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  • Music Photos & Review: John Hiatt

    If pressed to name my all-time favorite song, I go through the lengthy mental rolodex of artists I appreciate most — Elvis Presley, The Replacements, Jason Isbell, Dave Alvin, Steve Earle, X, Buddy Miller, Emmylou Harris, Scott Miller, Lori McKenna, Chris Stapleton — and come up with the same answer every time.

    It’s John Hiatt’s “Have a Little Faith in Me.”

    Since the song appeared on his 1987 album Bring the Family, I’ve seen Hiatt perform it live more than 20 times in all kinds of settings, both solo and with various backing groups. And it still gets me — every single time.

    Naturally, it’s an encore number, so you have to wait for Hiatt to take off his guitar and walk over to the keyboards. Earlier this week, for the second show of a two-night stint at The Birchmere, “Have a Little Faith in Me” was the next-to-last number of a two-plus hour show that focused primarily on Bring the Family’s follow-up — 1988’s Slow Turning.

    The 30th anniversary Slow Turning tour featured The Goners (Sonny Landreth, David Ranson and Kenneth Blevins) performing the entire album as well as the three-song encore. Hiatt opened the show solo with seven songs from other parts of his vast catalogue.

    Slow Turning is Hiatt’s most commercially successful album, and many of its songs (“Drive South,” “Trudy and Dave,” “Icy Blue Heart,” “Paper Thin,” and “Feels Like Rain”) have been covered by other artists. For me, the centerpiece is the song, “Is Anybody There?” another keyboard-based ballad that just guts you.

    On Tuesday, despite sounding a little hoarse toward the end of the summer-long tour, the 66-year-old Hiatt was full of energy. It’s obvious that he has a special connection with Landreth — also a fine solo artist — and the rest of the Goners, and I wish that they would be his regular backing band.

    But Hiatt, whose daughter Lily is a terrific songwriter in her own right, is too restless for that. He continues to look for ways to write and perform new material (a new album comes out in October) and seemingly is always on tour.

    And that’s fine by me. I’ll take any chance I can get to hear my favorite song live. If you haven’t heard it yet, look it up.

    On a side note, this is the fourth time I’ve shot a Hiatt show (including one with Lyle Lovett in New York City). And I think this set perhaps is my best yet. What do you think?

  • Music Week: Cowboy Junkies

    I saw the Cowboy Junkies last night at The Birchmere, my third show in five nights (after Lori McKenna and Jason Isbell & the 400 Unit) in a personal summer concert series. It was the first time I’ve seen the Canadian-based group in more than two decades and they did not disappoint, playing material from their terrific new album “All That Recknoning” as well as highlights from their 30-plus year career.

    In case you’re not familiar with the band, they became known for “The Trinity Sessions,” a 1988 lo-fi mix of covers (“Sweet Jane,” “Blue Moon: Song for Elvis”) and originals (“Misguided Angel”) that was recorded using one microphone in a Toronto church. Over the past three decades, they’ve developed a steady following of fans who love their ethereal, often haunting sound.

    What makes the Cowboy Junkies fascinating is that they are a mix of family and longtime friends. Margo Timmins, the lead singer, is the sibling of guitarist and principal songwriter Michael, and their brother Peter plays drums. Bass player Alan Anton co-founded the band with Michael Timmins, and multi-instrumentalist Jeff Bird has played with the group since “The Trinity Sessions.”

    It was a great show, with tricky lighting that made it a fun challenge to shoot. To see more photos, go to my Facebook album or to the Americana Highways link here.

  • Father & Son: A Life-Affirming Evening

    Last night, I was fortunate to see Ry and Joaquim Cooder in concert at The Birchmere in Alexandria. The elder Cooder has long been one of my favorite musicians, an incredible guitar-singer-songwriter who has worked with everyone in the music industry in a career that dates back to the late 1960s. Now 71, he is on his first tour in a decade behind “The Prodigal Son,” a tour-de-force return to his folk/blues/jazz roots that mixes original songs with reimagined gospel songs.

    On the new album, Cooder, a self-described curmudgeon whose music has veered toward the stridently political over the past decade, focuses on empathy, understanding, and tolerance. It’s a welcome and beautiful piece of music, merging his best work with the sonic textures laid down by Joaquim.

    Cooder’s son, who has played in his father’s band since he was a teenager, co-produced the album and played drums. He also opened the show with his own set, playing the ethereal and textured songs from his EP “Fucsia Machu Picchu” on an electric mbira (thumb piano).  The Hamiltones, a Charlotte-based trio, provided beautiful backing vocals amid the swirls of sound that resonated throughout the venue. They are a group to watch.

    All in all, it was a great night — life affirming in all the right ways. Get “The Prodigal Son.” Trust me.

    (Because of photo restrictions placed by the venue, these pics are of Joaquim’s opening act, along with a couple of the Hamiltones. A special thanks to Mark Englund for the ticket.)