Tony Joe White: Storyteller of the Southern Swamps
24/4/2017
The other day while out to buy some lunch near my workplace I was lucky enough to spot the poster (See Left) for this show.
I can't say I have closely followed his career over the years, but have always had favourable impressions of his work. I have only one number by him, an .mp3 file of a duet with Lucinda Williams called "Closing in on the Fire", from his 2004 album The Heroines, but I have always remembered "Polk Salad Annie" from his first (1969) album Black and White as a funky number I liked before I even knew what Funk was. My first thought was how many times previously I have jumped at the chance to see live appearances by overseas artists of, shall we say, the second tier, and been rewarded by excellent, intimate performances by experienced, professional and well-honed acts. I thus immediately resolved to book for the show. After confirming my daughter as up for it as well, I found the first show for the 9th of April already booked out, but the show for the 10th was still available, and I bought two tickets with eager anticipation. |
The show proved up to my expectations in every way.
Mr White performed while seated on a stool for the entire show, pretty much alternating between spells of solo numbers and spells accompanied just by drummer Bryan Owings.
From the first few seconds you knew who you were listening to, as the Tony Joe White sound is instantly recognisable and unique.
The biggest surprise for me was just how many of his numbers were actual narrative stories, rather than poetic song lyrics. His vocal style is ideally adapted for this, a laconic slow drawl that approached normal speech at times. To highlight dramatic moments he got quieter rather than louder, as when someone leans closer so that it is "just between you and me".
Increased volume seemed reserved for when every now and then he would insert a bit of distorted lead guitar, or with also distorted wah-wah which he made no attempt to finesse:- there would be a verse or chorus, some guitar, and then wham, in comes the wah-wah, growly and dirty, and I recall noticing that he actually moved to turn the volume up for these spells.
The song structures tended to resemble long funky blues jams, with the story sliding through and around them. His intimate voice, the atmospheric playing, and the attentive but non-intrusive drum rhthms all added up to moody atmospheres to match and complement these stories, many set in the swamps and backwoods of the Louisiana bayou country he comes from.
A great night out to hear a master exhibit skills
crafted by years of creating and performing in his own distinctive style.
crafted by years of creating and performing in his own distinctive style.
Below is a video of a performance pretty much as the one I saw, with a better view as well!