Willy Braun made a distinction that explains a lot about the state of today’s music business when he introduced the first of two songs from Reckless Kelly’s most recent studio album at a concert last week.
“I say it’s the new album,” Braun said before breaking into “The Champ,” a song from 2016’s Sunset Motel. “But it’s not new anymore. It’s the current album.”
After a prolific near decade on the Sugar Hill and Yep Roc labels, the Austin-based group joined the DIY movement in 2011 when it formed No Big Deal Records. Since, they have released only three albums, a single and a 20th anniversary edition of their 1997 debut, “Millican.”
These days, Reckless Kelly spends the majority of its time playing live, mostly in Texas and Oklahoma, where they have a devoted and loyal following that follows them from small bars to clubs and midsize theatres. To boost income, they sell autographed posters — doesn’t everyone? — and offer exclusive meet-and-greets that include a four-song acoustic set before the show.
And, three or four times a year, they venture out on short tours concentrated in different parts of the country, such as the one that stopped at City Winery in Washington, D.C., last week.
In an almost two-hour show with songs that spanned Reckless Kelly’s 22-year career and included a variety of well-chosen covers, the five-piece group demonstrated yet again that they are a formidable stage presence deserving of a larger audience.
The show started with Braun playing solo on a cover of Simon & Garfunkel’s “Blues Run the Game.” He was joined by the rest of the band for “Desolation Angels,” which was followed in succession by a lovely “Back Around,” “Detroit or Buffalo,” and “Mirage” before Braun’s pre-“Champ” story.
At that point, the entire show took a turn, starting with a terrific version of “Volcano,” also from “Sunset Motel” that served as a reminder that “Mother Nature bats last,” in Braun’s words. After a brief sidestep to cover Marah’s “Round Eye Blues,” the band moved into the meet of its mid-2000s catalogue with “Break My Heart Tonight” and “Wicked Twisted Road,” the latter of which had the now standing audience singing along to the chorus.
Next, guitarist David Abeyta contributed a cover of Slaid Cleaves’ “One Good Year,” which he said the band asked him to start singing after it “got me through a real tough time.” Then Cody Braun took over for “Wild Western Wind Blown Band,” playing the instrumental at 110 mph as the audience clapped along.
While Cody Braun, playing fiddle and mandolin, and Abeyta provided many of the musical highlights with their interludes, Jay Miller on bass and Jay Nazz on drums showed repeatedly that they are the backbone of the group, making sure things are running smoothly.
The final third of the show was devoted to songs any RK fan would appreciate, including their cover of Richard Thompson’s “1952 Vincent Black Lightning,” the beautiful “Seven Night in Eire,” and “Nobody’s Baby.” Why “Vancouver” and “Crazy Eddie’s Last Hurrah,” the last two songs played before the encore, were not mainstream hits perplexes me.
Jeff Crosby, who opened the show with his band The Refugees, joined Reckless Kelly on stage for the two-song encore. After performing Tom Petty’s “Two Gunslingers” during the meet-and-greet acoustic show with Crosby, they returned to Petty’s catalogue for a ear-rattling version of “Listen to Her Heart” and then concluded the show with “Fortunate Son.”
Willie Braun quipped he’d been waiting to play the Creedence Clearwater Revival classic all night, not surprising given that today’s politics make even less sense than the music business. And that pent up anticipation did not disappoint, providing one of those stand-on-the-speakers moments that makes you love a great live band all the more.