July 13, 2009
The First No Depression Fest at Marymoor Park
Iron & Wine ::: Photo by Brandrew Dice Clay
[ Editors Note: A local musician offered to write up his trip the No Depression festival on Saturday, and we accepted his offer. For now he and his photographer are using nom de plumes. -josh ]
By Sebastian Rootwell
It was a sunny and sticky Saturday afternoon at Marymoor Park for the brand-spanking debut of the No Depression Festival. Named after a current blog online music community and recently defunct magazine, the festival seems like a genius plan to spark some life into the now fourteen year old enterprise, what with the blossoming alt-country scene in Seattle. The crowd tends to be thirty-something and composed, a plastic cup of micro-brew affixed firmly in hand. We step over babies, blankets, and beers on our way to a spot front and center of the stage, where we would spend a majority of the next seven hours.
I arrive at 2PM with my partner in crime Brandrew Dice Clay. We missed out on Zee Avi’s set but arrive just in time for the No Depression All Star Revue, which is like a fantasy country rock team, put together by coach Don Slack. Mr. Slack is music director at KEXP, host of Swingin’ Doors, and an ubiquitous feature on the local music scene; a man whose tastes are bedded in a exhaustively deep knowledge of anything country and honky-tonk. Each song featured a different vocalist, ranging from the wounded, stark warble of Zoe Muth to the high-octane jug-thumping twang of the Maldives. The star of the set had to be Star Anna, pride of Ellensburg, Washington, and her rendition of “Joy” by Lucinda Williams. Note to whoever took the joy away from Star Anna: please, please give it back. She is quite incensed over the whole matter, and I fear for your life, and in fact, everyone’s life.
Jessica Lea Mayfield from Kent, Ohio was next to take the stage. I had heard her described as a hybrid between the alt-country and hipster scenes, and judging from their look and sound, I wouldn‘t disagree. She starts strong with the single “Kiss Me Again,” a song with lovely and detached ‘ahh ahh ahh ahhs’ in the chorus and outstanding guitar work by Jessica’s brother David, who gets both bass and guitars sounds as well as a formidable, mood-setting wash of reverb and feedback. But overall, her relentless apathy and clichéd lyrics suck the life from the stage. This is especially apparent when she plays a couple of songs alone, exposing some uncomplicated little ditties delivered with no particular charisma. We retreat to the shade.
Coming to the rescue was Nashville’s Justin Townes Earle, who’s got the kind of pedigree you can hardly shake a stick at. A no.2 pencil wrapped in a stone gray suit, a greaser’s hair and sunglasses, JTE’s swagger and style was pervasive from the moment he sauntered to the middle of the stage. Smiles abound as he absolutely rips through the set of honky-tonk tunes, keeping the energy piqued with his finger-picking, sing-along choruses and sly banter. Here is a born performer, an entertainer, a seducer, a story-teller. He is joined on stage by Cory Younts, mouth-harper extraordinaire, and their chemistry is unforced and fun, a beautiful thing to watch. A high point comes near the end of the set, when JTE remarks that his thumbnail is being held on by super glue. He recalls a phone-call with festival staff, where they asked whether he needed anything for the show. “Guitar strings, and, uh….super glue,” he says, grinning. And to us, winking, “That’s a good one, eh?”
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