Women & Work, by Lucero
Lucero jumped on the major label train for their last release, 2009’s stellar 1372 Overton Park. Things didn’t go quite as planned but Lucero are a band that just won’t give up. Good thing, too, as the band are in peak form with a sound that marries their bar band roots with the soulful heritage of their native Memphis.

“Like Lightning” is a great example of how it all comes together. Rick Steff’s boogie-woogie piano opening the song before Brian Venable‘s guitar chimes in and the rhythm section of John Stubblefield and Roy Berry kick in with a heavy beat. And then there are the horns, which add real depth and character to the song.

The title track hearkens back to the bars of Lucero’s youth. A wisened Ben Nichols offers, “Now it’s one shot of women, one shot of work, one shot’s sweeter but both can hurt; Just let it go kid, just let it go.” Of course Nichols ignores his own advice on the rousing “On My Way Downtown,” pleading with a woman to meet him for a drink. “I ain’t looking for forever, I ain’t asking for your hand,” he sings, “I’m just on my way downtown, And I thought I’d take a chance.”

I love the burning intensity of “I Can’t Stand to Leave You,“ all the more so for the restraint in the band’s performance. They prove equally skilled on “It May Be Too Late,” a ballad that bristles with a southern soul.

Quite simply, Women & Work is the sound of a band kicking back and having a good time. And there is nothing wrong with that.

Audio Stream: Lucero, “Like Lightning”

(See what other members of the Twangville posse have to say about Lucero’s latest release here.)

THE PLAYLIST
See Me Through, Josh Ritter (from the Pytheas Recordings release Bringing In the Darlings)
Love, whether thriving or troubled, has been the inspiration for countless songs. On his recently released ep, Ritter carries on the tradition as he explores the crevices of a failed relationship. While it is hard to say that Ritter finds answers to his questions, there are few artists who tackle them with as much intelligence and thoughtfulness.

Where are the statues, colossal and bronze
That stood at the gates of our great love and kept watch
And now over the hills, over the horizons somebody’s army advances
I had faith in you darlin,’ even when I questioned our chances

Audio Stream: Josh Ritter, “See Me Through”

(See Jeff’s take on Josh Ritter’s latest here.)

On the Banks of the River Where I Died, Anthony D’Amato (from the self-released Paper Back Bones)
There’s a timeless quality to this track from D’Amato’s latest release, like an old folk tune reincarnated for another life. Against a rollicking beat, punctuated by harmonica and rinky-dink piano, D’Amato tells the tale of a fugitive on his last days. “Tell my wife and brothers that I’m sorry, tell my sons and daughters that I tried, all I ask is that you lay my body by the banks of the river where I died.”

Says D’Amato of the track, “I was thinking about what Woody Guthrie would be singing about if he were alive today when I wrote it. I expect he’d be happy about a lot of the progress we’ve made, but he’d sure be disappointed about how little some things have changed.”

Audio Download: Anthony D’Amato, “On the Banks of the River Where I Died”

Get Back, The Right Ons (from the Love Monk release Get Out)
This quintet from Spain knows how to rock. They’ve just unleashed a raucous new record filled with thunderous guitars and pounding beats sweetened by the right amount of vocal harmonies. And as good as they sound on record, they sound even better live. So when is the next US tour, boys?

Audio Download: The Right Ons, “Get Back”

Fourth of July, Dave Alvin (from the Yep Roc Records release Eleven Eleven Expanded Edition)
I’m usually not a fan of re-released “expanded edition” releases, even more so for albums that aren’t even a year old. I’ll make an exception for this one, though, as the bonus live cd is simply spectacular. Alvin and his band the Guilty Ones were clearly in fighting shape as they passed through Ann Arbor, MI in July 2011. They tear through selections from the latest release and a few choice Alvin classics. Here’s the crew performing one of my all-time favorite songs.

