Todd Snider

DSP Shows

Todd Snider

Rorey Carroll

Sun · April 22, 2018

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

The Hangar Theatre

Ithaca, NY

$29.50 - $35.00

This event is all ages

Todd Snider
Todd Snider
One morning near the end of August, Todd Snider was relaxing with a visitor on the back porch of his house just outside Nashville, drinking coffee and shooting the breeze while his dog, Cowboy Jim, took a nap nearby. After a while, Snider said to his guest, "I've got an album's worth of songs, and I think the songs are telling me to make a folk record."

This was a surprising bit of news considering he had spent the last six years making rock albums of one kind or another. But Snider was feeling as if he had "maybe drifted too far from the shore." He was feeling the pull to start over, to go back to what he was doing when he first began, to return to his roots as a folksinger.

If Snider needed any further evidence that was the direction he should pursue, he got it a half hour later. Back inside his home office, he checked his email and had one from his manager informing him he had just received an offer to play the 2019 Newport Folk Festival, an event he had never done.

Snider mentioned he had been listening to Woody Guthrie's Library of Congress Recordings, then crossed the room to the turntable and put the needle down on side one of the record. "Woody Guthrie sometimes gets me reset on why you do a song, instead of how," Snider explains of the man who has long been a touchstone for him. "When I was young, there was something about him that made me want to do it. So once or twice a year, I'll go back to him, I'll go back to the source."

Guthrie famously had the words "This machine kills fascists" printed on his guitar, and on several of the songs on Snider's new album, Cash Cabin Sessions, Vol. 3, he squarely aims his guitar at the creeping fascism he sees in America. He had been wanting to make a political record since 2016, and although only half the songs lean in that direction, there is one constant throughout the album: a man, his guitar, and the truth.

* * * * *

Snider has long been recognized as one of his generation's most gifted and engaging songwriters, so it's no surprise he has returned with a brilliant set of songs -- and make no mistake, Cash Cabin Sessions, Vol. 3 contains some of his best work as a writer. But what really jumps out on the album is Snider's growth as a musician and vocalist. He plays all the instruments on the record, and his guitar work and harmonica playing are nothing short of exceptional; not only full of feeling, but highly skilled. In regards to his guitar playing on the record, Snider says he wanted to take everything he's learned over the past 30 years and play the way he used to play really well.

As far as his vocals on the album are concerned, Snider is singing with more confidence than ever, a confidence born in part from his time with Hard Working Americans doing nothing but sing. His stirring vocal performances range from slurring blues mumble to Dylanesque talking blues to gravely, honest ache.

Of the five songs on which Snider serves up his humorous brand of socio-political commentary, three are performed in the talking blues style: "Talking Reality Television Blues," a hilariously accurate short history of television; "The Blues on Banjo," a bad case of the blues caused by the sorry state of everything from the crooked international monetary-military-industrial complex to the spineless politicians who serve it and which references "Blue Suede Shoes," Richard Lewis, and Townes Van Zandt; and "A Timeless Response to Current Events," a brilliant bit of wordplay on which he calls bullshit on faux patriotism, crooked capitalism, and lying politicians. Jason Isbell and Amanda Shires contributed backing vocals on the latter two songs.

There are two other songs on the album featuring Snider's socio-political points of view: "Just Like Overnight," about the surprising inevitability of change, and "Framed," written from the point of view of the framed "first dollar bill" in a bar, a point of view that shows doing the right thing doesn't pay.

There also are three songs with a music theme. If not for the events that led to the writing of one of those songs,"The Ghost of Johnny Cash," there almost certainly would be no Cash Cabin Sessions, Vol. 3. After a visit to Cash Cabin Studio for a Loretta Lynn session in 2015 where she recorded a song they cowrote, Snider began having a recurring dream about the studio that featured the Man in Black himself. The dream led him to book time at the studio and ultimately inspired him to write "The Ghost of Johnny Cash," which tells the story of Loretta Lynn dancing with Cash's ghost outside the studio in the middle of the night. As he did on much of the record, Snider played the century-old Martin that had long been Johnny Cash's favorite instrument on that song.

Snider paid tribute to Cash's longtime friend and confidante in another of the music-themed songs, "Cowboy Jack Clement's Waltz." Inspired by the iconic record man's oft-quoted maxims regarding the art of recording, the song achingly laments Clement's passing, while touchingly celebrating his legacy.

The album opens with the other song with a music theme, "Working on a Song." It's an existential exercise, a song Snider wrote about writing a song called "Where Do I Go Now That I'm Gone," an idea he actually has been working on for thirty years, but which remains unfinished.

There are also two songs that are personal in nature: "Watering Flowers in the Rain," which was inspired by a former associate of Snider's whose nickname was "Elvis," and "Like a Force of Nature," a philosophical reflection on the orbital nature of friendships. Isbell also added harmony vocals to "Like a Force of Nature."

If Snider is anything, he is a true artist, and he reminds us of that on Cash Cabin Sessions, Vol. 3. At a point in time when the world has never been more complicated and confusing, with people getting louder and louder, Snider did a 180, went back to his roots as a folksinger, to a simpler, quieter form of expression; and it might be what the world is waiting to hear: just a man, his guitar, and the truth.
Rorey Carroll
Rorey Carroll
Musicians often concoct necessary tales to capture the attention of the public. Rorey Carroll doesn’t need that - she’s lived it, and carries the story of her life in every line she writes.
Carroll was born in Chicago to a rather normal American family brought up as a typical, middle class kid. This upbringing along with the fascination of alternative culture led her towards the great American love affair, the counterbalance to the American Dream. At a very young age, she lived in her car in cities all around the county, hopped freight trains, she even hiked the entire Appalachian Trail at age 20. She made money playing music to anyone who would listen, from the subways of New York City to the streets of Ohio. She became a living paradox, somewhere between running from the law and running from the normality of a Midwestern suburban lifestyle. The streets broke her down while another world picked her up. Bluegrass, acoustic music, anti-folk, campfires in the heart of the humboldt trim scene, in and out of trouble with the law - she inhaled the great spirit of rock and roll.
Self taught in theory, but in reality the curiosity of characters and songs on the road steered Rorey’s musicianship. She learned how to play from everyone she met. A great many random musicians across the country taught her guitar and helped her find her story. When she moved to East Nashville she met folk legend Todd Snider who took her under his wing and helped her get on stages across the country. He signed her to his label, LoHi Records and put out her record in August.
Venue Information:
The Hangar Theatre
801 Taughannock Blvd
Ithaca, NY, 14850
http://www.hangartheatre.org/