The Reckless Electric with Mary Bragg & Becky Warren
515-B North McDonough St.
Decatur, GA, 30030
Doors 6:00 PM / Show 7:00 PM
Watch & Listen
The Reckless Electric with Mary Bragg & Becky Warren
The Reckless Electric have one essential rule: If it’s not fun, they don’t do it. So the duo’s debut album, cheekily called Comeback, is above all a really, really good time.
The band is a side project for Mary Bragg and Becky Warren, two award-winning Nashville-based Americana artists. Between them, the two have won songwriting awards from Merlefest and Kerrville New Folk, opened for The Secret Sisters (Mary) and The Indigo Girls (Becky), and have become mainstays in the Nashville Americana scene. NPR Music called Mary’s music a “sublime distilling of southern grit” and The Bitter Southerner named Warren’s solo debut one of the 20 best southern albums of 2016.
But all of that was so…serious. And it only takes a few minutes with Mary and Becky to see that they have a wildly good time together—full of laughter and dancing and singing, but relatively little seriousness. So the two set out to write ten songs that would celebrate what they love about making music together, while leaving out the business drudgery that’s a necessary part of their solo careers.
Ironically, the result is the most commercial effort from either artist. The songs on Comeback are electric, danceable, catchy, and, most of all, pure fun. There’s a significant serving of humor, but always paired with the duo’s whip-smart lyric and melody skills as a foundation. Lyrics like “In your high school hoodie, looking all back-woodsy, singing every single word of your hick hop” in a song about a woman who’s outgrown her small town boyfriend, continue to delight on multiple listens.
Becky and Mary were certain from the start that they wanted to write songs where women were strong and self-sufficient. Throughout the writing process, they imagined making the album they wished they’d had as 13-year-old girls. So there are no songs wondering whether he’ll call, or despairing about not being able to live without someone. Instead, there’s a spunky girl who’s proud to have lost the Little Miss Sparkle Pageant. There’s an anthem for all the world’s “Straight A Girls”. And a moving tribute to female friends, “Like Her”.
Mary and Becky co-wrote all of Comeback as a duo, except the final track, “Gravy Train”, which they penned with Grammy-nominated music journalist and esteemed songwriter Bill DeMain. In keeping with the duo’s vow to always keep it fun, they recorded live to tape at Nashville’s Welcome to 1979 in a dance-party-like atmosphere with good friends: Dan Knobler and Jeff Malinowski on guitars, Jimmy Sullivan on bass, and Megan Jane on drums.
“Honey, you ain’t got nothing to say. Go out there and live a little—come back to me in 10 years.”
Those stinging words from a Nashville music executive to wet-behind-the-ears singer-songwriter Mary Bragg years ago couldn’t have stung more. But she took that blow-off advice into a journey that transformed the south Georgia native from pop-country wannabe into the striking, vulnerable voice she wears on her new album, Edge of This Town, drawing comparisons to Americana luminaries Patty Griffin and Shawn Colvin.
But her story, and her songs are her own.
“I didn’t know it at the time, but a little rejection was just what I needed,” Bragg said.
Barely out of high school, Bragg spent six months in Nashville as a sprite, eager singer, chasing the dream. Like so many do.
Sent on her way to the University of Georgia where she was classically trained in voice, she put Nashville behind her and focused on developing her craft on her own terms. After college, New York became her muse, her trouble, her chaperone. Several years into growing acclaim in Brooklyn’s Americana scene, she attracted overflow crowds for a yearlong residency at New York City’s famed venue The Living Room. She has been honored in such prestigious songwriting contests as Kerrville New Folk, Telluride Troubadour, Falcon Ridge Folk Festival, Wildflower! Festival, and the International Songwriting Competition.
Now having recently been accepted into the world-renowned circle of songwriters at The Bluebird Cafe after a 60-second audition, Bragg finally has been embraced in Nashville. The 2011 release of her Lee Alexander-produced album Tattoos & Bruises, met with critical acclaim by USA Today, No Depression magazine and others, didn’t hurt.
With themes of longing, trying relationships, and wistfulness, the ethereal, alt-country Edge of This Town was released April 7. Bragg takes her listeners to nostalgic, emotional places through her pointed lyrics and powerful melodies. On the opening track, Bragg describes a woman unwilling to give up on her crumbling marriage. “Hollywood’ll say go on and walk away, that it ain’t worth all these tears, but Hollywood ain’t here,” Bragg sings, a lilting slide guitar bending its way across the evocative timbre of Bragg’s voice. She produced the EP together with guitarist Rich Hinman and her bassist/husband Jimmy Sullivan.
Bragg recorded the album after winning the inaugural BandPage/Zoo Labs Music Residency Contest, which enabled her to create the album at Zoo Labs Studios in Oakland, California in November 2014. This is Bragg’s fourth studio recording and her first since moving to Nashville in December 2013. The Zoo Labs Music Residency is an immersive program that supports entrepreneurial music-making teams in bringing their creative power to their business plans. Bragg brought her long-time band along to the Bay area for the experience – Jimmy Sullivan (co-producer, bass), Rich Hinman (co-producer, guitars), Mike Cassedy (piano, organ), Johnny Duke (mandolin, guitar), and Andrew Laubacher (drums).
Her sophomore release, Sugar (2007), was produced by Darius Jones and recorded in Williamsburg, Brooklyn. Her debut album, Certain Simple Things (2004), was co-written, engineered and produced in Athens, Georgia, by Dave Haywood (Lady Antebellum).
With more dates being added, her U.S. tour continues through 2015 with stops in Nashville, Atlanta, Knoxville, Greenville, Charleston, Cincinnati, New York City, Long Island, and Philadelphia.
