On the back of a stint at Austin’s SXSW in March, acclaimed singer-songwriter and guitarist Kristin Hersh is back in the UK, touring with her Electric Trio.
Tonight they’re in Edinburgh for another visit to the city’s Dissection Room in Summerhall, the line up mirroring 2019’s Live and Loud tour, with Fred Abong and Beerjacket on support duty. But everyone’s been busy during the grand hiatus and tonight we feast on a mix of numbers old and new including tracks from 50 Foot Wave’s new album, Black Pearl and Throwing Muses 2020 release, Sun Racket.
BEERJACKET
First up is Glasgow singer-songwriter Beerjacket, aka Peter Kelly, with an infectious selection of short melodic numbers from latest album Handstands and earlier release Darling Darkness. Blemish has echos of Roddy Woomble’s folksy output and the heartfelt Muscle charms the audience. Having spoken to Kristin Hersh earlier, I can see why Beerjacket is her number one choice in Scotland, his music being just how she likes it – unpretentious, honest and delivered with modesty and humour. In fact Beerjacket’s stage banter is as much part of the show as his enchanting alt-folk acoustic set.
Before last number, Two Travel, he thanks Hersh for inviting him along saying “she’s incredible, Fred is amazing, Rob is amazing and, hey, you (the audience) are amazing!” Well, that’ll always get an applause and some bloke shouts out “no, you are amazing!” to which Beerjacket then quips “I can’t take a compliment but you’re amazing at compliments!” At one point I think this could go on all night, but amazing it is! Check out Beerjacket at beerjacket.bandcamp.com.
FRED ABONG
Next up is the first of two appearances by Fred Abong, former bass player for Throwing Muses and Belly. The first thing I notice is how much more relaxed he appears up there compared to three years ago, and his sound feels bolder and more assured. Perhaps it’s down to the smashing new fedora he snapped up in Glasgow yesterday and he really does looks rather dapper, playing up the crooner vibe of his soon to be released album Yellowthroat. He’s on down-tuned classical guitar for the first half of the set, showcasing lo-fi numbers such as Footprints and Pulsing from 2019’s EP of the same name. Meanwhile a new depth is revealed on 2020’s Invisible Man from Our Mother of Perpetual Help with its simmering, grunge-infused bittersweet riff.
After a few songs he asks if we’re depressed yet. Sorry Fred, you really should try harder because people are smiling and there doesn’t appear to be a rush to the bar for whisky. To be honest, it’s strangely uplifting the way his music slowly ebbs away at you, drawing you in, his soothing voice low and husky.
The second half sees Abong abandon his guitar and even indulge in a few dance moves like the daring comedy run, as the immensely talented Rob ‘Moose’ Ahlers, drummer of 50 Foot Wave, takes to drums and percussion. Ahlers worked with Abong on Yellowthroat and earlier Abong sung his praises, “Rob has such a great musical ear…He plays everything (on the album) except classical guitar and vocals…he brought the additional vaporwave production to it, a lot of strings, keyboard stuff, live drums, synth drums.”
Tonight we get a taster of this new sound, a flourishing fusion of layered nostalgia which both looms and blooms against Abong’s gravelly intones while he idles around stage with his new best friend, the mic stand. He’s one to watch, keep your eyes peeled!
Check out Fred Abong’s soothing new single, Aurora, available now at https://fredabong.bandcamp.com.
KRISTIN HERSH’S ELECTRIC TRIO
Kristin Hersh takes to the stage, introducing her band, 50 Foot Wave’s drummer Rob Ahlers and ex-Throwing Muses bassist Fred Abong, who’s now switched from fedora to the grungier beanie hat. She then humbly introduces herself, saying “I’m me…from me!” Well it’s good to get that cleared up, with the Electric Trio adding yet another mix to her musical entourage.
With the perfect opener, ‘C’mon on, c’mon on, play the Goddamn music!’ the trio blast into an infectious rendition of 50 Foot Wave’s Bug, Hersh yelling “nothiiiiiing” like a turbulent teen explaining what they did last night as she loses herself to her dusk-drenched zone. Next up is Throwing Muses’ feisty Sunray Venus, from Purgatory/Paradise, before they surge into a few numbers from Throwing Muses’ 2020 album, Sun Racket. It’s great to hear these songs get a good airing, especially since the original Muses tour was cancelled due to the darned C word.
Bywater floats tranquilly as heads sway to its rolling rhythm, the lyrics defying the ambience with lines like ‘Whose goldfish in the toilet? / Don’t flush it, it’s Freddie Mercury…A moustached amputee / Heading out to sea.’ Meanwhile Bo Diddley Bridge ups the pace a little as its unhinged distortion envelopes Hersh’s vocals, which waver perilously between that familiar fragility and scathing rasp. Sublime!
Hersh spits and snarls her way through Crooked’s unsettling Mississippi Kite, heavy on pain as the story builds, and although we’re seeing her in a crowded room, she really is miles away, that stare seeping through the wall of the Dissection Room.
Finally the dark shimmer of Black Pearl’s glorious opening track Staring Into the Sun illuminates the Dissection Room, its grinding guitar and dark, guttural vocal creating a mesmerising sonic rush. Hersh says Black Pearl wants to sound like “you’ve just woken up on somebody’s floor and gravity’s working on you.” And she’s not wrong, as Staring Into the Sun’s building tension invokes that half-lit, dazed, groggy re-entry into consciousness.
The gutsy LAX from Hersh’s solo album, 2019’s Possible Dust Clouds follows as Ahlers explains “this is a song about my favourite worst airport”, before drifting into his own reverie, his backing vocals complimenting Hersh’s husky tones and feedback-laden melodic riff. They pack a mighty punch as Abong’s brooding baseline interlude gives way to Hersh’s gliding guitar. Her woozy vocals clash beautifully with Ahlers’ as they cry ‘You change your view to change your world view.’ What a blast!
Tulum hypnotises the crowd as the pace is lowered again, completing the set with its gnarling discord. The sound tonight is a haze-drenched cacophony of frenzied feedback, flawlessly demonstrating the amplitude of Hersh’s musical projects as they meld effortlessly into each other.
A short encore ends with the rollicking fuzz of Throwing Muses’ Shark, Abong switching to drums, as Ahlers picks up the bass and beanie hat. Forget sharks, these guys are having a whale of a time, and the interchangeability of their musical talents gives them all an opportunity to shine on another evening of delicious musical brilliance.
The Electric Trio continue their UK tour before switching to an acoustic set later in the month. Catch them if you can!
Check out our interview with Kristin Hersh and Fred Abong >>
Words: Shirley Mack @musingsbymarie
Pictures: Calum Mackintosh @ayecandyphotography