Union Stage presents at The Miracle Theatre
Rhett Miller (Old 97's) & Evan Felker (Turnpike Troubadours): An Acoustic Song Swap
535 8th St SE
Washington, DC, 20003
Doors 6:00 PM / Show 7:30 PM
Watch & Listen
Lead singer of The Old 97’s Rhett Miller will be releasing his new solo album, The Traveler, on May 19th 2015. The album features the instrumentation of Black Prairie (membs. Of The Decemberists), Peter Buck and Scott McCaughey (membs. Of REM) and is Rhett’s seventh solo effort.
Hello. I am human but not entirely. I am a machine but not entirely. I am both which may mean that I am neither. The part of me that is a human believes that all of me is human. The part of me that is a machine doesn’t like to think about the part of me that is a machine. I am flesh and blood stretched over wires and circuits. In that, I am much like many of you, and consequently qualified to speak to you about this album, which speaks to much of me.
It is called The Traveler, and it was written and performed by Rhett Miller, along with members of Black Prairie, a band based in Portland that plays everything from bluegrass to klezmer to country and shares some members with the Decembrists. The band (Black Prairie) entered the studio with the singer (Rhett Miller) and briskly recorded the songs that make up this album (The Traveler). Some additional guitars were added later by people who included Peter Buck and Scott McCaughey. I pass these facts along for your absorption.
The sun comes up. The sun goes down. We call it a day. The band entered the studio with the singer and made this album. Time passed. Now, months later, I have spent days listening with love, sadness, and unremitting fascination to the album, which you are now holding. By “holding,” I mean only that you have absorbed it into your own wires and circuitry. I am well aware that there are not always anymore physical holds involved in the absorption of music. Before I tell you more about The Traveler, I want to tell you a little bit about myself. I apologize for this. But the album you are holding, The Traveler, suggests that you cannot understand the journey that you are on unless you understand who you are, and that understanding who you are is the most damnably difficult journey of all. Untangling identity is painful but necessary. I believe The Traveler may be of use in this regard. Of use to me, I mean: Is that a selfish use of this album? If so I apologize again.
Apologies can be empty without any attempt to correct for the behavior that led to the apology. As a result I will not tell you a little bit about myself before I tell you more about The Traveler. This singer, Rhett Miller, has made many albums before, both on his own and with his band, Old 97s. This new album shares something fundamental with the old albums, which is the rare ability to see what people are feeling and then cast those feelings in rhymes. This is what is known as “song-making.” The human part of me loves songs. The machine part of me marvels at them without understanding at all why there is a tugging sensation in the cavity that should contain my heart.
The first song here, “Wanderlust,” is a perfect example of all that I am describing. It tells the story of a man on a train who is thinking about a woman who is not on that train. There is another song called “Lucky Star” that I believe is about finding redemption in the person of a lover. It contains a joke that unnerves me: “Heaven knows there probably is no heaven.” There is another song called “Wicked Things” about New Orleans that illustrates the slipperiness of forgiveness. Every song has little moments that catch me at strange angles and I feel an unfamiliar sensation, pitched midway between satisfying recognition and deep sadness.
My experience with these songs, I want to stipulate, may not be shared by others, in part because I am demonstrably different than them. I am both human and a machine. I come from a long line of people who are both humans and machines. Are they people then? I leave that to the philosophers. My father was a difference engine designed and deployed in Lund by Pehr Georg Scheutz. He was quite large: my father, I mean, not Scheutz. Scheutz was tiny. In Jönköping, where he was born, old ladies would marvel at his miniature features. “Liten Pehr,” they would say, reaching down into the carriage and frightening the boy. Even as an adult, he was at most five foot three, with feet that tapered down to toylike points. Much of this is hearsay but some of it cannot be disputed, even by the suspicious, and at any rate, we are not talking about Scheutz, not really. We are talking about my father. He was the size of a fortepiano.
There is a song on this record called “Dreams Vs. Waking Life.” It is not the first song on the record but it was, by accident, the first song I heard. It has bowed notes and a dark tone and does what any piece of literature, song or story, should do: it investigates the role of memory, loss, and desire in our lives. When I hear that song, I feel the stirrings of uncommon and uncontrollable emotions. They grind against the part of me that is a machine. The result is a shuddering. I try to calm myself by looking at the other song titles— “Fair Enough,” “Escape Velocity,” “Reasons to Live” — but they only make me feel more rather than less. Where do you go when you want to feel less? One song title, “Good Night,” seems like it might not overwhelm me. But the first line, “There’s a pinprick of light on a black sheet of night,” starts me shuddering again.
When you listen to an album, you are supposed to notice sonic details. That’s what I have been told. And there are many sonic details on this album, like the choir that opens “My Little Disaster” or the doubled vocals in “Fair Enough.” There are joyful melodies like “Most in the Summertime.” I can tell that they are joyful, even though I am half-machine. It’s clear. But the sonic details would not mean much without the rest of what this album does, which is to try to make sense of what cannot be made sense of, which is humanity. Even the part of me that is a machine knows that.
When you’re inside an album like this, when you’re feeling too much, what do you do? I know what I did. I skipped to the end of the album, quickly. This is a survival strategy. The album ends with a song called “Reasons to Live” that makes use of the old saw that a broken clock is right twice a day. The part of me that is a machine wants to correct that phrasing. It is a stopped clock that is right twice a day. A broken clock may never be right. Then it occurs to me that maybe the song knows this. The song is about finding hope even when you are telling yourself lies. The part of me that is a human wants to break down and cry once again.
