as he plays the guitar.

“Peace in the Valley” wasn’t the only song from 

. “When My Time Comes” was played close to the end of the show. Appropriately, Dawes finished off their amazing set with “All Your Favorite Bands.” They mimicked the video for the song that they released a day prior, with Goldsmith leading the audience through the chorus after the rest of the band had left, like the children in the video. I hope that all my favorite bands do stay together, including Dawes, because they are Dawesome.

Dawes @ The Royale 9/22

Dustin Kensrue and Andy Hull || The Sinclair || 4.26

Opener Tanner Merritt of O’brother put it perfectly when he said, “Welcome to Sad Bastards Anonymous.” He was referring to two giants in the world of sad-guy alternative rock, Andy Hull and Dustin Kensrue, who played at The Sinclair on Sunday 4/26.

Tanner Merritt opened with both O’brother songs, and some solo tunes he had written. But the main show started for most of the audience when Andy Hull (of Manchester Orchestra) took the stage and said “Good evening. I’m Chris Martin from the band Coldplay,” and then tore into an acoustic version of Manchester classic “Wolves at Night,” similar to the one found on Let My Pride Be What’s Left Behind. The Chris Martin jokes didn’t stop (“I know what you’re thinking, ‘Wow, Coldplay doesn’t suck anymore’”), and neither did the great songs. Playing from his entire catalog of material ranging from Manchester Orchestra, Right Away, Great Captain!, Bad Books, and an Andy Hull solo song about Barry Bonds being on steroids, Andy covered most of his career. He did this in his distinct style of aggressive-yet-quiet singing and finger-picking method of guitar playing, much to the audience’s delight.

In the middle of his set, he played four Right Away, Great Captain! songs, including “What A Pity.” Andy talked about how that song was used in an episode of 

, in which a short guy wanted leg extensions. Midway through the song he shouted out, “This is where the operation happens; it’s an 85-second song and they used it in like most of the episode!” For a man with such sad songs about loss, and being cheated on and going off to sea, Andy was incredibly funny and personable throughout the show. He remarked about himself briefly, “I’m not sure sometimes if I’m supposed to be playing songs up here, or I’m a stand-up comedian.” Who says they need to be mutually exclusive, Andy?

The highlight of Andy’s set was “Colly Strings” from I’m Like A Virgin Losing A Child, with the chorus of “The River” from Mean Everything to Nothing. The closing tracks “After the Scripture” (used in 

), and a song he wrote for his wife called “Married.”

Dustin Kensrue of Thrice was the main headliner of the show, having just released a new album titled Carry the Fire. He opened with “Pistol” and followed it with a Thrice tune, “A Song for Milly Michaelson.” Dustin basically bounced between his new record and his first solo album Please Come Home, with tracks like “Consider the Ravens” and “I Knew You Before.” But the new material fit well with the old. Dustin said before playing the new song “What Beautiful Things” that he wasn’t happy with how he played it at the show the night before. It sounded fine to the audience, but immediately after he finished the song he took out his iPhone and said to Siri, “Set alert at 3PM tomorrow to practice ‘What Beautiful Things’” as everyone laughed.

Dustin played two cover songs, about as different from one another that songs could be. He first played Lorde’s “Buzzcut Season” which actually worked incredibly well with his gravely deep voice and acoustic guitar. Finally, for his encore, he played Tom Waits’ “Down There By The Train,” claiming that Waits was one of “his favorite humans.” The powerful cover closed out a truly memorable meeting of Sad Bastards Anonymous.

Dustin Kensrue and Andy Hull @ The Sinclair 4/26

Kevin Devine never disappoints when he plays. He gives the crowd what they want every time, and is always the gracious and appreciative performer and human being. When I arrived at the Sinclair, Kevin was standing at the merch table, selling shirts, talking to fans, and listening to me embarrass myself a bit as I told him, “I’m a huge fan. I love you, man.” He said thank you and posed for a picture with me.
The Sinclair was packed with people, all excited and ready for the show. The opener Laura Stevenson fit well with the headliners, and Into It. Over It was great as well. But the main show, as always, was Kevin Devine. Opening with a classic “Yr Dammed Ol’ Dad,” Kevin was happy to be there and ready to entertain. He ran through classics like “Longer That I’m Out Here,” “Just Stay,” and “Cotton Crush,” along with newer gems like “Carnival” and “Private First Class.” There wasn’t much chit-chat between songs, but there didn’t need to be. Kevin’s songs speak for themselves and tell all the stories we want to hear.
Finishing with an updated version of “Ballgame” (my personal favorite), the night was complete. Kevin Devine delivered again. Having seen him both solo and with the Goddamn Band, he continues to cement his place as my favorite songwriter/musican/human being. I Do Care About Your Band, Kevin.

Kevin Devine @ The Sinclair 2/6

This past sunday I had the distinct pleasure of seeing Kevin Devine and the Goddamn Band at the intimate Brighton Music Hall for the last stop of his fall tour, and it was a goddamn treat. Kevin Devine is the antithesis of the self-pleasing, hedonistic rock star portrayed on the covers of magazines and billboard charts. Devine plays each and every beautifully crafted song from his 7 album arsenal as if it’s his last. Often times throughout his set, his spasmodic swings and jerks of his guitar were reminiscent of the scene from the first Harry Potter movie where Harry is attempting to tame his broom, along with the fact that Devine’s ability to tame the audience is nothing short of magical.

Playing songs like “Nobel Prize” and “She Can See Me” off his recently released, crowd-funded albums, Bubblegum and Bulldozer, along with older fan favorites such as opener “Cotton Crush” and “Another Bag of Bones”, Devine and his backing band didn’t blink throughout their blistering, hour and a half set. Utilizing several props such as an iPhone and a tin can used in songs like “Brother’s Blood” to add a haunting, screech to the already chilling tune, there was nothing off-limits throughout the Brooklyn natives performance. With lyrical content ranging from political protest to lament of lost love, there was also no emotion left untapped by Devine’s uncanny ability to toy with listener’s emotions.

Following the short breath of air Devine and the band received after their extended blues jam within “Brother’s Blood”, Kevin welcomed the entire lineup of opening acts, Now Now, and Harrison Hudson, onto the stage to join him and the Goddamn band in a hilariously tangled six song mashup consisting of “Sweet Child of Mine”, “Round Here”, “Ignition Remix”, “Enter Sandman”, “Stir it Up”, “Lose Yourself” and ultimately finishing with “Stan”. After the opening acts and Devine’s backup band exited the stage at the conclusion of the mega-mashup, the lights dimmed with a lone Devine front and center bearing only his acoustic guitar. What really touched me at this point was that once again, when Devine was the center of attention with all lights on him, he continually thanked everyone on his team for their efforts throughout his career and proved himself to be a selfless, humble man. Closing with the softly spoken “Little Bulldozer” and “Ballgame”, all 476 members of the crowd were once again in complete unison with Devine’s voice and echoed every note, lyric and expression of sincerity.

Kevin Devine might not make Rolling Stone’s list of best live performers in this or any of the coming years, but he doesn’t have to. Putting on one of the highest energy and complete shows I’ve ever seen, all the while staying in character, I can confidently say that not one person could walk away from Brighton Music Hall the night of the 24th not feeling in debt to Devine’s homegrown and humble efforts. If you have the chance to see him perform in the near future, you’d be a fool not to.

frye.e