There are times when you stop by the local watering hole only expecting to have one beer, and you take your barstool and place your order with that avowed intention, when you feel a hard slap on your back and a loud voice in your ear and turn to see the face of a friend you haven’t seen in awhile. He orders another round, and you settle in. That’s what Jay Farrar’s set at the Intersection was like.
If some of you like me are a little fuzzy on the names like I always am, he did a couple of albums with his band Son Volt, and before that, he was in Uncle Tupelo with a certain Jeff Tweedy (does that make Tweedy his cousin if they’ve got the same uncle?). His accompanist, Mark Spencer, played a Telecaster and a lap steel, while Jay had about half a dozen acoustic guitars with him, although I only saw him play one of them. The crowd was a little too old for a Tuesday night, and pulled tables and chairs up close to the stage where the dance floor would usually be. Farrar’s voice had that familiar tone and cadence, instantly recognizable.
Most of the set was comprised of songs from his new solo album, Sebastopol, very appropriate for the two guitar arrangement (even if the house acoustics and stage configuration was not), the songs a little like the conversation with that old friend where you talk about what you’ve been up to lately. Mixed in was an Uncle Tupelo number and a song or two from Son Volt’s debut Trace.
With the first couple of bars of “Tear Stained Eye,” after the appreciative woops from the crowd died down, I had to wonder why the old songs gave me so much more of a twinge than the new. Is it the fact that they’re old times being talked about that makes them good times, the years and a lively imagination putting a spin to them? Or do good songs become great when you’ve listened to them time and again on mix tapes, and sung along with the tune, out of tune, on road trips into the great West? Maybe he says it best in that very song: “Can you deny/there’s nothing greater/nothing more/than the traveling hand of time?”
Whatever it was, the songs sounded good, the slide guitar on the solo sounding like a trembling saw. I was still thinking about the question when they wound up their set and were brought back for an encore by the polite but insistent applause. They closed with another Son Volt song, “Windfall,” which sounded like the promise you make after a few too many rounds to keep in touch and do this more often, and they were done. I picked up his disc on the way out—as our man Scott put it, “It’s almost like buying the artist a beer, considering you’re cutting out the middleman.” And Jay definitely deserves another round.
7 thoughts on “Jay Farrar: Another Round Before You Go”
Another article from a different show on this tour can be found here: http://www.starnews.com/print/articles/lindq13.html
Great fucking review Pat. I can only hope that Jay has more fun playing solo than he did on the last Son Volt tour a couple years ago. I’ve always liked Son Volt’s stuff, but it sure didn’t translate live when I saw them. Now I’ll have to check the listings and find out if Farrar is playing in Detroit.
Pat,Great review. I don’t care if you remember the song names, that was a review that truly relayed the emotions you felt. I know the names of the songs, I’m more interested in how they affect people. Great job.
That hits the nail on the head, I think. I didn’t stay for the encore, but the atmosphere was just as you described it. I wish that we had grabbed a couple of those chairs before all those Gray-Haired fans claimed them all.What’s weird is that a week later that same stage was home the GirlyFreakShow!
I wish I could review the Girly FreakShow, but I was way too tired by the time they got on to give them the full treatment.
The Girly Freakshow is an actual freakshow, with diverse performers and MCd by Slymenstra Hymen from GWAR. She did seem surprised and happy to have a quite a crowd on a Monday, Gd Rapp or no, but it was literally a school night for me, so I turned in after the flame juggling belly dancer.