Insomniac Folklore, Jonathan Warren and the Billy Goats and Fleet Street Klezmer Band @ Neurolux (2/26/13)

Some readers out there may be wondering, "Hey, where's the post on the Youth Lagoon show?"  The answer is simple: there isn't one.

Judging from this Boise Weekly write-up, last Monday's "secret show" at Neurolux was something.  As one gentleman says in the article, "Every hipster who is any hipster is here."  Which, I suppose, proves that I'm not any hipster.  For all of my vanity and ambition, I simply couldn't bring myself to spend time and money on a group I have never particularly cared for and consider grotesquely overrated.  But God help me, I may yet write about Youth Lagoon in the near future.  For one thing, not to do so feels more and more like ignoring the elephant in the room.  For another, while the adoration that their/his music receives from a certain portion of the population frustrates me, it fascinates me as well.

Just thought that I should make some kind of statement before starting this post.  Moving right along...

As some readers may recall, I saw Insomniac Folklore play the Red Room back in August.  I enjoyed their set so much that I actually posted on Treefort's Facebook page a request that they be added to this year's lineup.  So much for the influence of bloggers, I guess.  Anyway, when I learned about this show, I jumped at the chance to see them again.

I counted about thirty people at Neurolux when I arrived.  When Insomniac Folklore played, I counted about sixty.  A very respectable number.  What made it even better was the fact that a good chunk of the crowd seemed familiar with their music; when the band asked the crowd what they'd like to hear, Tyler Hentschel looked impressed by the requests that they received.

Fleet Street Klezmer Band opened the show.  They might have sounded a bit loose this night, but that didn't do much more than lend a certain woozy charm to their gypsy folk tunes.  It helped that they seemed to be in a good mood: Victoria Kostenko wore the sweetest smile on her face as her fiddle swooped and fluttered while newcomer Hollis bounced all over the stage and let rip on bouzouki.  Shlomo Kostenko's deep, droll, friendly moan sounded in good form, and he very helpfully recommended that the crowd consult the alcohol behind the bar if they didn't understand the lyrics.  Their cover of "Turkish Song of the Damned" helped me feel like less of a presumptuous ass for my earlier Pogues comparison.  Another nice moment was when Adrienne Hentschel and Amanda Curry from Insomniac Folklore got up to dance.

Jonathan Warren and the Billy Goats played next.  Asked 'em for the Louvin Brothers, they brought me Old Crow Medicine Show.  These local favorites' roots seemed to run about as deep as a few skimmed-over issues of No Depression and maybe some fond memories of Hee Haw.  Of course, the same could probably be said about any number of so-called Americana acts nowadays.  Besides, their songs did show some decent craftsmanship.  Quite pleasant as well were Jonathan Warren's weathered vocals, Dave Sather-Smith's groaning cello, Andrew Smith's sprightly drumming and newcomer Abraham's fluid violin solos.  It would've been nice, however, if Sather-Smith had eased up with that gratingly phony hillbilly accent.

Insomniac Folklore closed out the night.  Man oh man, it woulda been something if this group had played Treefort.  If anything, their warm, witty, playfully sardonic songs and sweet, slyly cartoonish stage act were even more enjoyable than I remembered.  Tyler Hentschel's clanging riffs, stomped-out beats and humorously portentous baritone played Ring Around the Rosie with Adrienne Hentschel's tart harmonies and Amanda Curry's viscous basslines.  Song topics included playing with Legos, arson, the meaninglessness of existence, the best way to not be afraid of the dark and how you should listen to your parents but not the government.  Beneath all of the sarcasm and smirking gloom, however, lurked hearts of gold: their finale, "Earplugs," pledged eternal love and closed with the chant "L'Chaim to life."  The crowd didn't leave their seats, but they did clap to the beat, sing along and give the band some warm applause.

And now, for the benefit of those who weren't there, here are some shots of Insomniac Folklore's fourth member: Wallace, the World's Only Singing Sheep.

"He talks a lot when we're in the car, but he gets kinda shy when we're onstage."

Another cute touch: Adrienne Hentschel blowing bubbles.

You can find info on these groups on Facebook and elsewhere online.  Special thanks to Eric Gilbert and Radio Boise.

Storie Grubb and the Holy Wars, Hectic Hobo, Insomniac Folklore and Fleet Street Klezmer Band @ the Red Room (8/25/12)

I caught Storie Grubb and the Holy Wars' excellent set at the Mountain Music Sleepover on the 19th, but I didn't write about it because I didn't see enough of the other acts to do justice to the show as a whole.  This show attracted my attention, therefore, because it gave me the chance to make up at least partially for that failing.  It helped too, of course, that it featured three acts who were unknown to me.

A little over twenty people had braved the sickeningly smoky air and made it down to the Red Room by 8:45, and that number at least doubled as the night progressed.  That made me glad: the acts this night certainly deserved a good audience.

Local group Fleet Street Klezmer Band kicked off the night.  Although Gogol Bordello obviously sprang to mind, their Jewish/Gypsy/Russian folk tunes and jaunty tempos also reminded me a little of the Pogues in spirit.  Of course, a big difference was that you could understand what leader Shlomo Kostenko said when he sang in English.  The lyrics were definitely worth hearing too: my favorite song, "Dance of the Unemployed," was as detailed and bitter as you'd hope.  ("Has nothing to do with anything today," Kostenko said.  "At all.")  Even when I didn't understand the words, the hearty, communal spirit of this group's music struck right to the heart of what I love most about folk and punk.  Extra kudos for the rockin' clarinet solos.

Up next was Insomniac Folklore.  "We come from places like Portland, Oregon and St. Louis, Missouri," leader Tyler Hentschel announced, "but mostly we come from a station wagon."  Tom Waits may have set the template for their stomped-out beats, bluesy tunes, twisted lyrics and carny shtick, but this group's brains, chutzpah and good cheer put them on the right side of the line between influence and imitation.  Hentschel's low, tongue-in-cheek vocals and winningly cartoonish stage persona found solid support in Amanda Curry's deadpan bass and the sweet backup vocals of Adrienne Curry and Wallace, "the world's only singing sheep!"  The crowd held up their lighters during "Bodies and Arson!" and roared with laughter at the children's singalong, "Listen To Your Parents But Don't Trust the Government."  Ultimate message: "L'Chaim to life."

After Insomniac Folklore came the Salt Lake City group Hectic Hobo.  Their groove felt just a little stiff compared to the two preceding acts, but their swinging backbeat and gypsy folk/sea chanty tunes were greatly enjoyable nonetheless.  Hasen Pfeffer's throaty groan and rasp served as yet another object lesson in how Tom Waits has corrupted our nation's youth.  "The Ranger" let rip some stinging electric guitar solos, but Nicholas Newberry's accordion dominated the music.

Storie Grubb and the Holy Wars provided a fine ending to the night.  Their set at the Mountain Music Sleepover planted the suspicion in my mind, and this set left no doubt: they have become one of the absolute best groups in town.  Their indelible songs and riffs, sweet and sour vocals, thoughtful basslines, gorgeous accordion and turbo-charged drums all blended together and moved as one.  It's just a pity that the crowd had thinned out pretty severely before they played.

You can find info about all these groups on Facebook and elsewhere online.