Cass McCombs @ Stubb’s (Austin, TX)
Stubb’s dark and downstairs room (it’s more like a cave) was packed for Cass McCombs’ show on January 14th in Austin, TX. The crowd—young, shoulder- to-shoulder, and sufficiently well lubricated—was itching with anticipation by the time McCombs’ opener, Frank Fairfield, began to play.
Fairfield’s set was strong and well-received, and his musical talent—in particular, his fiddle playing—was impressive. Parts of the performance, however, ran too close to shtick for my taste—trying to channel old time Appalachia to a degree that didn’t quite ring true.
After a short break, Cass McCombs and his band took to the stage. With hair over his face, dressed in flannel, ripped jeans and Doc Martens, he could have walked right out of 1992. “Can someone turn down the lights?” he asked gruffly, setting the mood for the rest of the show. In darkness, the band launched into a grungy version of “Equinox,” from his 2005 album PREfection—for this show, the distortion pedal would be used from start to finish.
“Love Thine Enemy,” second, was met with electric enthusiasm from the crowd, but a noticeable lack thereof from the band. McCombs’ performance, almost reluctant, was a blend of awkward shyness and irritated lack of interest.
By “Lionkiller,” several songs in and the lights back on, the band began to warm up. The bassist moved with the music, making smiling eye contact with the audience, and the drummer hit the beat with energy and precision. The extended, shoegaze version of “Bobby King of Boys Town” harnessed McCombs’ slow, remote disposition well. It was sleepy and mellow, but beautiful… with clear echoes of Lou Reed.
McCombs’ guitar style during the show—distorted electric without a pick—worked perfectly in this atmosphere, giving the pretty finger-picking of his acoustic songs a reverberating, amplified edge. On “Friend of Mine,” it was accompanied by pedal steel, adding another welcome musical layer.
While these slow-burn, distorted versions were pleasant variations from McCombs’ cleaner-sounding recordings, they were ultimately tainted by his lackluster performance. McCombs’ interaction with the crowd was practically non-existent and his playing lacked both passion and presence, making otherwise well-written songs feel dull and boring.
After the song “Robin Egg Blues”—containing the echoing refrain “What’s done is done, done, what’s done is done”—he mumbled (in one of his only exchanges with the crowd),“I’m in a weird mood, so this is our last number.” With that, the band launched into an extended version of “County Line.” It was (like the rest of the set) pleasant, but lacking energy and essentially lacking heart. In keeping with the mood, they didn’t play an encore.
Words by Corinna Burford
Related posts:
- Aretha Franklin @ Austin City Limits
- 3 Dollar Band – Self-Titled [9.0]
- Anthony Hamilton @ The Apollo Theater
- The National Play Two New Songs
- Darkside @ Music Hall of Williamsburg
