I was born into a circus
But I ran off to join a home
Oh, they said that I was worthless
That my family died unknown
So it gets and so it goes
That’s what you get I suppose
For wanting somethin more
Than a life of walkin rows

I’m prone to mondegreens and I heard that last line, at first, as a life of walk-in robes. Because I interpret that song as a wry lecture to his former self, when he dropped out of college to go on the road as a singer-songwriter, I assumed it was a bourgeois life he was escaping, rather than the life of rural toil suggested by walkin rows. But I know nothing about his pre-College history, so I am making assumptions. The “you” in the song isn’t necessarily himself at all, either, of course. But I admit I still have a sneaking preference for walk-in robes.

There’s the studio version and other free downloads here. (Warning: more earworms.)

A lone sock waits eagerly near the campground for the Festival shuttle bus to arrive.

Not having been to the Port Fairy Festival before, I was expecting old guys with fisherman sweaters and mandolins. Not that there’s anything wrong with old guys or mandolins. There were plenty of oldies but they were as likely to be playing blues and roots music or zydeco. It’s really a blues and roots and folk and world and indie festival.

I went to see Joe Pug in more intimate mode in the smaller tent, and a second time in the full-on big venue, because he came highly recommended by the Flop Eared Mule, and hell yeah she’s not wrong.

Pug (Joe Pugliese) did both gigs completely solo, just steel string guitar and harmonica. The smaller tent suited his style better (I was able to wriggle up to the front for that, as well.) The first thing about this man is that he’s exceedingly engaging and friendly, without carefully-cultivated angst. So relaxed on stage, he could be in his kitchen. There was a veritable plague of crickets in Port Fairy that weekend, and he was heard to say “Hey, that was cool. I had to get really quiet in that mid-section there and I could actually hear crickets chirping.”

When it comes to the songs themselves, comparisons with the young Bob Dylan are inevitable. The influence is clear, along with Leonard Cohen and Woody and Arlo Guthrie. “Nation of Heat”, his indie hit from his first EP, reads like a homage to The Times They are a Changin’, echoed in the rhythm. And the similarity doesn’t end there. Some of Joe Pug’s younger fans, like Dylan’s, have been… Shocked! Horrified!!! because -gasp – he uses electric guitars and pedal steel and drums on his latest album, Messenger! It’s 1965 all over again, bless their conservative little hearts.

His songs are studded with wry one-liners – I grew up in a circus, I ran away to a home / If I didn’t own boots I wouldn’t need feet / I call today a disaster, she calls it December the 3rd. He asked the audience to ask him questions and someone asked “do you play any happy songs?” He replied (from memory) that inevitably, loss and sadness happens to all of us, but when he puts it in a song he’s holding it in the hollow of his hand rather than it holding him. I normally find the one-man-with-guitar format hard going, partly because the damn audience is usually talking over the performer, but he held me in the hollow of his hand with beautifully crafted songs and a melodic intelligence to die for. And the audience shut up and let him be heard.

We bought a signed copy of Messenger after the show and Mr Bucket offered him a free shirt. He dropped in the next day for it, but sadly I was away doing something else. Missed by that much.

If Joe Pug was an exemplar of pared-back balladeering, Shakura S’aida and her band were a mighty soul-cleansing blast of sound and movement, bringing the funk, soul, blues and a bit of gospel. Shakura S’aida was born in the US, lived in Switzerland and now in Canada. Her guitarist, Donna Grantis, is a virtuoso who can knock off blistering solos of the kind that get you interviewed in Guitar Player Magazine. I’m not a particular fan of extended guitar solos, but she is certainly made of awesomeness and with so many kids of all ages at the festival, an important sight to see for young gels and boys alike.

S’aida showed her more intimate side in a Blues and Gospel session where she performed solo. Hairs stood up on the backs of our necks. She told a story about her childhood, auditioning for a church choir and being knocked back by the choir leader, who said “I don’t think you’re ever going to be able to sing.” I imagine that woman feels a bit silly these days. You can hear her (S’aida) in intimate mode on this podcast, in another theme concert, A Woman’s Voice.

Representing Australia in my selection of favourites is Fiona Boyes, a Blues shouter and guitarist/songwriter who has bazillions of awards but doesn’t seem to be appreciated enough here.

If there was one thing that these performers had in common it was a sense of complete enjoyment of their time on stage and a disposition to chat with the audience. I’m over angsty performers who see the audience as a bunch of philistines who have to be endured. All of them looked as though they were having a blast at Port Fairy and their enjoyment was contagious.

Honourable mention – Justin Townes Earle. The bad-boy schtick was pretty unrelenting, and some of the remarks he tossed off about his family were kind of snarky and TMI, but dedicating a song to Christchurch (and changing the lyrics accordingly), that was sweet, and he’s a good listen. Just don’t take him home to meet your Mum.

