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MUSIC
HPX @ THE SEAHORSE
Reviews: Pamela Under Water, Li'l Andy, The Divorcees
Submitted by Peter Gorman on 10.19.07 at 2:54pm.
Although I’m new to this particular writerly position, I’m told that I’ve been designated the go-to-guy for, uhhh, country. Yep. I’m not quite sure how this happened. I imagine it may have been my not-entirely-successful attempt at listing a handful of bands or musicians that I like in an email to Dave Missio — in which I ultimately threw up my hands, defeated, and brought to mind the ever-articulate and supremely-talented (that’s inevitably an understatement) Garth Hudson: “It’s all country music — just depends which country you’re talkin’ about.” Alack. What have I gotten myself into?
I really shouldn’t complain. I do, in fact, love a great deal of music that would without a doubt fall under the genre of country. It’s just that I cringe at some potential assignments that I could foresee being thrown my way…
All these things aside, it was with little hesitation that I made it to the Seahorse on Thursday for a night that looked to be filled with, well, country. The first act of the night, though — Pamela Under Water — was actually not at all of the twangy variety. Seeing the heart-shaped bass sitting onstage, this name that I’d heard about town of late finally clicked — Pamela: previously of the Museum Pieces (now a positively blistering two-piece). Got it. Whereas with that band she was rarely the centre of attention, seeming content to generally sort of fade into the wallpaper — aside from, of course, the part where she steps up to the mic and sings “Jolene” — it was refreshing to see her perform on her own.
Most refreshing was, undoubtedly, her voice. What. A. Voice. Virtuosic, versatile… shit, what’s a word for smokey that starts with V? Part PJ Harvey, part Ella Fitzgerald, she was strikingly in control of her voice, and it’s surely her most valuable asset. Some of the later songs did not quite pack the same punch as the first few numbers, and once or twice the low-end overwhelmed (she was looping bass melodies and vocal harmonies overtop of prerecorded drums), her songs (once they got off the ground, after a minute or so of laying the loops down) were consistently rewarding.
Li’l Andy and his band Karaoke Cowboy, based in Montreal, could be dismissed as something of a novelty-country act, with often-humorous songs ranging from a lament of increasing suburban sprawl (“Home in Landfill Acres”) to an ode to greasy spoon breakfasts (“Beggin’ and Achin’ for Eggs and Bacon”), from a jab at low-points in the career of personal hero (to both the band and myself) Neil Young (namely the well-intentioned, but mostly embarrassingly jingoistic, post-9/11 anthem, “Let’s Roll”—in the Cowboys’ “Just Like in the Movies”) to something to do with shards of broken glass in a sandbox (yep: “Broken Glass in the Sandbox”). They could, that is, if they weren’t just so damned good at what they do.
Although unfortunately a few men short (Andy’s band sometimes includes the likes of Moncton native — and victim of the occasional “Yeah, I played with him a few times a couple years back” name-drop from yours truly, now that he’s gaining notoriety — Joe Grass), their set of rollicking bluegrass twang was practically unstoppable. With one bandmate slapping the upright-bass hard and the other spitting out tremolo-fied Telecaster licks (and even better facial contortions), the anything-but-li’l (honestly, he looks about 6’6”) frontman was a commanding presence, stomping and hollering his way through a fantastic set.
Although based out of my hometown of Moncton, NB, The Divorcees are a band whose live show I’d yet to experience. Unfortunately, due to exhaustion, I was only able to stick around for the first four songs of their set. I must admit that, although I know them to be a band full of very talented musicians, I was nothing if not a bit skeptical. Having heard some of their debut record, I found it odd that the opening number (“You Ain’t Gettin’ My Country”) takes potshots at the slick and polished product in heavy CMT-rotation that passes for country music these days—while, itself, sounding pretty damned slick and polished.
Live? More often than not: much, much better. Sure, the odd red-hot country mannerism will creep its way into their songs (you’ll recognize that growl when you hear it) and they might at times seem even a bit too tight (ok, so I tend to like a Tonight’s the Night aesthetic in my country), but with Alex Madsen’s fiery guitar skills pushing his bandmates hard, at their best, they play like their lives depended on it. (Again, disclaimer: a) I only saw the first four songs; b) I was tired and sober—not, I imagine, the ideal way to see a Divorcees show.)
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COMMENTS
Submitted by Trevor Murphy on 10.20.07 at 7:57pm.
i liked the museum pieces a lot better avec pamela.
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