She’s
been referred to as “brilliant” (Pitchfork), with similar praises coming from
other respected outlets like Time Out London and Wire Magazine. I don’t have
enough exposure to her music to heap more superlatives onto the fire, but I can say I was very happy to be one of
the few in attendance at her Reckless Records (N. Broadway branch) in-store
performance this past Friday. Marisa Anderson gave off a genuine vibe of love and
attachment to her guitar, the music she brings out of it, and its attendant musical history; mainly early 20th century American country/gospel
and blues guitar styles, and to a somewhat lesser extent some current
blues-rock music in terms of tone.
Imagine a slightly more studied Jack White if he played solo and all instrumental. Some of Anderson’s playing also reminded me of a lesser-known, old-school country/gospel/blues influenced contemporary: Scott H. Biram. But while Biram plays up the image of the fuck-it, loose cannon blues renegade screamer, Anderson’s presence and personality at this in-store performance was a bit soft-spoken; somewhat shy even. However, her low key, in-between song banter played the foil to her guitar playing which often had quite an edge - distorted, sharp, bluesy, loud-ish, occasionally sloppy and out of tune, and undoubtedly intentionally so. Speak softly and carry a big guitar. But just as often her playing matched her inward looking, pensive vibe. This was particularly so on her piece named after the place her father's family is from, “Koufax,” and her medley of gospel tunes. Her somewhat brief references to the classic “I’ll Fly Away” were particularly moving, respectful, and authentic – whatever “authentic” may mean in a musical context. “Authentic is as authentic does,” Gump might observe.
Imagine a slightly more studied Jack White if he played solo and all instrumental. Some of Anderson’s playing also reminded me of a lesser-known, old-school country/gospel/blues influenced contemporary: Scott H. Biram. But while Biram plays up the image of the fuck-it, loose cannon blues renegade screamer, Anderson’s presence and personality at this in-store performance was a bit soft-spoken; somewhat shy even. However, her low key, in-between song banter played the foil to her guitar playing which often had quite an edge - distorted, sharp, bluesy, loud-ish, occasionally sloppy and out of tune, and undoubtedly intentionally so. Speak softly and carry a big guitar. But just as often her playing matched her inward looking, pensive vibe. This was particularly so on her piece named after the place her father's family is from, “Koufax,” and her medley of gospel tunes. Her somewhat brief references to the classic “I’ll Fly Away” were particularly moving, respectful, and authentic – whatever “authentic” may mean in a musical context. “Authentic is as authentic does,” Gump might observe.
Reckless
Records’ hosts (killer record store!) and Anderson herself were way friendly
and had no qualms with me shooting some video of the performance. She followed
her in-store performance later that evening with an opening set at the
venerable club The Hideout. I
hope to be “reporting” from there quite a bit. Take a look/listen to some excerpts of Anderson from
the N. Broadway, Chicago record store below. Excellent guitar playing:
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