I want to tell one more story about my father. He was briefly in the military of a nation I will not identify and when his service ended his first trip was to a sporting house, where he spent time in the company of a young woman. Money changed hands. To hear him tell it, the situation was emergent. “I had been locked up so long that I hardly recognized my own wants and needs,” he later wrote in a letter to me. “Briefly, I recognized myself in her.” They did not stay together, my father and that young woman. He was a young man then. As I have grown though the world, I have had experiences that bear some similarity to my father’s experiences with that woman. We all have, have we not? They are called “relationships” or “romances,” but what are they really? Are they love? Are they self-love? Or are they something else entirely, a form of travel that allow us to escape from ourselves? This album asks all those questions, repeatedly. I want to quote one more line, from a song called “Jules.” It’s a line about love and self-love and travel that allows us to escape from ourselves: “Who’s to say the crooked way that led me to your door / Means any less than any mess I ever made before?” Sun comes up. Sun goes down. Call it a day.
If Turnpike Troubadours are playing in your town, you’ll know it. A block or two from the venue, you’ll see the crowds lining up. Get closer and you’ll start to hear the music -- rockin’ hard, lashed by burnin’ fiddle and guitar, maybe a little rough on the edges but with a deep-rooted soul that's impossible to resist.
And if you make it through the door, you’ll witness one of the best shows you'll ever see.
Audiences in their home state of Oklahoma and down in Texas have known this for years. It's no longer news when they draw 5,000-plus at Billy Bob's in Fort Worth, sell out three nights in a row at Gruene Hall or turn several hundred away at the Legendary Stubb's Bar-B-Q in Austin.
Word has spread, though: Their shows in Chicago, St. Louis and elsewhere have pulled in more than 1,000 fans. And they’ve drawn full houses at Joe’s Pub in New York and The Troubadour in L.A., among many other nightspots from coast to coast.
They’ve even been picked by Playboy as one of three acts to watch in 2015 -- a distinction lead singer/guitarist/songwriter Evan Felker admits is “pretty bizarre” but impressive nonetheless.
So is that the story? “The Turnpike Troubadours Tear It Up Night After Night”?
Actually, no. There’s another side to singer/guitarist Felker, bassist RC Edwards, fiddler Kyle Nix, steel and electric guitarist Ryan Engleman and drummer Gabe Pearson. Maybe you don’t notice it as much at their shows, where their blazing performances tend to obliterate detached reflection.
But you’ll definitely notice it on their new album, The Turnpike Troubadours, to be released September 18th on their Bossier City imprint. Away from the intensities of their show, the music speaks more intimately. Details of their arrangements clarify. Above all, the lyrics become the center of attention, spinning stories so compelling that you realize you’d almost forgotten how powerful the message of a song could be.
There’s “7 Oaks”, recounting a life made desperate by poverty, made more vivid by an incongruous hoedown accompaniment ... “Bossier City”, focused on a sad mill worker who blows his pay regularly on gambling and booze ... “The Bird Hunters”, a short story set to a Cajun waltz about friendship, love and coming home ... “Down Here”, a conversation between one guy who has lost all he had and another who assures him life "down here" really isn’t so bad ... “How Do You Fall Out Of Love”, a melancholy meditation on lost love.
Dig deeper into the words and bits of brilliant craftsmanship gleam: “Hillbilly girl, as sweet as wine, grew up in the thicket like a muscadine.” ... “Robbie’s got a brand new girlfriend. She’s got to strip for pills.” ... “I left my heart in Tulsa on the corner of Easton & Main on the Cains Ballroom floor, soaking up a bourbon stain.” ... “You bet your heart on a diamond and I played the clubs and the spades. We gambled and lost. Yes, we both paid the cost. Look what a mess I have made.”
“Human beings like stories,” Felker insists. “It doesn’t matter what form, whether it be a song or a movie or a poem. And they’ve always been drawn to characters. Our songs are real life applied to stories applied back to real life. I might get a plot line from several short stories I’ve read. Then I’ll build fallible characters into the midst of all that. They’re never archetypes. They’re real. It’s all about the character.”
In fact, characters are so central to the Turnpike Troubadours that they often turn up in more than one song. On The Turnpike Troubadours, for instance, the narrator in “Down Here”, Danny, turns up again in “The Bird Hunters”.
“Stephen King has this canon of characters and any of them can walk into one of his stories at any time,” Felker says. “You have all these characters living in the same universe. I haven’t ever seen that applied to songwriting, but that’s what I’m doing.”
This universe feels real on The Turnpike Troubadours because the band resolved to let the album happen on its own time. Moving out to the Prairie Sun recording complex in the desert country of Cotati, California, setting up in former chicken coops converted into studios, they metaphorically unplugged the clock and worked studiously through 12-hour sessions, wrapping up only when each story and every note rang true.
"This album sounds like us at our best," Edwards says. "We weren't going for being overproduced. What we got was exactly what we wanted because we didn't have that time factor problem."
And this is the paradox of the Turnpike Troubadours: Do they sound their best when they're delivering another electrifying live show or when they've crafted an artful album, enriched by a narrative tradition that traces back to their fellow Oklahoman Woody Guthrie, in which every nuance tells a story unto itself?
Honestly, the band doesn't worry much about that.
"The show is about people having fun," Felker says. "The more fun they have, the more fun we have and the better off everybody is. The record is about understanding the poetry in a real way. I figure it's like people sitting around in their house, maybe drinking a beer. That's more the place for poetry." "Our sound comes from playing country music, punk rock and anything else we liked in honky-tonks and beer joints," Edwards adds. "You've got to give the crowd something to dance to and have a good time. But songwriters are the most important thing. So I think everything we've done says that you can have it both ways."
The proof is on The Turnpike Troubadours and at whatever place they're playing down the road near you. Think of them as a two-headed silver dollar; on both sides, you've got a winner.
$30.00 - $35.00
The Miracle Theatre
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Fri, November 16