Lee Bains III and the Glory Fires, Eleganza, Nato Coles and the Blue Diamond Band

7th Street Entry July 8, 2018

by Cyn Collins

Photography by Mark Wojahn

What better way to spend the night together, shaking off some of our Bourdain blues, dancing hard with friends, and people congregating to enjoy experiencing Lee Bains III and the Glory Fires, Eleganza! And Nato Coles and the Blue Diamond Band?

Lee Bains III and the Glory Fires, of Birmingham, Alabama, returned to the 7^th Street Entry on their summer tour, performing with their friends, excellent rock band Eleganza. They've performed with Eleganza! every Minneapolis (and surrounding area) show since they began coming here to perform one or two times a year, for years. And this time, they brought Eleganza with them to perform at the Lyric Room in Green Bay the night before, also with Green Bay area band, the New Old Thing.

Although many people were reeling and saddened from the shocking news that day that Anthony Bourdain had left this world, there was an electricity of excitement in the room for the real, raucous, straight from the heart, rock ‘n’ roll that Lee Bains III and the Glory Fires, Eleganza! and Nato Coles always bring. Many who’d seen these bands were there, as well as new fans who heard about them from word of mouth.

Nato Coles and the Blue Diamond Band kicked the night off with a high energy set of anthemic straight-ahead punk and indie rock - at times reminiscent of Bruce Springsteen and the E Street Band, other times, Tom Petty - with a mix of powerful rockers and covers, and a flurry of high jumps and kicks.

As always, Lee Bains III and Glory Fires’ Lee Bains, Eric Wallace and Blake and Adam Williamson were in the audience and up front watching the bands, and warmly greeting old friends they’d made at former shows, and new ones.

When Eleganza took the stage, frontman Brian Vanderwerf joked about playing with Lee Bains III and the Glory Fires whenever they’re in town, “whether you like it or not!” (We audiences love it, as do Lee Bains III and the Glory Fires). Blake shared with me that they tell people Eleganza is their favorite band to play with and always love doing so do whenever they’re in Minneapolis.

Eleganza! were on fire this night! Brian’s voice was rough from singing and screaming raw rock and roll at their Green Bay show. That didn’t stop him and Eleganza mates from giving it all they got, as they always do . . . from the gut and from the heart. A couple people quipped Brian sounded even more rock ‘n’ roll with his gruffer voice . Vandy has a great rock 'n' roll and outlaw country voice, he's honed over many years. Eleganza somehow miraculously manage to sound even more cohesive, and synergistically tight with every show. 

Bandmates - frontman/vocalist/guitarist/songwriter Brian Vanderwerf, guitarist Greg McAloon, guitarist Jeffrey Johnson, bassist and vocals Tony Zaccardi, and drummer Tim Baumgart  - have an visceral band chemistry that’s energizing and exciting to experience live. Having played together for several years, and in various bands for decades (such as Chooglin' Midnight Evils, Kruddler), they are real rock, raw, honest, dirty guitar-driven rock ‘n’ roll with heart. The songs are well-written - poignant, with wry humor, sometimes nostalgic for the past be such as “Old News,” beautifully fraught with emotional tension, sometimes moving on without looking back as in “Man on the Move.”

Nearly half of Eleganza’s current set are newer songs, not included on their forthcoming record, Full Length, This show included a couple of brand new songs they’d played only a handful of times. A few of my newer favorites include ”Sick of What I Need,” “Treat Yerself Right” and Rolling Stones-esque “Here Comes Trouble.”

 “Suffer Time” is wryly funny with infectious energy. Vandy engaged audiences with funny self-effacing humor and brief anecdotes. He expressed gratitude and friendship toward Eleganza’s several years show mates and close friends Lee Bains II and the Glory Fires, then dedicated, as is now tradition, their sultry Southern rock styled “Alabama Bound” to this band from Birmingham (where Eleganza! has gone to perform with them as well).

Eleganza performances are tightly wound, the band members synergistically locked in with each other and yet they sound loose in all the right places, with jangled, ringing guitars, making many dance wildly. Tony Zaccardi helped more on vocals as Brian requested due to his ravaged voice from the night before. Tony’s stage confidence is growing, he’s singing more, joyously playing his bass with prowess and dance moves.

After one song, (I think “Treat Yerself Right,”) Vandy jokingly clarified it was about it being “okay if you fuck up, not about “you are a fuck up.” Their closer “Big City Filth” – which I would think should be the first single released from their forthcoming record - featured excellent intense buildup performed with a taut transition into the climactic kickass ending. Eleganza made people in the audience – including all the Lee Bains members -  dance hard, bang heads, pump fists, yell, laugh and have a good time. A great real rock ‘n’ roll show like how they used to be, and should be, no holds barred.  

Lee Bains III & the Glory Fires brought “Sweet Disorder” to us, wild, raucous, real Alabama rock ‘n’ roll. They performed several songs from their most recent, extraordinary double album, Youth Detention (Nail My Feet Down to the Southside of Town). Their songs address racial tension, industrialization, corporate greed, dirty politics, homophobia, xenophobia and more.

