On the coldest night of the year in the winter wasteland that was once Boston (minus 5 degrees), Sturgill Simpson, arguably one of the music industry’s hottest acts, rolled into town. The 800 person capacity club was sold out for months and by show time the room was full and then some; barely a sliver of light filtering through the standing fandom.
The buzzing crowds’ nervous energy exploded into raucous applause when accompanied by a jungle beat soundtrack, Simpson and his band casually took the stage shortly after 10 PM. Dressed in his how trademark red flannel, jeans, and Chuck Taylor low tops, Simpson with acoustic guitar in hand was already sweating when he hoarsely said, “I almost cancelled this show due to illness.” Explaining that would be a “puss-cake thing to do” in a city as tough as Boston he opened with the hoedown number, “Sitting Here Without You.” The band was at full speed almost immediately extending the song’s coda with a bluegrass jam.
The ballad, “Water in a Well” set up the night’s first highlight, “Long White Line.” The set list was drawn largely from his two releases, 2013’s, High Top Mountain and his latest Metamodern Sounds in Country Music. However most of the songs were rearranged all the way from subtle tempo differences to extended musical interludes depending on the number. Drummer Mitch Miller, who looks barely old enough to drive, played steady while interspersing pitch perfect harmonies throughout the night. Bassist Kevin Black who is thin as a rail spent the night almost stationary leaning awkwardly over his high-heeled boots.
Longhaired, bearded guitarist, crowd favorite Laur Jomet also dressed in blue & white flannel and jeans was stoic and expressionless most of the evening, but his playing was exceptional. Every break was filled with a riff, whether its was his slide guitar on the beautiful, sparse “Voices” or double-time finger picking on “Poor Rambler” he didn’t miss a note all night. The audience got its last respite with the commercial sounding, “Time After All”, the Stanley Brothers’ cover, “Medicine Springs” and the gospel tinged, “A Little Light.”
Simpson and Jomet used a call and return riff to extend the introduction of the raucous rockabilly, “Life of Sin,” followed by the psychedelic countrippy version of “The Storm” with a solo that Jomet shredded. Miller played it straight and Black laid a diesel train groove for Sunday Valley’s (Simpson’s last band) “Sometimes Wine”. The trifecta brought down the house as the crowd’s applause exceeded the band’s volume, no small feat.
Simpson’s baritone spits the lyrics like nails live, as if his lips have trouble forming the words his mind intends on singing. By this point he was sweating profusely and his flu like symptoms were clearly affecting his voice. To his credit and the crowd’s delight he didn’t hold back although his vocal tone and tune were sometimes sacrificed. ”It Ain’t All Flowers” seemed somewhat abbreviated (apparently due to his condition) he left the wailing pre-chorus to the audience. He allowed his vocals a brief reprieve with the When in Rome cover of “The Promise” before he and Lomet jammed the bridge into oblivion and back. Each jam was poignant, well executed and with clear direction making for delightful meandering exits off of their country/bluegrass highway sound.
As previously mentioned the exquisite Estonian Jomet received a long, roaring ovation during the band introductions. The set concluded with the lyrically poignant “Just Let Go” followed by a slowed down, syncopated “You Can Have the Crown.” Ironically, the set closer, “Turtles All the Way Down” the song that brought Simpson to the mainstream’s attention was anticlimactic given the previous two hours of musical gymnastics. The Osborne Brother’s cover, “Listening to the Rain” sent the delirious, sonically drunk audience home oblivious to the cold harsh reality.
As Simpson sang on “Some Days” – “Some days you kill it” – this Friday in Boston was clearly one of those nights. Not only did Simpson live up to the hype even under the weather he exceeded all expectations. At his own peril Simpson has completely ignored the traditional music industry and anyone critical of either him or his material. Late in the show Simpson alluding to this decision mentioned that the last time he played Boston “there were maybe sixteen people.” Posing ever so briefly before the adoring audience he concluded, “Looks like we fucking won”, in what will surely be his last club tour, “yes Simpson “we” did.”
Anderson East in anticipation of his upcoming Elektra Records release opened the show. Alternating between acoustic and electric semi-hollow his strong, melodic with a touch of blue eyed soul voice kept the audience’s attention. He handled a difficult spot for a new artist without a band. Based on his material he’s a new Americana artist worth a listen.
Photos by Marc Lacatell
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