PETER MULVEY – Tickets – The Evening Muse – Charlotte, NC – May 5th, 2019

PETER MULVEY

MaxxMusic & The Evening Muse present

PETER MULVEY

John Smith

Sun 5/5

Doors: 7:00 pm / Show: 7:30 pm

The Evening Muse

$12 adv/$15 dos (Reserved Seating Available)

PETER MULVEY
PETER MULVEY
Peter Mulvey has been a songwriter, road-dog, raconteur and almost-poet since before he can remember. Raised working-class Catholic on the Northwest side of Milwaukee, he took a semester in Ireland, and immediately began cutting classes to busk on Grafton Street in Dublin and hitchhike through the country, finding whatever gigs he could. Back stateside, he spent a couple years gigging in the Midwest before lighting out for Boston, where he returned to busking (this time in the subway) and coffeehouses. Small shows led to larger shows, which eventually led to regional and then national and international touring. The wheels have not stopped since.

Eighteen records, one illustrated book, thousands of live performances, a TEDx talk, a decades-long association with the National Youth Science Camp, opening for luminaries such as Ani DiFranco, Emmylou Harris, and Chuck Prophet, appearances on NPR, an annual autumn tour by bicycle, emceeing festivals, hosting his own boutique festival (the Lamplighter Sessions, in Boston and Wisconsin)… Mulvey never stops. He has built his life’s work on collaboration and on an instinct for the eclectic and the vital. He folds everything he encounters into his work: poetry, social justice, scientific literacy, and a deeply abiding humanism are all on plain display in his art.

Early in 2017, a series of upheavals found Mulvey living through a winter in a friend’s empty house in the small Midwestern town of Fort Atkinson. Unmoored and lost in the middle of his life, walking hours each day, sometimes with friends but most often alone, along the frozen marsh of the Bark river and through the wintry oak savannah nearby. The songs came in fast and strange and vivid. At night he wrote them down at a table in the spare house, just a mile from the Cafe Carpe (which Mulvey describes as his spiritual home). These songs became his new record, “There Is Another World,” a vivid dreamscape of imagistic, haiku-like auditory sketches, within which are plenty of wrenching, haunting, and even sweet songs.

The opening track of “There Is Another World” is “The Fox”, a hypnotic pulse of altered guitar within a swirl of sounds: wineglass rims by Jonny Rogers, the long breaths and clatter of Idit Shner’s bass clarinet, icy tones from Rob Burger’s accordion. Over all this, Mulvey’s gravel baritone delivers an almost haiku-like rendering of fox tracks in the snow.

“Who’s Gonna Love You Now?” poses its aching question across Mulvey’s warm fingerpicked guitar, Eric Heywood’s cloud-like pedal steel, and a piano altered to sound like buoys in fog. Then, “When I Was in Monaghan” ups the ante. As Jenny Scheinman’s violin colors the urgent picking of Mulvey’s guitar, the lyrics telegraph irreconcilable pain and loss, and the haunting chorus, “Beware, o traveler — for the road is walking too” is almost wailed out. The line, from a Jim Harrison poem, begins a deep dive into both the winter landscape and the rich inner landscape of the poets Mulvey has revered and referenced throughout his long career.

“Fool’s Errand” is a warm, wistful, up-tempo reminiscence of a life summed up over driving, strummed guitar and soaring pedal steel. Then, “False Indigo” returns us to the wintry, vivid landscape of the opener: altered, percussive guitar, threading its way through a swirl of actual water, an old Blind Willie Johnson sample, and clarinet and pedal steel. The lyrics are incantatory, cryptic and terse.

A brief, solemn elegy, “Beckett was a Bird of Prey” salutes Mulvey’s old friend, his Irish agent Larry Roddy, who died in 2010. And then side one is suddenly over with“Strayaway”, a fragment of an Irish fiddle tune, rendered in cross-faded altered guitar and then violin.

Side two illuminates the rules of this new world. “To Your Joy” is a brutally forthright and intimate telling of love lost: “I widowed you/when I martyred myself/to my gods. And you widowed me/when you martyred yourself/to your gods. Now I say to you/in all good faith/goodbye.” The heart of the song is a wrenching howl from Heywood’s pedal steel and Scheinman’s strings.

Next, a curious little outlier, “Nickel and Dime”, is just seventeen seconds long with a lyric from a tiny poem in Ted Kooser and Jim Harrison’s book “Braided Creek”. Its tone is deceptively light, and it’s gone almost immediately, giving way to a driving pulse of altered guitar for “Henry’s Only Daughter.” Accompanied only by wineglasses and the guitar, Mulvey coughs out a brooding lyric addressed directly to the late poet of Blackhawk Island, Lorine Niedecker, whose cabin sits just a six-mile walk from the little house in Fort Atkinson.

“All Saints’ Day” is a sudden shift, delivered with a wistful slow air, legato guitar and singing in unison, quoting both Yeats and the Palestinian/Texan poet Naomi Shihab Nye. This record is rife with poets.