They performed with a ferocious, fiery energy, fueled by the crowd, the crowd fueled by them. Lee Bains introduced the songs, sharing the stories and inspiration behind them, who they’re about and who they’re meant for, to enrapt audiences who truly listened, then cheered wildly, identifying with and inspired by the story. Then LBIII & GF would tear into the songs like there was no tomorrow, performing tight, grungy, dirty rock, punk with soul with elements of gospel for good measure.  One audience member, who's worked with a lot of bands over the years noted "They're like 4-5 bands in one and it really works!" I thought, Lee Bains III and the Glory Fires are akin to a fine Southern stew, sometimes simmering, sometimes rapid boiling, pot of soul, punk, blues, rock and gospel.

Adam Williamson played incredible intense bass. Lee Bains III and Eric Wallace played real rock and punk guitars lightning fast at times, others slow and twangy, like the best of country rock, transitioning fluidly into punk as they all traversed and wove various styles flawlessly, creating a new sound, that sounds old, from an amalgam of styles they grew up with. People were dancing, pogo-ing and fist pumping like mad, beaming smiles and love for the band, the boys invigorating them, inspiring them to go raise some hell, stir things up. 

Lee shared the story behind “Black and White Boys,” a song against racism. Introducing “Underneath the Sheets of White Noise, he said “this one’s about listening." And, you could’ve heard a pin drop – in the Entry! – as people were indeed really listening. Lee introduced “Good Ol’ Boys” listing the politicians (good ol’ boys who actually aren’t) before tearing into the song about what the good ol' boys or girls are and should be. He talked about standing up for your rights, no matter what, or who you are before a riveting rouser about that.

They performed an earlier favorite, rebel rousing, “The Company Man” with the audience defiantly singing along. Lee Bains and band performed with intensity and passion, beaming with exuberance and spreading a contagion of joy, and electrifying energy between the band and the audience, rarely witnessed. Lee was often leaning into and held up by the crowd, or jumping off-stage, playing and singing while a part of the crowd. The band members were dancing and head banging or hair spinning. On some songs, especially the faster, more punk-driven ones, drummer Blake Williamson reminded me of a young Grant Hart, also a singing drummer  – long dark hair flying sometimes covering his face, sometimes revealing his ebullient grin as he hit hard, loud, fast.  

“Keep It On the Dirt Track” was their closer before 2 song encore. They performed this with their always amazing breakdown in the middle, slowing down playing lower, slower and quieter, melodic guitar shifting and building a dramatic slow tension with feedback, building up again to a climactic, powerfully passionate full audience sing-a-long, chanting repeatedly, "Keep on workin', keep it on the dirt track, until Lee yowled and they tore into a fast, furious exciting finish. They quickly returned to the stage for their scintillating 2-song encore, delighting audiences. They dedicated one song to their incredible host (with Brian) and cook of their delicious pork chops earlier that evening, Angela, and we gleefully danced. Then after the show, hanging out by the merch table which included their three albums and a possum T, meeting and greeting, catching with friends in the bands and audience and talking with new fans. 

Lee Bains III and the Glory Fires, Eleganza! and Nato Coles/BDB continue to show us what real, raw, raunchy, rock 'n' roll is, and that musicians can be one with their audiences, less of a divide, more of a coming together for the love of the music and sharing the night together, making new memories, embracing old.

Lee Bains III and the Glory Fires perform several dates across the U.S. through June and are working on a new live album coming out in the next half year, which will include the band’s favorite live performances and Lee Bains III song introductions.

Valerie June with Birds of Chicago First Avenue Minneapolis, February 17, 2018

by Cyn Collins
Photography by Mark Wojahn

Southern Comfort

Sweet soul solace was brought to Minneapolis via Valerie June’s concert Saturday night, February 17 at First Avenue Mainroom. Chicago-based Birds of Chicago husband and wife duo JT Nero and Allison Russell, kicked off the evening with inspirational old-timey country, blues and hollers. This was their fifth and final night touring with June, who they expressed much joy and gratitude for. Russell’s versatile vocals were riveting - at times ethereal, others guttural. She was adept at various instrumentation, from the clarinet to the ukulele to whistling. Nero’s gravelly vocals harkened to ‘70s country singers (they even name-checked John Prine in a song). One audience member aptly noted Nero reminded him of Lyle Lovett.

Birds of Chicago’s audience banter was funny and heartwarming. They harmonized beautifully and worked off of each other playfully. Each shared a story of their grandparents between songs. Nero wore his grandfather’s wool hat that he’d worn 41 years, then sang a song inspired by his grandfather. Russell talked about being inspired by her Scottish grandmother in Saskatchewan before singing heartwrenching “Barley,” a dark, mesmerizing song serving as a salve during these painful days. They closed their set with “American Flowers,” a folk tune inspired by Woodie Guthrie, and driving across vast plains, that they encouraged the audience sing along to the chorus, as is folk tradition.