Nods of Note
Americana Music Festival Showcase, 2015
Telluride Troubadour Finalist, 2015
Kerrville New Folk Finalist, 2015
Winner of the BandPage/ZooLabs Music Residency Contest, 2014
NSAI’s Best of Spring Training, 2014
Daytrotter Session, January 2014
Year-long residency at NYC’s The Living Room in 2012 for guest series “Mary Bragg With…”
Telluride Troubadour Honorable Mention, 2012
International Songwriting Competition Honorable Mention, 2011
Falcon Ridge Folk Festival Emerging Artists Showcase, 2009
Wildflower! Festival Performing Songwriter Competition Finalist, 2009
International Songwriting Competition Honorable Mention, 2009
With her debut solo album, War Surplus, Nashville singer/songwriter Becky Warren relays the affecting, gritty and candid tale of the relationship between an Iraq-bound soldier named Scott and his girlfriend, June. As the story unfolds, the two meet, fall in love, and then struggle to hold it all together when he returns from his deployment a changed man living with the echoes of PTSD. From the record's award-winning lead track "Call Me Sometime" straight through 'til the last note, Warren's potency as a songwriter is on full display, as she weaves a compelling musical narrative rooted in her own life experiences and the rich sounds of Americana and rock & roll, all the while channeling the bold yet unaffected spirit of Neil Young, the compassion and grit of Steve Earle, and the fiery, bourbon-soaked vocals of Lucinda Williams.
Supporting Warren on War Surplus (out Oct. 14) is an impressive cast of Nashville musicians including guitarist and pedal-steel player Paul Niehaus (Calexico, Iron & Wine, Justin Townes Earle, Bobby Bare Jr.), drummer Dillon Napier (Margo Price), and Adam Wakefield (2nd place, The Voice), who sings backing vocals on "Call Me Sometime" and plays organ and accordion throughout the record. This talented pickup band joined Warren this past March for six days of sessions at analog-obsessed Nashville studio Welcome to 1979, with Warren's friend and bassist Jeremy Middleton—a military veteran himself—handling production duties. "The fact that Jeremy had, in his own life, been through some of the same experiences on the record made him a perfect fit," Warren says. "I had over 30 songs I could have used—he really helped me sift through everything and choose the ones that best told the story. And he did a lot of arranging."
Beyond the top-notch musicians, brilliantly crafted songs and tasteful production, part of the reason War Surplus hits with such impact is the very personal, almost autobiographical nature of Warren's material. Just like the June character she created, Warren married a soldier back in 2005. A week later, he was deployed to Iraq and eventually returned home with PTSD. After four tumultuous years of trying to work through the fall out, they eventually, amicably, split. So while Scott and June are characters, and their story is a fictional account, Warren has the advantage of knowing what it's really like—of being able to draw from a deep well of personal experience, and it lends the record a powerful authenticity and empathy. And to take the writing beyond the scope of her own experiences, Warren also drew from several veteran-penned memoirs, in particular My War: Killing Time in Iraq by Colby Buzzell, a book that inspired War Surplus standout "Stay Calm, Get Low," and ultimately led to Buzzell—a freelancer for New York Times and Esquire—writing the album's liner notes.
A record concerned with real human stories, War Surplus is also refreshingly devoid of political posturing, and deeply respects the experiences of veterans and their friends and family. "The album deals with some heavy themes," Warren says, "but it was also important to me that it be catchy and fun to listen to. I know it's a really polarizing song, but I've always loved Springsteen's 'Born in the U.S.A.' It's a serious song about Vietnam vets, but people still have a good time shouting along to it in stadiums."
Long before Warren struck out on her own as a solo artist, all the way back in 2003, she played in Boston alt-country outfit The Great Unknowns, who signed to Amy Ray's Daemon Records, toured with the Indigo Girls, and were praised by everyone from Maxim to No Depression. The band released the first of its two albums, Presenting The Great Unknowns, in 2004. But it wasn't long before Warren's struggles with her husband's PTSD led her to take an extended break from music. "The whole time I wasn't writing, it was very painful for me," she says. "I couldn't even really listen to music because it made me feel terrible. I was thinking about everything I was missing."
Within a month of her divorce, though, she was writing again, and would eventually record a second Great Unknowns album, 2012's Homefront. Though her old bandmates were now scattered across the country and unable to tour, Warren kept cranking out powerful songs, including "Call Me Sometime," which won her the 2014 Merlefest Songwriting Competition and the 2015 Kerrville New Folk competition. It's an impressive feat when you consider the past winners of these contests—career artists like Steve Earle, Lyle Lovett and Gillian Welch.
A 12-song concept record, War Surplus is Warren's most fully realized work to date. The project began in earnest in 2012 when she attended a Johnny Mercer Foundation writing program where she met several artists who were involved with musical theater. "I was really interested in their process," Warren says. "The way they focus on characters, and what motivates them."
Warren wrote War Surplus' alcoholic anthem "She's Always There" during the Mercer program. From there, Scott was born, and with Warren's more ambitious character-driven perspective, he took on a life of his own. "I could interact with Scott," she says. "Talk to him, think about him. It was therapeutic. Writing a song, you've gotta get your thoughts to a razor's edge because you don't have that much time."
With this new solo debut on the way, Warren is busy gearing up for a run of full-band and solo dates in support of the release. She hopes the record will resonate with a wide range of fans while raising awareness about veterans and PTSD. "There are so many people out there who have gone through similar experiences," Warren says, "and I want to do everything I can to make them feel like they're not invisible. And maybe at the same time, the record will lead some people to learn more about veterans' issues, and take some positive action."