Audio Stream: Dave Alvin, “Fourth of July”

Why Would You Not Want to Go There?, Hoots & Hellmouth (from the sonaBLAST! Release Salt)
The Philly folksters offer up a study in contrasts, mixing melancholy and daydreams just as they surround acoustic guitars with an atmospheric glow.

Audio Download: Hoots & Hellmouth, “Why Would You Not Want to Go There?”

You Possess Me, Marvin Etzioni (from the Nine Mile Records release Marvin Country!)
The former Lone Justice guitarist invited an outstanding roster of friends and fellow musicians to join him on this impressive double-release. Duet partners range from Steve Earle to Lucinda Williams to Richard Thompson while the musical cast includes Buddy Miller, Gurf Morlix and Greg Leisz, among others. Pretty darn impressive. I’m partial to this track that features Etzioni’s former bandmate Marie McKee on guest vocals.

Audio Stream: Marvin Etzioni, “You Possess Me”

No Plans, Cold Chisel (from the forthcoming Warner Records release No Plans)
One of Australia’s finest rock and roll bands returns from an extended hiatus (14 years) with a powerhouse new collection. Singer Jimmy Barnes has one of those classic graveled rock and roll voices; his bandmates rock with a steady yet ferocious abandon. “I’m feeling no pain, I got no iPhone plugging into my brain, I’m hanging all alone in the sun, smoking a cigarette, no plans. Yeeeah, fuck you.”

Audio Stream: Cold Chisel, “No Plans”

Dr. John has recorded steadily over the years, weaving a tapestry of work featuring the various strains of music prevalent in his native New Orleans.  But with his latest release, Locked Down, Dr. John returns to that familiar foundation he laid down in Gris-Gris.   With the support of The Black Keys’ guitarist Dan Auerbach, Dr. John has created a work that would fit in well with those earlier works. 

There are numerous strong tracks on Locked Down, each of which reveals Dr. John’s penchant for exotic rhythms and eery sound effects.   The opening title track incorporates a familiar groove reminiscent of Dr. John’s more mainstream funk of In the Right Place, as does the second track, “Revolution.”  But the third track, “Big Shot,” takes the next step into a spaced-out weirdness that at moments echoes Gris-Gris.  For a taste of Dr. John’s delicious keyboard work, check out ”Ice Age.”  ”Kingdom if Izzness” is classic Dr. John, and “Eleggua” incorporates the kind of rhythmic cool madness that made Gris-Gris so memorable.             

With Locked Down, Dr. John proves he is still in top form.

I’ve been fortunate enough to have attended quite a number of multi-day music festivals over the years, from the Veiled Prophet Fair to the Monterey Jazz Festival and Telluride to Hardly Strictly Bluegrass.  For my money, though, it’s really hard to beat the Old Settler’s Music Festival.  Held 20 miles or so outside of Austin in mid-April, it has an unparalleled selection of music, a reasonable size crowd, and a solid enough vibe to keep everything together even if the weather turns bad.  This year was no exception, and here are a few of my favorite moments from the 25th annual celebration.

The Blue Hit

 Eating From the Palm Of His Hand Award.  The last few years Old Settler’s has branched out some from its historic focus on Americana, and organizer Jean Spivey has been brilliant at bringing in indie acts that keep things fresh without leaving you scratching your head on the line up.  Local up-and-comers The Blue Hit and Lissie are examples, but better still Saturday night main stage closer Iron and Wine.  But for the sheer number of “I Love You Amos” shouts, the Philadelphia native was no doubt an honorary Texan for at least one Friday night.

Brian Henneman of the Bottle Rockets

 Back To My Roots.  There’s always a healthy dose of roots rock at OSMF, and this year was no exception.  James McMurtry blistered the stage Friday night.  Ozark dwellers Ha Ha Tonka did a cover of the Leadbelly song made famous in the 70’s by Ram Jam, Black Betty.  Three hours later walking back to my car people were still singing it.  For outright magnetism, though, the prize has to go to The Bottle Rockets, who did a pied piper number on anyone in the common area about dinnertime Saturday night.

