Lilac Wine (left to right): give Reynolds, Jim Culliton, Larissa Mia and Rob Henson. (Photos by Mark Gresham)
One of several great social phenomena regarding the century that is mid-20th the “American folk music revival,” which took root sometime within the 1930s and peaked within the belated 1960s. It absolutely was informed both because of the era’s vibrant grassroots populism, frequently by having an activism that is political match. Ironically, the British intrusion which derived most of its craft and sensibilities from US rock ‘n’ roll and blues music started initially to eclipse the movement’s impact within the musical conventional, and also by the late 1970s, people music had become mainly the domain of aficionados.
It had been in this context that the Atlanta region Friends of Folk Music formed in 1981 to guide the reason for the genre, and contains experienced constant operation since. Its Fiddler’s Green show began simply 5 years later on as well as for a few years had its house in the Garden Hills Recreation Center. The series went on hiatus for a couple of years, but it revived at Anthony’s Pizza and Pasta in Scottsdale as its venue with the recent economic crisis. Then in December of a year ago, Fiddler’s Green relocated to Steve’s real time Music in Sandy Springs.
Steve’s, which launched in June 2012, is a great venue that is intimate the show, having a capability of 120, somewhat not as much as Decatur’s iconic Eddie’s Attic. The noise and sight lines are good, though it seems more amplified in character than the Attic’s more simple electronic bump in sonic existence. Nevertheless the immediacy of Steve’s area energizes the experience that is listening reasonable contrast into the Attic, with a significantly lighter feel to its interior environment. But as Atlanta audiences and artists understand, there’s still lots of elbow space once and for all venues that are small the town.
This Saturday’s installment that is past of Green offered up two fine regional functions, starting with Jim Culliton and Rob Henson, who’ve been playing as being a duo for around 10 years. Both are freelance journeyman performers, obliged by that status to be experienced in many different musical styles. Down to one genre, especially true for the versatile Culliton so it’s hard to pin them. a presence that is constant the Atlanta music scene for a couple of years, Atlanta audiences are usually to determine the fiddler/guitarist with bluegrass and its own progeny, though Culliton’s stylistic range is far wider.
Henson is just an indigenous Atlantan whoever educational work with jazz studies at Indiana University plainly notifies their individual design on bass no matter what genre of music he could be playing. He stuck with acoustic upright bass throughout today, their playing demonstrating he’s one of many city’s more remarkably imaginative bassists aided by the chops to pull it well.
Interspersed in their front-line set, the duo performed four of Culliton’s initial tracks from their quick, self-released 2000 CD, Every Day the New lifetime, complemented by some address requirements. These people were accompanied by the end of this set by give Reynolds on mandolin, a demonstrably adept multi-instrumentalist whom Henson tagged year that is late last be considered a “musical Swiss Army knife” when it comes to next work up, their brand new trio, Lilac Wine.
The major discovery that is ear-opening of night ended up being Lilac Wine’s vocalist, Larissa Mia. Astonishingly, Mia is a new comer to the music that is professional, duration. Lilac Wine is her very very first band, and particularly, it was the band’s concert that is formal, based on Henson, having formerly played a couple of restaurant vocals gigs.
Since recently as an ago, mia did not sing in public, only for herself at home year. Then she produced leap that is personal performing at open mic occasions, which can be where Henson and Reynolds found her. Her buoyant, usually sultry vocals is sold with an japanese friend finder price amazing normal musicianship, a simplicity of phrasing and illness with spot-on intonation, meshing beautifully with all the playing of her experienced peers.
Their tracks had been of assorted sources, but attention-getting that is most had been the inventive lifts of songs from out of one design and dropped into another, including a notably musically sanitized but engaging acoustical undertake Marilyn Manson’s “Tainted Love,” which is why Henson produced recorded rhythm loop track by scratching the strings of their bass underneath the connection using the straight back of the knife ahead of the track started, as well as an unexpectedly effective bluegrass-ish form of Stevie Wonder’s 1973 hit “Living when it comes to City.”
Overall, it absolutely was a more atypically offbeat and also jazzy night than one might expect of Fiddler’s Green. Some purist fans of people music, or some of these genres, may be offended by the cross-dressing that is musical but as AAFFM president Chris Moser later opined, “We’d rather lean toward our concerts being more comprehensive than exclusive.”