Saturday, February 23, 2008

Concert review: Robbie Fulks

By Mike Orren

GREENVILLE AVENUE — Not long ago, the PegNews staff made a commitment not only to posting more show reviews (whether by staff or members of our community), but to posting on the night of the show whenever the reviewer was taking advantage of the opportunity to be "on the list" for a particular gig.

We're still working on that, particularly on the volume of reviews. (We try to do so much with so few that most of us really don't get out as often as we should.) But, I can unequivocally say that this is the earliest review ever posted on PegNews, and probably the earliest ever posted by a Dallas media outlet.

I can't claim all the credit though. As alt-county-meaning-real-country-because-what-passes-for-mainstream-country-isn't-country enfant-terrible-turned-statesman Robbie Fulks said after his second number at the Granada tonight: "Fuckin' six o' clock show!"

While a headliner taking the stage at six is an anomaly, for sure, The Granada is aiming to make it less so. Owner Mike Schoder and Marketing/Front-of-house head Nathan Binford tell me that they're intentionally trying a series of earlier shows. They bring out die-hard fans who would come see their heroes like Fulks and next week's early headliners The Asylum Street Spankers regardless of time, and allow the house to be turned for a second, later show. It leaves open the opportunity for dinner post-show, and to bring out aging wanted-to-be hipsters like me who are happy to be sitting in their backyards smoking faux Cohibas before 9:00.

Since Robbie pointed out both the odd hour and the difference in venue versus where he's played on his last couple visits, it's worth some analysis. He gave a shout out to Mike Snider and The AllGood Cafe, where he's played on his last two regular gigs here. I and my "plus one," a fellow Native North Carolinian and my partner in every Robbie Fulks show I've seen in the past decade, differed in our assessments. I gave the edge to the Granada because of the clear stage sightline and pristine sound, which I've rarely heard put to such use for a two-man acoustic gig for a couple hundred people. The Granada sets these smaller shows up with demi-reserved seating in the front half of the house and with waitstaff serving the drinks.

My pal wisely pointed out the merits of merging dinner with the show at AllGood, both in terms of the time savings and the tastiness of chicken fried steak, King Ranch casserole and the like. I'd counter that you can't get as many people in the Cafe, and then the show seems secondary to the foodservice and crowd chatter, losing much of the nuance in acoustic songs. That said, as tasty as the Granada's pizza might be, it lacks both breading and gravy.

The performance itself was stellar, but then I'm a huge Robbie Fulks fan and exceedingly biased. Still, it was the most I'd enjoyed one of his shows, having seen him both electric and acoustic. This time out, he played with just Austin-based guitarist/vocalist Robbie Gjersoe, delivering the usual eclectic mix of old and new, funny and touching songs that earn Fulks his reputation as a direct descendant of Shel Silverstein and Buck Owens.

The thing that really stood out for me this time out was the musicianship that sets Fulks (and his compatriot) apart from most acostic singer-songwriter shows. Both are virtuosos, and Fulks' finger-picking would make the Opry stage take notice. Many a simple ballad or shuffle devolved into extended picking jams that often quoted from jazz and classic rock standards. The two musicians occasionally dueled, but were always in total synch -- and although their voices don't necessarily blend in a folky Si-funkel way, they are clearly meeting in a central place, creating both harmonies and disharmonies that speak of years on the road together. There's a definite sense of craftsmanship, which is a major differentiator between Fulks and my other alt-country irreverent hero Todd Snider.

Fulks pulled out several new songs tonight, which was unsurprising given that his last album of original material, Georgia Hard, is almost three years old. The new songs mostly fit into the vibe of the last album -- straight up old-school Nashville Country, but perhaps with slightly less of the trademark Fulks wink -- and as he ages they thematically have moved more towards themes of family and maturity. One, a companion to live album Revenge's "I Like Being Left Alone," and is in the voice of a country luddite waiting for all the modern fads to pass. There was a Montanan murder/incest ballad that I could have lived without -- and according to Fulks, the last audience to hear the number in Montana agreed. The best of the new crop was a song about living the suburban life for the sake of the kids but still hearkening back to a country upbringing. Pretty sure that one was semi-autobiographical.

The income pie chart that Robbie Fulks says he showed at the high school career day.

I'm not a setlist keeper, but high points included "Cigarette State" (about my and "plus one's" homeland); "Georgia Hard," which is the best country song I've heard in a decade and really benefited from the acoustic treatment; "Countrier than Thou," which was my request that was picked up; "The Buck Starts Here," a tribute to Buck Owens; "I Wanna Be Mama'd," which included a ten-minute acoustic guitar duel; and the penultimate tune: "My Career."

"Career," which I'm almost positive is another new tune, was introduced with a story, as were many of the songs. This one centered around Fulks speaking at a high school career day and having a young goth gal ask him what he was going to do when he was 65 -- this song was the answer, a rave-up ode to a different boss in every town, drinking on the job and eating at Cracker Barrel. It had some of the best trademark Fulksian puns and jabs-- shame I can't remember them all. My favorite: "I ain't Willie Nelson, but I ain't Willie Loman."

Filing out at 8:00 as the Granada crew made ready for a comedy show and Fulks patiently worked his way through a long line of T-shirt buyers and autograph seekers, certainly felt a little surreal. Greenville Avenue was really just waking up, yet the night (for folks like me) was winding down. That suited me just fine, as I'm sure it did the couple tabbing out behind me asking if they could stay for the comedy show. Meantime, I wonder if Fulks will add a line to "My Career" about the odd and welcome early bed in Texas?

Mike is slowly coming to grips with his overuse of hyphens. The first step is admitting you have a problem.

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