Old Crow Medicine Show 5/22/09

Yeah, does Alison Krauss play the fiddle like that? I think not.


Old Crow Medicine Show at Carnegie Library of Homestead

Friday, May 22 2009

“What kind of music do you like?” “Everything except country and/or rap.” Well, hypothetical rock fan, you shouldn't be so hasty to scorn country-ish things. The Scone likes its rock, its big guitars and technical skill. That’s fine, that’s sometimes the best kind of music -- but let’s make room for some hot fiddle licks. There’s plenty of room in the big book of bands that rock for Old Crow Medicine Show, even if they contain an instrument you have never heard of (that would the guitjo, or banjitar if you prefer. It’s what is says on the tin, a hybrid of banjo and guitar.) At just about every show they’ve played in their 11 years together, Old Crow proves that you can rock hard, even if you’re playing a song about cocaine from the 1920s. But they’re not just some novelty, nostalgia old time band, these days they lean more towards the original tunes than the fiddle scorchers of yore. Their ’08 album, “Tennessee Pusher” poked its toe into some post-WWII influences and even has the occasional drums and organ! But at the show, Old Crow gave the audience a healthy mix of old tunes, covers, stuff from their “first” album, and plenty from “Tennessee Pusher.” Highlights were the blistering love scorned “Fall on my Knees”, the slow, atmospheric drug dealer song, “Tennessee Pusher” and the obligatory playing of “Wagon Wheel” which is the band’s frat-happy crossover hit. It’s a great song, but maybe not their best, and the audience members yelling for it were obnoxious and oblivious. (Ladies and gents, they play it every show, they’re gonna play it, just wait in the lobby if that’s all you came for.)

The sound at Homestead Library is phenomenally clear, (though this reviewer was admittedly at front row center, so perhaps I’m a little biased in the venue’s favor) and the place is small, (about 1100 capacity?) but beautiful. The audience sat in Pittsburgh awkwardness for a few hot opening tunes, (one of the downsides of a venue with seats) then guitar player/vocalist Willie Watson urged the audience to get dancing, and they seemed more than happy to.

With plenty of onstage banter, and Pittsburgh pandering, the band was in great spirits (better than in Columbus in January. Take that, Ohio!) Their energy was through the roof, with Willie Watson running in circles and twitching, fiddle player Ketch Secor fraying bow hairs and sending rosin dust into the air, or wailing on the harmonica. All of them except guitjo player Kevin Hayes, and bassist Morgin Jahnig switch instruments. Ketch Secor’s classic country voice (not “She Thinks My Tractor’s Sexy” country) harmonizes well with Willie Watson’s vocals, which are more straight from the holler than a man from upstate New York has a right to sound.

But rock fans are still rolling their eyes perhaps, picturing a hick ho-down or the occasionally soulless technical proficiency of bluegrass. But this isn’t Alison Krause (no offense to her), and Old Crow is not the top of the technical heap in instrumentation. They’re more old time than bluegrass, and the former is usually more sloppy and reckless, without all the polished solos of the latter. So, it’s not rock, and they’re not even the Slash of bluegrass, so who likes this stuff? Well, douchebag modern country fans sometimes come for “Wagon Wheel.” But ignore them and their incessant yelling. This punk fan fell in love with the band because of they dig up and polish off ancient, dusty songs from way back, that nobody under 70 is likely to hear or seek out anymore; they’re great lyricists and singers, their instrumentation is solid as hell, but most of all their fiery, endless enthusiasm is what makes me listen over and over. They play fast and dirty, but it sounds great. They’re the punks of bluegrass. Drop that bias against anything southern-flavored. Their studio albums are great, but the live shows will knock you on your ass as much as any rock and roll.