We are giving away a pair of tickets to JD McPherson & Nikki Lane @ Crystal Ballroom on October 5. To win, comment on this post why you’d like to attend. Winner will be drawn and emailed Monday, October 2.
From our sponsors:
True West Presents at the Crystal:
JD McPherson & Nikki Lane
October 5, 2017
Doors 7 p.m., Show 8 p.m. | $22 ADV, $25 Doors | 21+
More info: etix.com
1332 W Burnside St. Oregon 97209
You could mistake JD McPherson for a revivalist, given how few other contemporary artists are likely to assert, as he boldly does, that “’Keep a Knockin’ by Little Richard is the best record ever made. It’s so insanely visceral, you feel like it’s going to explode your speakers. If I’m listening to that in the car, I find myself having to brake suddenly. I can listen to that and it makes me feel like I’m 20 feet tall. And the feeling of joy I get from that record is always going to be the real push behind trying to make music.”
But in a very real sense, McPherson is much more a pioneer than roots resuscitator. He’s knocking at the door of something that arguably hasn’t yet been accomplished—a spirited, almost spiritual hybrid that brings the forgotten lessons from the earliest days of rock & roll into a future that has room for the modernities of studio technique and 21st century singer/songwriter idiosyncrasies that Richard Penniman would not recognize. Let the Good Times Roll, his second album, is a stranger, and more personal affair than its Fats Domino-redolent title might at first suggest, but the name isn’t exactly ironic, either. If you, too, brake for pleasure, you’ll screech to a halt at the enrapturing sound of these Good Times.
Nikki Lane turns the vulnerable singer-songwriter stereotype on its ear, crafting songs that crucify ex-boyfriends and have no problem with one-night stands as long as she can bolt town right after. Her cooing-yet-brutal vocals are a perfect fit with an aching, mournful guitar. Her not-yet-released debut album, entitled All Or Nothin’ (New West Records) is one of the most anticipated of 2014 and was produced by Dan Auerbach of The Black Keys.
Says Lane, “My songs always paint a pretty clear picture of what’s been going on in my life, so this is one moody record. There’s lots of talk of misbehaving and moving on.” The result is an album that pouts and teases whip-smart revenge tactics, over-you sentiments, and sultry discontent, all while maintaining a sense of self — strong and in control.