JJ Grey – Tickets – Rams Head On Stage – Annapolis, MD – October 16th, 2018

JJ Grey

JJ Grey

Danny Burns

Tue, October 16, 2018

Doors: 7:00 pm / Show: 8:00 pm

Rams Head On Stage

Annapolis, MD

$39.50

Sold Out

This event is 21 and over

JJ Grey
JJ Grey
From the days of playing greasy local juke joints to headlining major festivals, JJ Grey remains an unfettered, blissful performer, singing with a blue-collared spirit over the bone-deep grooves of his compositions. His presence before an audience is something startling and immediate, at times a funk rave-up, other times a sort of mass-absolution for the mortal weaknesses that make him and his audience human. When you see JJ Grey and his band Mofro live—and you truly, absolutely must—the man is fearless.

Onstage, Grey delivers his songs with compassion and a relentless honesty, but perhaps not until Ol’ Glory has a studio record captured the fierceness and intimacy that defines a Grey live performance. “I wanted that crucial lived-in feel,” Grey says of Ol’ Glory, and here he hits his mark. On the new album, Grey and his current Mofro lineup offer grace and groove in equal measure, with an easygoing quality to the production that makes those beautiful muscular drum-breaks sound as though the band has set up in your living room.

Despite a redoubtable stage presence, Grey does get performance anxiety—specifically, when he's suspended 50 feet above the soil of his pecan grove, clearing moss from the upper trees.

“The tops of the trees are even worse,” he laughs, “say closer to 70, maybe even 80 feet. I'm not phobic about heights, but I don't think anyone's crazy about getting up in a bucket and swinging all around. I wanted to fertilize this year but didn't get a chance. This February I will, about two tons—to feed the trees.”

When he isn't touring, Grey exerts his prodigious energies on the family land, a former chicken-farm that was run by his maternal grandmother and grandfather. The farm boasts a recording studio, a warehouse that doubles as Grey's gym, an open-air barn, and of course those 50-odd pecan trees that occasionally require Grey to go airborne with his sprayer.

For devoted listeners, there is something fitting, even affirmative in Grey's commitment to the land of his north Florida home. The farms and eddying swamps of his youth are as much a part of Grey's music as the Louisiana swamp-blues tradition, or the singer's collection of old Stax records.

As a boy, Grey was drawn to country-rockers, including Jerry Reed, and to Otis Redding and the other luminaries of Memphis soul; Run-D.M.C., meanwhile, played on repeat in the parking lot of his high school (note the hip-hop inflections on “A Night to Remember”). Merging these traditions, and working with a blue-collar ethic that brooked no bullshit, Grey began touring as Mofro in the late '90s, with backbeats that crossed Steve Cropper with

George Clinton and a lyrical directness that made his debut LP Blackwater (2001) a calling-card among roots-rock aficionados. Soon, he was expanding his tours beyond America and the U.K., playing ever-larger clubs and eventually massive festivals, as his fan base grew from a modest group of loyal initiates into something resembling a national coalition.

Grey takes no shortcuts on the homestead, and he certainly takes no shortcuts in his music. While he has metaphorically speaking “drawn blood” making all his albums, his latest effort, Ol’ Glory, found him spending more time than ever working over the new material. A hip-shooting, off-the-cuff performer (often his first vocal takes end up pleasing him best), Grey was able to stretch his legs a bit while constructing the lyrics and vocal lines to Ol’ Glory.

“I would visit it much more often in my mind, visit it more often on the guitar in my house,” Grey says. “I like an album to have a balance, like a novel or like a film. A triumph, a dark brooding moment, or a moment of peace—that's the only thing I consistently try to achieve with a record.”

Grey has been living this balance throughout his career, and Ol’ Glory is a beautifully paced little film. On “The Island,” Grey sounds like Coleridge on a happy day: “All beneath the canopy / of ageless oaks whose secrets keep / Forever in her beauty / This island is my home.” “A Night to Remember” finds the singer in first-rate swagger: “I flipped up my collar ah man / I went ahead and put on my best James Dean / and you'd a thought I was Clark Gable squinting through that smoke.” And “Turn Loose” has Grey in fast-rhyme mode in keeping with the song's title: “You work a stride / curbside thumbing a ride / on Lane Avenue / While your kids be on their knees / praying Jesus please.” From the profane to the sacred, the sly to the sublime, Grey feels out his range as a songwriter with ever-greater assurance.

