Location: The Town Square Tavern
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Times are tough for just about everyone these days, especially for those who live in what is often referred to as the “flyover states,” in the heart of the country. People have become tougher, their skins have grown thicker and they have become much harder to win over. That especially holds true when it comes to the music that rolls into the bars, music halls and honky tonks of their towns. The overwhelming success that Turnpike Troubadours have had on the so-called Red Dirt circuit of those states says a lot about the quintet’s authenticity and fire, particularly because their music is not exactly what that scene in known for producing.
“When we first started playing, people couldn’t have cared less that we were there,” recalls Troubadours’ frontman Evan Felker. “They were there to drink beer and raise hell and they didn’t really care what music was playing while they did it. But as we went on and as we got better, they started to listen. I mean, they were still drinkin’ plenty of beer, but before too long, they were actually coming to hear us and asking us to play our songs, and not just covers of traditional favorites and all the other stuff we’d been doing.”
Not only did the crowds get more attentive, they kept getting bigger. As time went on, and the Troubadours broadened their touring circle, they moved on from tiny clubs in the more obscure corners of the Sooner state and started hitting – and selling out – prestigious venues like Cain’s Ballroom in Tulsa, the Firehouse Saloon in Houston and Antone’s in Austin. Over the course of the past five years, Felker, bassist RC Edwards, fiddle player Kyle Nix, guitarist Ryan Engleman and drummer Gabe Pearson, have honed the rowdy, quick-witted sound that’s brought folks of all stripes together in front of those stages. And on Goodbye Normal Street, the Troubadours’ third full-length album, the band takes that blend of nice and easy and nice and rough and distills it into a 43-minute ride that takes in the scenery of America’s Heartland and the inner workings of a group of 20-somethings on a quest for something better. “This time around, we tried to balance things out,” says bassist Edwards, who shelved a steady gig as a pharmacist in late 2011 to concentrate on the band. “We wanted to combine the idea of getting something perfect, the way you can only do in a proper studio, with the energy of playing in front of a thousand people jumping around and screaming.”
Chris Knight doesn’t like to say much. Won’t chat about his worldview or engage in conversations on his creative approach. For 15 years, 7 acclaimed albums and a hard-nosed career that’s been hailed as “where Cormac McCarthy meets Copperhead Road”, Knight has always let his music do most of the talking. And on record – as well everywhere across America, from roadhouse taverns to major-city concert halls – his songs have had plenty to say. But with his new album Little Victories, Chris Knight has taken the discussion to a whole new level.