William Fitzsimmons / Slow Runner @ The Starving Artist

March 31st, 2011.  Sure, William Fitzsimmons doesn't exactly book stadiums and arenas for his shows, but to come back and play another show at The Starving Artist - a small, homey artists studio in the heart of downtown Keene, NH - is certainly something special.  Such direct, honest, and emotionally charged music being shared in this intimate setting, really not much different than your neighbor's living room, made for an experience I will not soon forget.  Warmly greeted at the door by Laina, one of TSA's founders, Rosie and I arrived early and had our choice of seats.  Threes rows of folding chairs were set up facing the small area of the floor dedicated for William Fitzsimmons and Slow Runner.  Choosing the two center front seats we were practically on "stage" with the band, as can be witnessed by some of the pictures below.

Photo from Slow Runner's Website.

Michael Flynn and Josh Kaler, a.k.a. Slow Runner, a duo out of Charleston, SC, started things off with their particular brand of indie pop.  Here, they were accompanied by a friend helping produce the multiple layers of sound and rhythm of which their music is comprised.  Slow Runner's performance is something of a spectacle as Josh hops from pedal steel to standard 6-string electric to drums, and aforementioned friend Jonathan switched from electric bass to banjo to mandolin to synthesizer.  The whole time Michael keeps things from getting too out of hand by remaining behind his two synthesizers and providing lead vocals, the only constants throughout their set.  I'll admit that what I heard on their myspace page didn't really grab me...it either just wasn't my thing, or perhaps the production was too flat to do them justice...but seeing them live was a whole different sound and feel that I very much enjoyed; Flynn and Kaler's songwriting simply comes alive on stage as they offer a unique, fun, exciting, and conversely, somehow calming energy to their audience.  Not having been aware of them prior to the show, I am thankful to have had the opportunity to hear them play.

After a short break and an announcement from Laina, Slow Runner returned with William Fitzsimmons, as his supporting band for the tour.  William began with a new track called Beautiful Girl.  While his new record has not received the greatest reaction from long-time fans, it was clear from the audience's response that here in this house was great appreciation for William's step out of (or maybe just to the side of) the dark.  Gold In the Shadow, much as the title implies, marks a shift in songwriting from sadness and depression to hope and strength to pull through what seems insurmountable.  To me this message was always there, whether intentional or not, but Gold In The Shadow makes it a point.  Some have argued this new sound is too upbeat and poppy; what I hear is an artist embracing a side of himself which he has not yet shared through his music, and perhaps has not yet fully explored in himself.  When artists begin to too easily fill their own mold time and time again, they become predictable.  And predictable art is not very interesting...it's stale and stagnant.  Part of true artistic creation is willingly risking anything and everything for the sole purpose of one's expression...and furthermore never even recognizing any of it as a risk to begin with.  It may seem strange to think of writing a more upbeat and generally more mainstream record a risk, but William's new record is different from what he's done before and more importantly is sincere and inspired.

Photo: Rosemary Wojtas

William continued with a very well-rounded set.  He offered warm gestures of thanks, dark humor, and somewhat irrelevant but entertaining anecdotes between tracks.  Some songs were introduced and explained, whilst others were left to speak on their own.  His demeanor was down-to-earth and his presence comfortable and at ease; the show felt like a gathering of friends.  Between Everything Has Changed and The Winter From Her Leaving the audience joined the band in a jovial performance of Happy Birthday, sung for Jackie Plante, one of several Artists In Residence at TSA.  The song Goodmorning saw the entire band unplug their instruments and move to the back of the crowd - a special treat for those who didn't show up early enough to snag a seat.  I'm sure this was not something they could even do at most other venues, which added to the intimacy and energy of the evening.  The 15 songs in total were Beautiful Girl, Find It In Me, The Tide Pulls From The Moon, Wounded Head, Just Not Each Other, If You Would Come Back Home, Bird Of Winter Prey, Blood And Bones, I Don't Feel It Anymore, Fade And Then Return, Passion Play, Everything Has Changed, The Winter From Her Leaving, Goodmorning, and Afterall.  I recorded the show with permission, though the venue, mix, and my proximity to the band were not ideal for recording.  Where the quality lacks, warmth and charm are abound.  It was very hard to pick tracks from the set to share here - I hope I've done a satisfactory job with the following selection...
The Tide Pulls From The Moon (Live @ The Starving Artist)

If You Would Come Back Home (Live @ The Starving Artist)

Photo: Rosemary Wojtas

Passion Play (Live @ The Starving Artist)

I Don't Feel It Anymore (Live @ The Starving Artist)

The Winter From Her Leaving (Live @ The Starving Artist)

After the show Rosie and I spoke briefly with William, thanking him for another trip to Keene - this time, thankfully, not one we missed.