 Audience Participation Award.  You have to give kudos to the Steep Canyon Rangers for their campground set on Thursday night.  What had been an engaged, but slightly sedate, audience for the earlier acts was stirred into a frenzy with the traditional bluegrass and awesome picking of the North Carolina quintet.  And their rendition of The Weight, the night after Levon’s passing, was clearly the best of the many covers honoring the man done over the weekend.  However, for the second year in a row this award has to go to Gaelic Storm.  They don’t just get people singing and dancing, they have people waving their arms, trying to outdo each other shouting, and, last year, riding a donkey (you had to be there).

Kimberly Zielnicki

 Youth Talent.  One of the things that sets OSMF apart from many larger events is the youth talent competition on Saturday morning.  This being Austin, the bar is pretty high, and past winners have gone on to their own recordings and performing with national acts in short order.  This year’s winner was fiddle player and singer Kimberly Zielnicki, who got a cheer from the crowd with her comment before the last song of an encore set, “you can never have enough fiddle songs”.  Tradition is that Miss Zielnicki will get a slot on the main stage next year, and I’ll look forward to seeing her with another year’s experience and some notoriety under her belt.

Sarah Jarosz with Darrell Anger

 Best Festival Moment.  This was sort of the year for NPR darling Sarah Jarosz, what with her main stage return playing to a clearly partisan crowd, and her mandolin workshop with Joe Walsh (not that one, the other one) that drew hundreds of people, most of whom have never even picked up the instrument.  For the real feel of the event, though, my vote goes to the kind of impromptu moment that’s the heart of a festival, yet witnessed by very few.  Woody Platt and a couple of his Steep Canyon Ranger mates were jamming with mandolin virtuoso Frank Solivan (who turned in a really, really sold set with his band Dirty Kitchen earlier in the evening) behind the bandstand long after the lights were off and most people had gone to their campsite.  The minstrels decided they needed a banjo and so walked over to the car where Frank’s banjo player, Mike Munford, was asleep.  They lit into a tune and before they were halfway through, Mike had his instrument out and had joined the fun.  You couldn’t help but grin as wide as the band was.

Audio Download: Antonio Lulic, “Hey, It’s Okay”

Glen Hansard
The skills that Hansard honed while busking the streets of Dublin early in his career haven’t left him. Although claiming to be nervous standing on a stage by himself with a guitar, he performed with a confidence that demonstrated his musical and performing prowess. Hansard has a distinct way of connecting with his audience, one minute delivering a spine-tingling performance, the next minute showcasing his sharp wit with his between song banter. My only complaint? It’s been far too long since Hansard has shared new music with us! The good news is that he will be sharing a new release in June.

Barfield
The self-proclaimed Tyrant of Texas Funk lived up to the title with a raucous set that got the joint jumping. The unassuming Barfield owes as much to James Brown as he does to Bob Wills.

Audio Download: Barfield, “Ask My Baby”

Brendan Benson
Nashville by way of Detroit pop rocker Benson is about to unleash his fifth solo album. I caught Benson play a vibrant afternoon set with his band. His set included a few new tracks mixed in with the old, all boisterous power pop songs that burst with energy. I, for one, am looking forward to the new release.

The Dunwells
The stage where the Dunwells performed their official showcase could barely fit the band. Even more notable, the venue could hardly contain the youthful energy of the their music. The quintet from Leeds, England had a well-honed Americana sound made all the better by the group’s brilliant harmonies.

Audio Download: The Dunwells, “I Could Be a King”

Frank Turner
Turner is the embodiment of rock and roll, a rebellious spirit with an impeccable sense of melody. With just an acoustic guitar he captivates a room, passionately spitting out lyrics one minute then cracking jokes the next.

Gush
I only got a short glimpse of this quartet from Paris but it was enough to grab my attention. The boys are well-studied in the classics, from Neil Young to Queen to the Rolling Stones. They swapped instruments about as much as they traded vocals, making for a really fun set.