Things I liked about the Port Fairy festival: The weather – mostly warm and gently sunny in the way of Victorian autumn. The tent city at the Showgrounds, which was flat and not in the least muddy (see Weather). The people of the Showgrounds Committee who ran a breakfast mess hall – $5 bacon and eggs brought to you by adorable children, supervised by slightly older adorable children. Buying a cut-down beach chair on impulse in Colac, and finding when I got there that this item is absolutely necessary. Win! Spending time with the old friends who came to help out with the Bucket stall. Having a wrist band with ADULT printed on it. At last!! The diversity of the audience, including all ages from babies to seniors in their eighties…The members of the Folk club, aged 60s and 70s, playing their songs in the main street – I was sad they weren’t in the main enclosure, because after all it’s still called a Folk festival, and they’re locals, and oldies playing the songs they know is what folk is supposed to be all about, but sadly I myself would rather listen to Pug et all, so whaddyagonnado. The children who busked outside the enclosure. The twelve or thirteen year old boy who casually blew Take 5 on his tenor sax. The VCE-age kids who played in the village square.

A new concept for me - the backwards drum pedal technique

Outside the compound: Busker at Port Fairy

It’s not published on line, so what the hell, that touch typing I learned at school has got to be good for something. Right?

With a vocal comfort zone that in past performances has seemed to swing with ease from melodic balladry to twangy country, what’s new about everything on Tess McKenna’s stylish and thoroughly satisfying fourth LP is that it’s all fallen into place. Recorded in Melbourne with Barry Stockley joining her at the controls, she’s got the mix just right between acoustic singer-songwriter and plugged-in band material. Gentle strummers such as the title track, Pancho Style [should be Poncho style] and Down By the Sea serve to perfectly set up the electric guitar crescendos of numbers such as Fill me Up. Love is Gone, a sinewy blues number, could have come from a hot’n'sweaty Mississippi juke joint, smouldering for nearly eight minutes without ever quite igniting. Better still is energetic rocker Hummingbird, with strategically placed harmonica lines. Rumbling bass and driving drums give Tidy Town a heavier, ominous feel, then it’s back to the blues on nine-minute closer Still our House, which is also the closest she comes to Tamworth on this set of songs. McKenna launches The New Everything at the Northcote Social Club on Sunday at 2 PM.
Jeff Glorfeld
The AGE, EG 18.2.2011

Tess McKenna’s fourth album, The New Everything, was recorded over a year in the low-fi setting of Fatsound Studio, with Barry Stockley & an ensemble of long time playing pals including Ash Davies on drums. The New Everything eases in between barefaced folk and dirty bang bang blues to sonic rock overdrive. This is singer-songwriter McKenna at her best – authentic, soulful & intimate.
Tess has toured her music extensively, supporting artists such as Nick Cave & Lucinda Williams; has played her music from as far as the Woodford Folk Festival to the East Coast Roots & Blues Festival in Byron Bay, from the Melbourne Concert Hall to Austin’s SXSW Music Festival in Texas, USA. Tess McKenna & her longtime band The Shapiros will be joined by special guests for an afternoon of pitch-perfect harmonies and shimmering guitars to launch The New Everything at the Northcote Social Club 20th February 2011. [Doors open at 2 PM - $12.]

The New Everything is out now on HEAD RECORDS & is distributed through MGM.

Ashley Davies, who plays drums on the CD, is off touring with The Dingoes. So I’m occupying the drum seat for the launch, and thereafter. Which is a huge honour, and an exciting day to look forward to.

Come and celebrate with us.

AND!

Tess’s latest CD The New Everything is available now from Head Records or superior music purveyors.

In stunning vocal form Tess McKenna steps up as producer-singer-songwriter of her enticing album #4, The New Everything.

Barefaced folk and dirty bang bang blues to sonic rock overdrive McKenna’s sultry voice pulls you into a thrilling musical journey. Listen to her incredible sweetly styled vocals on the title track, through to hints of country pop on Photograph and new folk twists in Poncho Style; this style is pure Tess. Authentic, soulful and intimate.

Just in time for your Xmas shoppingz!

Sadly (for me), I’m not playing on this one, because I rejoined after it was recorded.

The CD launch is delayed until February – watch this space.

Tess McKenna and the Shapiros
Union Hotel
109 Union street. Brunswick

Saturday October 30, 5 – 7

…and on Saturday December 4, 9-11

We’re also playing a short set between Aintree Sweet‘s sets at the Lomond hotel on Sunday November 14 I got the date wrong, it’s the 12th, and T mcK is cancelled for that night. It’s still well worth going along to check out Aintree Sweet, though.

Tess’s new album The New Everything is out on the Head label in November. Get yer Christmas orders in early!

It’s wet, cold and very, very welcome.

You have to admit, the psychedelic-mushroom munching-hillbilly-slightly creepy and scary but hilarious vid for this song goes really well with the events of the week just gone.



And I love this quote from an old interview:

“When my relatives ask, ‘What have you been doing with yourself?’, and I tell them I’ve been playing in a country band, a grimace comes over their faces,” he says, “and they pretend to be supportive.”

The Union is a lovely pub with a great atmosphere. The last time I was there was in the Great Hailstorm of ’10 (as we’ll all call it when we’re clacking our false teeth in the old folks’ home) and I can tell you it’s a nice place to be when the weather is cold and blustery outside. Or not.

If Abbott wins I’ll be the one sobbing into my beer.