Sunday 20 Apr
CD reviews

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0

SXSW: Glen Hansard

Irish singer/songwriter makes 'em swoon

By Stephen Carradini March 17th, 2012

Glen Hansard took the stage solo, accompanied only by his trademark acoustic guitar. He played two of his own songs, asking the audience to sing along with him. His Irish tenor was on full display, and the audience swooned. But the set really got going when he invited Jake Clemons onstage for a cover of a Bruce Springsteen's "Sad Eyes." (The cover was apt and meaningful because Clemons is the nephew of recently deceased, longtime E Street Band saxophonist Clarence Clemons.) When Clemons had a chance to solo, he did so ferociously, riling the crowd up with his powerful runs and melodies. It was a hair-raising, moving experience.

Hansard added to the intensity by roaring his way through that and the next song, Van Morrison's "Astral Weeks." Hansard amped up the excitement even more for the latter tune by inviting several members of Lost in the Trees to guest on drums and bass. Even though they men hadn't practiced together, the newly-assembled band attacked the song, eliciting screams and cheers from the audience.

The two covers rocked on for so long that Hansard only had time to finish with an a capella tune of Irish descent. The tune, sung from the perspective of the corpse at a funeral, was a celebratory tune; Hansard taught the audience to sing along, and they did so with gusto. In contrast to Hansard's emotive side (which was on display in the first two tunes) and celebratory side (the next two), the final tune was tinged with a wistful respect; Hansard is a man who can thrive in any musical mood. He toasted to his father at the end of the song, and Clemons toasted with him; it was a fitting end to a magnificent, tremendous set.

Photos by Matt Carney

  • Currently 3.5/5 Stars.
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