Tag Archives: AC/DC


Drive-By Truckers Raise a Passionate, Poignant Racket on Friday Night

February 13th, 2017

Drive-By Truckers – Westbury Theater – February 10, 2017

In their earlier days, Drive-By Truckers were tagged alt-country, Southern rock and even country rock, but let’s call them what they are: no-bullshit rock and roll, anxious and unfiltered, and on their best nights, one of the best live bands of the last two decades. Still more remarkable is that despite major lineup changes, they seem to get better and better, the old songs aging gracefully but with more than a bit of veteran grizzle, and the new songs finding darkness, humor and poignancy in quotidian angst without sounding topical for topical’s sake or shading (too far anyway) into rock-protest sanctimony. Truckers characters are people you know: lived-in, loaded and lumpy. Their problems are your problems. Their shots at redemption are understandable and their failures disappointing.

This mature balance—the ability to be present and unflinchingly direct about news making matters of the age without being thin or pedantic—is so crucial to the current Truckers tour, filled with set lists that focus heavily on last year’s American Band, their most overtly political album. In Westbury, Patterson Hood, Mike Cooley and Co. gave us hails of guitar, clattering drums and passionate vocals that came from somewhere deep to frame stories of shootings in Oregon on a beautifully sunny day (“Guns of Umpaqua”), an ill-fated Mexican teenager (“Ramon Casiano”) and the long-lingering ghosts of the Civil War (“Surrender Under Protest”). Some of these songs (“Darkened Flags on the Cusp of Dawn” or “What It Means,” which addresses racism head-on) didn’t require much interpretation. Many were loud, with a sticking finger in your chest, although still others, such as Cooley’s “Once They Banned Imagine,” included acoustic guitars and had the world-weariness of protest-folk without decoupling from the band’s rambling, gnarly rock-ness. And it’s worth noting that politically potent Truckers tunes with a “to hell with this crap” edge aren’t anything new: “Puttin’ People on the Moon,” played fourth, is more than a decade old and its small-town family tragedy has never felt more acute. Same deal with “Sinkhole,” the Truckers’ epic of social class, murder and family values.

As they’ve gotten leaner—the band is now Hood, Cooley, drummer Brad Morgan, multi-instrumentalist Jay Gonzalez and bassist Matt Patton—Drive-By Truckers have gotten meaner, filling more space with paint-peeler guitar solos and working up huge, rambunctious rackets. What’s never quite changed is how they pace a show—peaks and valleys of hard-rocking defiance and melancholy resignation that eventually give way to a runaway train of concert warhorses and an explosive finale. The last 30 minutes on Friday night served up the wry-sad “Buttholeville” with a dovetail into Bruce Springsteen’s “State Trooper,” along with “Zip City” and “What It Means.” “Love Like This,” Hood’s fist-pumping “Let There Be Rock” (greasy with the saluted nostalgia of the Truckers’ many forebears, from AC/DC to the Replacements) and the anthemic “Shut Up and Get on the Plane.” Hood told us there would be no encore—they haven’t played any on this tour, choosing to barrel through rather than pause, lest any of the loaded tension dissipate too soon—and the Truckers left with “Grand Canyon” and its protracted guitar meltdown. It was ragged and right, as the Truckers always are. —Chad Berndtson | @Cberndtson



The London Souls Captivate in Their Tour Opener

January 9th, 2013

The London Souls – The Bowery Ballroom – January 8, 2013

The Jimi Hendrix comparisons are inevitable for Tash Neal, the lead guitarist and singer of the London Souls. It’s by far the easiest way to categorize him, not just because he’s a black guitarist who shreds, but because it seems like everything he emits provides more similarities. His band is a trio with a floppy-haired drummer and he’s groomed an epic ’fro—plus he even wears those hipster earmuffs that have become fashionable around Williamsburg, which could easily be mistaken for one of Hendrix’s bandannas. Superficially, Tash is channeling Jimi’s ghost.

But hearing the London Souls last night at The Bowery Ballroom shattered any notion in my mind that the London Souls are a just an updated Jimi Hendrix Experience. Neal’s guitar playing owes more to Duane Allman’s country blues than Hendrix’s psychedelia. He has more discipline than did Hendrix, keeping his solos tight and purely in support of his songs. And his stage persona allows for far more fun than Hendrix’s atomic focus ever did. Maybe this last point is a function of his surviving a near-fatal car accident last year, when his cab was struck by drag racers. “For everyone who’s sent a positive thought my way,” Tash remarked last night, “I just wanna say thanks. I’m still around. It’s fine.”

The London Souls played last night’s show as if it could have been their last. They must have burned through their entire catalog during their two-hour set, including “Steady Are You Ready,” “She’s So Mad” and “Old Country Road,” and the band also busted out AC/DC and David Bowie covers. Neal melted faces throughout, but the high point must have been the extended solo on “Someday,” the reggae-tinged cover that, at its midpoint, takes a turn for the heavy. Neal subdued the toxic amount of distortion from his amp and captivated the crowd as his fingers danced across the fret board. Yes, Tash Neal and the London Souls are still around. It’s quite fine. —Alex Kapelman

Photos courtesy of Sean O’Kane | seanokanephoto.com