The record closes with “The Cardinal”, a second elegy, this time for a dear friend long gone. It repeats, three times, Rilke’s admonition: “You must change your life” and then, after an otherworldly pouring out of glassy, multiple violin tones, inverts the admonition into the poet Mary Oliver’s question: “And have you changed your life?”

Finally, a postscript: with “Owl” we are back in the woods, where we began, with the ensemble breathing and pulsing all around us, as Mulvey’s hoarse voice growls out a late-night draft of a thank you note: “That owl you have seen… she has a mate… I saw them together in the thicket by the cottonwood… thank you for showing me that spot.”

The thirteen tracks of the record amount to a remarkable, brief, potent stab. Alienation, loss and heartbreak, all are rendered lucid, even beautiful, in the bright-dark sideways light of deep winter. It is also a story of renewal, through close attention and a determined stillness, a piercing gaze toward detail and an opening toward simple acceptance of what is.
John Smith
John Smith
Essex-born John Smith has built a reputation as one of the UK’s finest guitarists and songwriters. Raised by the Devon seaside and making his bones in the bars and clubs of Liverpool, John has released five albums with over 10 million Spotify streams. He has played to audiences all over the world in living rooms, festival tents and sold-out concert halls. He is a genuine folksinger, an inquisitive truth-seeker, devoted song interpreter, and enchanting writer.

Steeped in the lineage of British folk, taking his cue from Richard Thompson and John Martyn, Smith has evolved a transatlantic blend of fingerstyle and slide guitar techniques. John’s intimate takes on love, loss and the journey we make, combined with his innovative guitar work, have won him a loyal following. His honey-on-gravel voice and mesmerizing fingerstyle guitar are undeniable. Sometimes using a slide, sometimes with guitar on his lap, sometimes detuning mid-song, Smith’s obsession with the instrument has made a master of him. Whether by way of album or concert, he leads the listener, enthralled in his presence, on a viscerally emotional journey.

A contributor and collaborator, John quickly and effortlessly earns the esteem of his comrades and heroes. He has opened for folk greats including John Martyn, Davy Graham and John Renbourn, who called John Smith “the future of folk music.” On the contemporary side, he has also opened for Iron and Wine, Tinariwen, and Ben Howard. He has guested with artists such as Jackson Browne, Martin Carthy, Richard Hawley, Jarvis Cocker, Jerry Douglas, Glen Hansard and Rodney Crowell; and in his occasional role as sideman, he has played guitar for artists such as David Gray, Lisa Hannigan, Lianne La Havas, Joe Henry and Joan Baez.

He has released five records - his most recent “Headlong” (2017) reached #15 in the Indie Breakers chart, #1 on iTunes’ Singer-Songwriter chart, and amassed over 10 million Spotify streams.

His forthcoming album “Hummingbird” will be released 5 October in Europe and in early 2019 in the rest of the world on his own imprint, Commoner Records, via Thirty Tigers worldwide.

ABOUT HUMMINGBIRD
John Smith's inspiration for making "Hummingbird" was deeply personal. An album he has long wished to make, "Hummingbird" reflects the sum of his influences - be they centuries, decades, years, or days old.

The traditional songs on the album originate as far back as the 15th Century, and yet the record is surprisingly current, revealing the affirming consistency of the human condition. In the course of 10 songs, John explores timeless themes of longing, love, loss, horror, tragedy, grief, resilience, desire, devotion, heroism, romance, dignity, and ultimate triumph.

John has formed a relationship with the songs over the course of his entire life - some from childhood ("Lord Franklin") and some from over a decade touring ("Willy Moore" and "Time Has Come"). The album reflects the role his influences have played in his own songwriting, selecting and interpreting. Artists including John Renbourn, Davy Graham, Martin Carthy, Norma Waterson, Nic Jones, Joan Baez, Wizz Jones, John Martyn, Danny Thompson, Martin Simpson, and Paul Brady.

"I wanted to get away from any sense of artifice and dressing it up. The thing that really appealed to me about recording this album was the idea that I could just sit with a guitar and record something that reflects everything I've learned in all my years of touring and that will also affect people in ways I can't predict. I wanted to remove the obstacles that often interfere and come between artist and audience; it feels like the right thing to do for these songs. Not a lot of people do that anymore - but those are the records I really love. Albums from the 60s and 70s when folk recordings were made concisely and the focus was to get your point across." -John Smith

Living with the traditional songs on "Hummingbird" are new original songs penned by Smith ("Hummingbird," "Boudica," and "Axe Mountain (Revisited)") - which stand up alongside the others as evidence of the power of his influences and personal history on his present creativity.

Produced by Sam Lakeman and recorded at his Somerset studio, "Hummingbird" features Cara Dillon, John McCusker and Ben Nicholls.
Venue Information:
The Evening Muse
3227 N. Davidson St.
Charlotte, NC
http://www.eveningmuse.com/

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