The mood and drive of Ol’ Glory are testament to this achievement. The album ranks with Grey’s very best work; among other things, the secret spirituality of his music is perhaps more accessible here than ever before. On “Everything Is a Song,” he sings of “the joy with no opposite,” a sacred state that Grey describes to me:

“It can happen to anybody: you sit still and you feel things tingling around you, everything's alive around you, and in that a smile comes on your face involuntarily, and in that I felt no opposite. It has no part of the play of good and bad or of comedy or tragedy. I know it’s just a play on words but it feels like more than just being happy because you got what you wanted — this is a joy. A joy that doesn’t get involved one way or the next; it just is.”

Grey's most treasured albums include Otis Redding's In Person at the Whisky a Go Go and Jerry Reed's greatest hits, and the singer once told me that he grew up “wanting to be Jerry Reed but with less of a country, more of a soul thing.” With Ol’ Glory, Grey does his idols proud. It's a country record where the stories are all part of one great mystery; it's a blues record with one foot in the church; it's a Memphis soul record that takes place in the country.

In short, Ol’ Glory is that most singular thing, a record by JJ Grey—the north Florida sage and soul-bent swamp rocker.
Danny Burns
Danny Burns
"Danny Burns is an excellent songwriter, performer, guitar player, husband and father, and other things that I’m sure I’m not aware of. One thing I do know is that he is tenacious. This is one great record that you’re holding in your hands, and if it hadn’t been for Danny’s tenacity, this moment would not be happening. Do yourself a favor. Go home, play this recording and hear the reason that Danny is right in his quest for your audience.” - Jerry Douglas

Don't call Danny Burns a newcomer.

Two decades before releasing his 2018 debut, North Country — a collaborative album filled with appearances by icons like Jerry Douglas, Sam Bush, and Tift Merritt— he kicked off his career as a traveling folksinger, logging shows on both sides of the Atlantic. He's been on the road ever since, sharpening a sound that mixes the folk traditions of his native Ireland with diverse American influences.

Raised in a family of working musicians, Burns spent his childhood in the Irish county of Donegal. He grew up surrounded by singers and instrumentalists, receiving a first-class education in Irish folk music along the way. It was a communal experience, filled with folksongs that had been passed down from one generation to the next. "It was never about one specific musician," he remembers. "It was about listening and learning. It was about playing a song, then passing the guitar to the person beside you, and hearing them play a song, too. There was no ego involved."

North Country doubles down on that communal spirit. After living in America for 19 years — first in New York City, where he cut his teeth with a string of bar gigs, followed by stints in New Orleans, Chicago, and the Maryland suburbs of Washington, DC — Burns has shared shows with a number of acclaimed musicians who, like him, breathe new life into older sounds. North Country nods to that diverse group of friends, shining a light not only Burns himself, but also on the community he inhabits. Holly Williams, Mindy Smith, Dan Tyminski, Cara Dillon, Tim O'Brien, ChessBoxer, and Old Crow Medicine Show's Critter Fuqua all make appearances. The result is a transatlantic folk album that's both diverse and driving, filled with swooning melodies, evocative storytelling, and an elevated level of musicianship.

Sam Bush and Jerry Douglas both perform on North Country's kickoff track, "Let It Go," whose lyrics tell the story of two lovers drinking up the nightlife of New Orleans. Holly Williams joins the group on "Look Into Her Eyes," a harmony-driven tune punctuated by fiddle and dobro, while Tim O'Brien appears during the elegiac Celtic ballad "Darling Róisín." Elsewhere, Burns teams up with Cara Dillon to pay tribute to Amy Winehouse on the moving "Amy," waxes nostalgic about his homeland on "Great Big Sea," and swaps harmonies with Tift Merritt on "Human Heart."

Clocking in at 10 tracks, North Country feels like the soundtrack to a dinner party whose members have all left the kitchen table and headed to the music room, eager to share songs with one another. There's plenty of acoustic guitar, pedal steel, upright bass, mandolin, banjo, and other rustic instruments, as well as multiple voices. There are also snatches of American roots music, 1970s Irish folk, Bible Belt country, and bluegrass, with influences like Richard Thompson and Steve Earle looming large. At the center of the mix is Danny Burns: a red-headed, storytelling, hard-touring Irishman whose own voice is just as evocative as his songwriting.

Self-produced by the frontman himself, North Country was largely recorded at Gary Paczosa's home studio in Nashville, as well as the city's Butcher Shoppe studio (owned by John Prine and David "Fergie" Ferguson).
Venue Information:
Rams Head On Stage
33 West St.
Annapolis, MD, 21401
http://www.ramsheadonstage.com/

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