Young folks - don’t ever underestimate the power of old folks (and one young folk) with instruments. Old Light is a testament to the fact that music has no age (see Madonna), and despite how people look or if they need to sit in chairs while playing an instrument, they can still folk-rock it. These blues-rock masters are from Portland, and it should stop being a secret because I wish I had known about them sooner. Go ahead and listen to their songs on Myspace. Maybe you won’t like what you hear, but that just means the music is really good live. Oh, and they wear slip-on Vans; it’s adorable. They’ve got a new record coming out called “Dirty Future” which can be obtained in the dirty future – on October 2nd during their release party at The Woods.
Singer-songwriter Kevin Devine had the stage all to himself after Old Light shuffled down to the main floor to chat with the kind friends who furnished them with drinks and heckling during the show. Mr. Devine changed the mood quickly as he rollercoastered through cries and whispers over the burgeoning roar of a partially disinterested audience. The interesting thing about this man and his guitar was the modest group of highly engaged boys he inadvertently summoned to the front row. I can only conclude that his lyrical content and bi-polar method of expression is something of a dog-whistle for the male species, because I didn’t get it.
Next was a sort of bluegrass symphony from Portland locals, Black Prairie. Armed with a dobro, accordion, fiddle, upright bass, and a guitar, these kids humbled the crowd with their mostly instrumental, genre-defying mélange of eclectic and traditional Americana. When I listen to them I imagine a skinny Parisian man in a snappy, circa 1920’s three-piece suit and cowboy hat hopelessly wandering along the backdrop of a stormy, desolate desert in Mexico … until he is suddenly captured by a rowdy mob of square dancers.
I had no idea, but Jon Bon Jovi was on the bill that night with his new country band. He had a pedal steel, a button up shirt, sensible shoes, and called himself “Richmond Fontaine.” He played for a long time, and though he was very talented, I wished for him to be whisked away by a brigade of wild horses so the Builders and the Butchers could dramatically descend upon the stage in true hero form. I think I wasn’t alone on this one because as I looked to the back of the room, several people were not only sitting down, they were asleep. In Mr. Fontaine’s defense, it was close to 1am at this point. But the room was still full because The Builders and the Butchers are always worth the wait.
Unfortunately, there were no wild horses or dramatic entries, but after a quick sound check, front-man Ryan Sollee dove into the set with an energy most bands save for the encore; and it was relentless. I didn’t recognize the first song (could it be?) because it was from their upcoming album which they’re in the midst of recording (Yes! Yes! Yes!). Upon hearing this news straight from the mouth of Sollee himself I let out a resounding “Nice!” and proceeded to sing and stomp and clap along with every anthem that followed. My only complaint was the smelly belligerent couple to my right who felt the need to abuse their privileges with the big white megaphone Sollee foolishly placed right in front of them. I was sated, however, by my own privileges of being front and center with a perfect view of the two drummers, Ray Rude and Brandon Hafer, as they hammered away side-by-side on their “deconstructed” drum sets. Everyone switched instruments periodically, and the progression kept the crowd excited, as usual. This is the sixth time I’ve seen the Builders and the Butchers, they are by far my favorite band to see live, and I hope to see them at least six more times.