Audio Download: Gush, “Let’s Burn Again”

Click here for more Twangville coverage of SXSW.

Photo credits: 30 Days Out (Brendan Benson).

Audio Stream: Bahamas, “Caught Me Thinking”

The Lumineers
I caught two or three (it’s all a blur!) of the Lumineers Austin marathon. The first was an early-afternoon affair at a music club, the second was an evening showcase in a church sanctuary. Both were magnificent, showcasing the band’s intelligent songwriting and heart-felt playing. They engaged the crowd with their sing-along choruses, stepping into the crowd at the club and spreading around the church sanctuary to create what they deemed “surround sound.” Two venues, two equally incandescent performances.

Audio Download: The Lumineers, “Ho Hey”

Lydia Loveless
Fresh from her appearance at our Columbia showcase, Loveless and crew tore through Austin with their firebrand mix of country and rock-and-roll. I saw one critic complain about performers playing covers during their official SXSW showcases, which made Loveless’ opening cover of Fleetwood Mac’s “You Can Go Your Own Way” even ballsier.

Audio Download: Lydia Loveless, “Can’t Change Me”

Tom Morello
One might suspect that the former Rage Against the Machine guitarist, having spent time touring stadiums and arenas, would be a seasoned live performer. Seeing him do his solo thing as “The Nightwatchman” merely confirms the fact. Backed by a ferocious three-piece band, Morello unleashed a firestorm from his acoustic guitar. I caught Morello twice and each set was filled with songs of protest and rebellion, every one packing a lyrical punch yet catchy as hell. Morello typically invites the crowd onto the stage for his closing number and Austin was no exception. Far be it for me to refuse the invitation and here is my picture to prove it.

Audio Download: Tom Morello, “It Begins Tonight”

James McMurtry
The first show that I saw in Austin was James McMurtry playing to a small crowd at the Continental Gallery. I can’t imagine a better way to start the Austin experience than seeing one of the town’s talented sons play an intimate solo acoustic set. It would be easy to say that McMurtry is a favorite because of his dry and biting wit, but that just doesn’t do him justice. His songs are filled with rich story-telling and vibrant detail, often overshadowing his guitar-playing prowess. “Levelland,” a personal favorite, was played much slower in tempo, giving the song a much more somber feel.

The Biters
There are times when you want to get lost in an unbridled guitar attack. When those times arrive, seek out the Biters. The Atlanta quartet will wallop you with their guitars while simultaneously pumping you up with sugary melodies. It’s addicting!

Audio Download: The Biters, “Born To Cry”

Bob Mould
A few days before SXSW Mould announced that he had signed to Merge Records and would be releasing a new album this fall. To get everyone primed – or perhaps just to celebrate the occasion – Mould dusted off Sugar’s Copper Blue and played the album from start to finish, with a few extras thrown in for good measure. Mould, backed by bandmates Jon Wurster (Superchunk, the Mountain Goats) and Jason Narducy (Telekinesis, Robert Pollard band), cranked up his guitar and played with an intensity that left no prisoners.

Audio Stream: Sugar, “Helpless”

Click here for more Twangville coverage of SXSW.

Photo credits: John McNicholas (Tom Morello); Erica Bruce/Between Love and Like (Bob Mould).

The keynote speech was clearly geared towards the musicians in attendance. Springsteen delivered a rollicking history of rock and roll with the personal perspectives on how it influenced his music. It was filled with humor and a rock and roll attitude, plus a few acoustic guitar performances to illustrate his points.

If there was a singular message, it was that musicians need to fully commit to their craft. Without directly saying so, he cautioned that there are no shortcuts to success. He stressed the importance of studying those who came before you to learn from their experience. And he counseled that the live show matters, both to sharpen your style and build your audience.

You can view the entire Bruce Springsteen SXSW keynote speech here, courtesy of NPR.

