Tag Archives: the Cardinals

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Ryan Adams Thrills at Intimate Rough Trade NYC Show

February 21st, 2017

Ryan Adams – Rough Trade NYC – February 18, 2017

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Ryan Adams celebrated the release of his new album, Prisoners, with an intimate, sold-out show on Saturday night at Rough Trade NYC. Without question, the LP’s subject matter is heavy—it’s a breakup album through and through, and some of the lyrics are stark and painful (“Feel like I’m heading for a breakdown”; “I’ve missed you so much I shiver and I shake”). At times, the juxtaposition of the smiling and swaying crowd with such downtrodden sentiments felt almost subversive. Yet, to watch Adams and his band tear through Prisoners songs like “Do You Still Love Me,” “Haunted House” and “Outbound Train,” it was clear that the music and performance were creating a cathartic way for Adams to continue his healing process.

There was still a feeling of joy in room despite the heavy subject matter, mitigated in part by the buoyant, dynamic music that refused to be dragged down by sadness, often stretching into freewheeling extended jams, peppered with Adams’ intricate guitar solos. He was also mindful to break up any lingering tension between songs, and when he noticed the crowd was very quiet after his rendition of “We Disappear,” the singer-songwriter joked to his band in a stage whisper, “What if they’re texting each other?”

In addition to the new material, Adams and Co. dipped into his prolific back catalog for the second half of the show, treating the crowd to a well-loved songs like “Peaceful Valley,” “Magnolia Mountain” and “Let It Ride,” all from the period during which Adams recorded with his band the Cardinals, as well as more recent material like “Kim,” “Dirty Rain” and “Shakedown on 9th Street.” By the night’s end—following a stunning, jammed-out “Cold Roses” closer—Adams had accomplished the feat of sharing some of his feelings of misery without letting them bring down the mood, and although the crowd may have left with a better understanding of his inner turmoil, there was also the larger sense that Adams will be OK because his music will continue to lift him up. —Alena Kastin | @AlenaK

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More Than Just a Creative Name

January 24th, 2014

Hard Working Americans – The Bowery Ballroom – January23, 2014


Last night at The Bowery Ballroom was, as frontman Todd Snide mentioned several times, only the second gig the Hard Working Americans had ever played. Second gig together, that is: As individuals, the members—Snider, Dave Schools (Widespread Panic) on bass, Neal Casal (the Cardinals, Chris Robinson Brotherhood) on guitar, Chad Staehly (Great American Taxi’) on keyboards and Duane Trucks on drums—have logged probably closer to a zillion shows, and this kind of pedigree and professionalism made all the difference during show No. 2.

The supergroup primarily played songs off their self-titled debut, released earlier this week, comprised mostly of well-curated covers of the bluesy rock and roll variety. They opened, as the album does, with “Blackland Farmer,” a slow-build take that featured the thick-paste bottom layer of Schools, playing a four-string Fender, and the tasteful electric guitar chops of Casal. With Snider holding court up front, the music felt like what it was: old vets playing dress-up as up-and-comer kids. Each song seemed to unfold into multiple sections, like a sandwich cookie with a tasty substantial cover hiding a creamy, change-of-direction center. “Run a Mile” had the band clicking against a heavy duty bass beat with some counterpoint slide guitar, the whole band building into a slamming coda, each musician comfortably in his element.

Hard Working Americans had a lot of emotions in their arsenal, but they excelled with the dark and moody—as in the highlight, “I Don’t Have a Gun,” with low and slow smoking rock—and the high-energy ecstatic, as in “The Mountain Song” with its gliding cheerful Casal guitar solo and one to match from Staehly on organ, leading into a jam reminiscent of the Grateful Dead’s “I Know You Rider.” Snider was on point all night, seemingly happy to shed his singer-songwriter cloak and just “watch people dance.” Still, the encore brought out the best in him as he sang a great heartfelt version of Drivin’ N Cryin’s “Going Straight to Hell” and matched that with a terrific take on the Bottle Rockets’ “Welfare Music.” As the crowd thinned out, the band returned for a surprising second encore, Snider owning a take on Gillian Welch and David Rawlings’ “Wrecking Ball,” which also closes the album, the remaining audience swaying and singing along. It was pretty clear that the Hard Working Americans wasn’t just a clever name. —A. Stein