Valerie June entered dramatically draped in a leopard print cape, her band sharply dressed, a couple guys had great beards. They opened with “The Hour,” instrumentally sounding like tight, classic Motown, replete with organs and bangles. June hauntingly hummed, before singing the bittersweet and yet hopeful song, causing audience members to sway early in. 

She then shed the cape, exposing a stunning sparkling playfully cute outfit in black, onyx and silver with powder blue cowboy boots. Tennessee native June was as sparkling as her outfit, refreshingly delightful and charming, impish in her warmly humorous stories delivered with her sweet Southern accent. She talked to the audience as intimately as though we were hanging out in her kitchen, for instance sharing a tale of kicking her man out. Like . . . you know how it feels when you want to throw out all his stuff out at once, real fast, along with the couch, and the couch barely fits through the door but you push it through anyway, so then the door’s broke, so you ask him to fix the door before he leaves? “It’s Tennessee, it’s warm, we have time for him to do that here!” She quips.

 

Time was a prevalent theme throughout June’s music and the show. They performed songs from her stunning second full-length record, The Order of Time, such as“Man Done Wrong” “The Front Door” the rousing “Got Soul” “Slip Slide on By” “If And” and “Just In Time.” At various points June talked about concepts of time, time in our lives, inevitability, aging, loss, grief and transcendence. 

They also performed songs from her preceding album, Pushin’ Against A Stone, such as “Tennessee Time.” Between songs, June shared strong messages in her sweet voice, crackling at times with emotion from the heart, at times evoking an old wise woman or a shaman, speaking from another plane. Before singing “You Can’t Be Told,” she encouraged audience members to rid their self-doubt. “Don’t let family or friends tell you how to be. When they tell you “don’t do this,” “Don’t do that,” continue to do what feels right to you!” she advised.

The band guys left the stage, while June sang acoustic, “Workin’ Woman Blues” telling the women we are all goddesses and dedicated that song to us. This soul-stirring song featured African rhythms, as did many during the show. For a few of the songs she played the banjo, that old instrument that originated in Africa. She played it in ways it used to be played before bluegrass, with more African, and old-timey Appalachian style and rhythms.

Her vocals also referenced old-time country and honky tonk with twang, singing with crackle and spitfire, laughter bubbling at the surface ala Wanda Jackson. Her band was excellent and fun, including a phenomenal pedal steel player. They were very tight and sometimes playful, and sang great harmonies with June. They played in an amalgam of styles from country soul to old time gospel, to African, honky tonk and old timey.

At times her songs sounded like they came from another space and time. Her unique angelic vocals soared and lifted the heart, her poetic lyrics inspiring to the core. She shared a story about hearing a beautiful voice in her head, then quickly writing the song down so she wouldn’t forget it, as one does with a dream sometimes. Then she sang us that beautiful mesmerizing song, “Twined and Twisted.”

The show had fun twists, moving from sweet country soul songs to old country blues stompers such as “Shakedown,” where June showed her dance skills and made people dance. June laughed while she emphatically told us she dances every day, every single day. She turns the music loud, then “I go like this [gives a high kick, then shows seriously wild dance moves] then the neighbors complain. I tell them, 'it’s only 10 minutes!'” she retorts every time.

There was so much heartwarming humor. When June pulled out a very small banjo, she introduced it as "Baby Banjo" and informed us she wasn’t sure “she” [Baby Banjo] would ever play, but then one day she “sang like Aretha! She laid it down.” June cooed, cradling her little banjo like a proud mama. She gestured at the bigger banjo she’d played oft throughout the show, introducing it as Mama Banjo, then introduced the bandmembers, noting they are like family.

The show felt like a dream sometimes, spellbinding as June spoke entrancingly about experiencing the feeling of the very dark cozy space just before sleep, floating in the clouds, or talking about fairy dust, in the palm of our hands, as we look for the light in ourselves. How it feels to have lived a beautiful day, simply because we lived for one more day.

Toward the end, June expressed her love for Minneapolis, how great the First Avenue staff and venue are, performing the Cedar in the past, the beautiful people, the ethnic food, and looking forward to going to the mega mall, because “I love shopping, as you can see” laughingly gesturing at her sparkling sequin suit. June explained she was wearing the sparkling suit tonight to symbolize how she wanted people to feel, to know they can find their light inside, let it shine. Then she sang her inspiring song about finding your light within, “Astral Plane.”

Like shots of Southern Comfort for the soul, the Valerie June performance was just what so many of us needed. Afterwards, a local musician/ audience member expressed to me what I’d also experienced, that this was just the show he needed. It made our hearts feel good. Her music, stories and spirit were healing, lifting people up from cold, loneliness, and sadness in these hard times. It brought people together, congregating in the warmth and inspiration of a truly unique, authentic artist. We can’t wait to see her again.