Springsteen continued the lesson that night with a special performance with the E Street Band. The show took place at the 2,700 capacity Moody Theater (home of Austin City Limits), a much more intimate venue that the arenas and stadiums that the band usually plays. The band more than rose to the occasion with a nearly three hour show that, while heavy on songs from his newly released Wrecking Ball, included some gems from his extensive catalog.

And the special guests? Spectacular. Tom Morello reprising his contributions to two tracks from the new album plus a furious “Ghost of Tom Joad.” Jimmy Cliff, decked out in all red, joined for three of his classics (although curiously not “Trapped”). Eric Burdon, whom Springsteen had lauded earlier in the day during his SXSW keynote speech, appeared for the Animals classic “We Gotta Get Out of This Place.” And perhaps the most random moment of the evening, members of Arcade Fire suddenly appearing alongside Joe Ely, Garland Jeffries and openers the Low Anthem and Alejandro Escovedo to join Springsteen and the E Street Band for a closing rendition of Woody Guthrie’s “This Land Is Your Land.”

The exclamation point, for me at least, came just over a week later when I saw the band play at the nearly 20,000 capacity Boston Garden. Simply put, the energy was the same! Springsteen and the E Street Band brought the same fervor to a venue ten times the size of the Moody Theater.

Now that’s talent and commitment to craft. Here is an artist in his early 60s not content to rest of the laurels of his forty-year career. Rather, he throws himself into every performance with an unbridled enthusiasm, making it a mission to connect with his audience regardless of whether the venue is big or small.

Said Springsteen in the keynote, “young musicians, learn how to bring it live and then bring it night after night after night. Your audience will remember you.”

And there endeth the lesson.

• Tom Morello, “World Wide Rebel Song” from the New West day party
• Bahamas, “Caught Me Thinking”
• The Lumineers, “Gun Song” performed at St. Davids Historic Sanctuary.
• Glen Hansard performing sans microphone and amplification. Watch him roll with the punches as an electric band begins playing nearby about halfway through his performance.
• The Posies, Jody Stephens, Peter Buck and Markus Nordenstreng (of the Latebirds) paying tribute to the legendary Big Star with the band’s classic “In the Street.”
• Alejandro Escovedo and friends featuring Garland Jefferies and Bruce Springsteen taking on the Rolling Stones’ “Beast of Burden”
• Lucero, “Nights Like These”
• Bob Mould, “If I Can’t Change Your Mind”
• Lydia Loveless, “Can’t Change Me” at the Twangfest party.
• Frank Turner, “I Am Disappeared”
• Alejandro Escovedo and the Sensitive Boys and Girls, “Sally Was a Cop” from his forthcoming release.
• The Dunwells, “Elizabeth”
• Adam Duritz with Kasey Anderson, “Like Teenage Gravity” (Anderson’s song that was covered by Counting Crows on their latest release.)
• The Stone River Boys (featuring Barfield and Dave Gonzalez) performing “Love On the Dial” at Threadgills for Music Fog.
• Brendan Benson, “A Whole Lot Better”
• Tom Morello with Wayne Kramer, “Kick Out the Jams” (and, wow, did they ever!)
• Tom Morello’s complete Occupy Austin performance at 2am on the street in Austin.

Click here for more Twangville coverage of SXSW.

For me, the true harbinger of spring is the arrival of the SXSW Music and Media Conference in Austin, Texas. Or rather, spring begins for me when I arrive in Austin for SXSW. With upwards of 2,200 bands and 19,000 attendees, SXSW is the world’s premiere music conference. Even better, it is one heck of a party.

Over the next week I’ll be sharing some of my highlights from SXSW 2012.

THE MUSICAL THEMES
No Plug Required?
Perhaps the most enjoyable musical theme, for me at least, was the range of acoustic artists. I’m among the first to line up for the wash of an electric guitar but there are times when the quiet musicianship of an acoustic artist just can’t be beat. Glen Hansard and Frank Turner, artists whose between-song banter is as sharp as their songs, performed multiple stellar sets. London-based Antonio Lulic was captivating while Denver’s the Lumineers were enchanting and, with their debut album just released, are ones to watch.