Comes the sunlight summer day...

As I write this extremely belated post I am sipping a hemp shake and enjoying the sounds of the new Mogwai record, "Hardcore Will Never Die, But You Will"...both are quite good.  I've been neglecting my hipster duties for a few weeks now on account of life being a bit more hustley and bustley than I'd have deliberately intended.  I've been thrown into an interesting whirlwind of excess stress at work, part of which left me unexpectedly stuck in Detroit for two days.  A warning to potential air travelers: avoid Delta.  The good news is that while I sat at DTW for hours on end, I fell in love.  Patti Smith's Just Kids is a powerful and beautiful testament: a loving memorial to her friend, lover, and soul mate Robert Mapplethorpe.  It begins with a heart-wrenching memory, and even though the reader presumably knows not of the history to be described on the next couple of hundred pages, it makes quite an impact...it is raw and unmistakable.  You can absolutely feel Patti's emotions shape-shifted into words, vessels of her transmuted energy; they reverberate with the part of yourself that is ever-present, the core of your being.  The book is lush with treasures of poetry.  Even in a narrative Patti's way with words is astounding, as I suppose one would no doubt expect coming from one of the greatest rock-and-roll poets of all time.  As cliche as it might sound, she doesn't bring her history to you but rather brings you into her history; you become part of it through the experience of the book.  The focus of Just Kids is to tell the story of Patti Smith and Robert Mapplethorpe, as only Patti can...but it also somewhat serves as a general autobiography.  Patti leaves out large portions of her own experience that are separate from Robert's, which is OK since this thread can found and picked up elsewhere (interviews and other books).  She fills in nearly all the gaps left by other sources by detailing the journey on which she and Robert embarked: two somewhat shy but inspired kids becoming two successful, powerful, and matured artists.  It is a story that constantly tugs on your heartstrings whilst simultaneously inspiring you as a creator in the world to stop seeing what you are doing as a risk and to realize your true calling.  If you are an artist you must read this book.

Other than reading in airports and coming home to a very broken car, I've finally set up my turntable again.  It's an old belt drive Technics hooked up to a pair of vintage Sony speakers via a Realistic stereo amplifier.  I've been spinning alot of Isis, Opeth, Jethro Tull, and Blue Oyster Cult.  Rosemary sometimes brings over her Cat Stevens, Simon & Garfunkel, and Joni Mitchell records, which are always welcome.  It is really nice to see many new albums are being released on vinyl with free digital downloads.  It's a perfect blend for those of us who adore the nostalgia and quality of vinyl records, but also embrace the portability of the digital audio era.  I am excited to do a bit of vinyl hunting when my tax return comes in.  On the hit list are The Doors' self-titled, Patti Smith's Horses and Easter, Lou Rhode's One Good Thing, and Comus' First Utterance.  If you've never heard Comus you're missing out on some very interesting and inspired stuff.  Here's a tasty psychedelic treat for you...ripped from vinyl of course...

...so...fucking...good...

Outside of my analog indulgance I've been spinning some Nick Drake, the new and very lullaby-like Radiohead record, the new Mogwai, the The Fountain score/soundtrack, the last couple of Do Make Say Think records, and the Isis/Aereogramme colaboration.  I also just found out yesterday that William Fitzsimmons will be playing at The Starving Artist in Keene, NH - a small, homey artists' studio.  It is going to be a wonderful, intimate show.  If you are in the area I'd highly recommend getting a ticket ASAP.  Here's a track from William's forthcoming record...

What's next...
A couple of weeks ago I interviewed Myke Havoc of Dorian Gray, a new New England metal band.  They recently released their first EP, which I will be reviewing in my next post with some excerpts from the interview.  Hopefully, the fact that I am updating this blog now is a sign that my life is making its way back on track.