And then there was Tom Morello, whose guitar reads “whatever it takes,” a mantra that he brings to life with his hard-hitting performances.

Attack of the 1980s and 1990s
I want my MTV! Artists who first established themselves in the 1980s and 1990s were out in force. Whether you desired the goth of the Cult or the Jesus & Mary Chain or the pop of Thomas Dolby or Lionel Richie (with special guest Kenny Rogers!), you could find it at this year’s event. SXSW has become as much an opportunity to announce one’s return as it is to announce one’s arrival. Other artists who appeared included Counting Crows and Bob Mould, who delivered an intense performance of his band Sugar’s debut album.

Rap, Hip-Hop and Electronic Music Make Their Mark
Two of this year’s music themes fell outside the typical Twangville fare. Rap and hip-hop have had an increased presence in previous years but came into their own this year. From up-and-comers playing a showcase to big names playing label gatherings and unofficial events, the genre made its presence known.

DJs and electronica artists also made some noise this year. 24-year old Skrillix got a lot of buzz, although I can’t say that I saw him or any artists from this genre. Maybe next year.

”THE MUSICAL EQUIVALENT OF “PLUG AND PLAY”
Many artists make their time in Austin count, performing upwards of 4-5 times in a single day. Having made the trip and with a large and captive musically-starved audience, why not? The Lumineers took this to heart and performed no less than 12 times over four days. Quipped Bahamas, “We’re playing 127 shows over the next 3 days… We’ll be playing anywhere there is a pa.” On behalf of the music fans at SXSW: thank you.

YEAR OF THE WRISTBAND
Every year I write about how the quantity of day parties gets bigger and bigger. This year was no exception. The new wrinkle this year it was the rise of the multi-day event. Many party sponsors apparently figured that one day just wanted enough. Three and four day affairs were commonplace, with many taking over stores, bars and yards in East Austin. Many of these show relied on a music venue staple – the wristband – to manage capacity. At one point I had eight bands gracing my wrist. Wristband tan anyone?

BIG NAMES, WITH AND WITHOUT CORPORATE SPONSORSHIP

Sure, Bruce Springsteen captured the spotlight, but this year was notable for the plethora of well-known and established artists who converged on Austin. Many of these were promotional appearances sponsored by companies who thumbed their noses at any global economic uncertainty as they looked to make a major splash at the event.

Doritos was the, um, big winner with a stage built a stage into the base of a 56 foot vending machine. Seriously. Snoop Dogg was among the artists featured on the stage apparently built to satisfy those with a super-sized case of the late night munchies.

But Doritos wasn’t the only brand using music to reach the masses. Red Bull built a stage on an empty lot and invited artists ranging from Erykah Badu to the Crystal Method to perform.

In some cases, big name artists bypassed the corporate sponsorship and simply threw their own parties. Notable in this camp was 50 Cent, who invited his friend Eminem to join him to perform his 2003 album Get Rich or Die Tryin.

OCCUPY SXSW
Regardless of one’s political bent, Tom Morello’s Occupy SXSW show was not to be missed. Morello, joined by Wayne Kramer (of MC5 fame) broadcast his raucous 1am showcase into the street so that the masses could enjoy it. Then, as the 2am end time approached, Morello invited club attendees to follow him into the street for a few final songs. Under a watchful police eye, Morello and the band led the crowd of several hundred people in Woody Guthrie’s “This Land Is Your Land.” Continuing on, albeit now acoustic as the power had been shut off, Morello served up his own “Worldwide Rebel Song” as the crowd joined in.

Photo credits: Teenage Kicks (Tom Morello); Matt Carney (Glen Hansard); Derek/Holidaze (Space Available); Ryan C Jones (Artist Walking).

Below are a few favorites from artists like Mic Harrison & the High Score, Doc Dailey, Jo Wymer, Kasey Anderson, Glossary, and Matthew Ryan. See the CXCW site for many, many more.