8
ihuisday, October 4, 2001
Welch, Rawlings Deliver Causal, Perfect Set
By Joann a Pt arson
Staff Writer
Cat’s Cradle - suffocating amounts
of cigarette smoke, sticky beer spillage,
drunk guys crushing into you, and ear
splitting indie rock, right? This Sunday
night it was a little different.
People stood, even sat in chairs, in
absolute silence, transfixed by two peo
ple on the stage with nothing but
acoustic guitars and occasionally a
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Gillian Welch and
David Rawlings
Sunday, Sept 30
Cat’s Cradle
★★★★★
banjo - they were
Gillian Welch and
David Rawlings.
When these two
stepped up to the
mic, the crowd
practically drew
in a collective
breath.
Welch’s voice has a beauty that is
unearthly and Rawlings works the fin
gerboard of an acoustic guitar like no
one else, Every note is dead-on, and
technically speaking, these two are per
fect performers.
Their recent tour is in conjunction
with Welch’s newest release, Time the
Revelator.
Welch has been a tremendous force
on the neo-traditionalist scene since
1996. However you choose to classify
her lovely, folky bluegrass music,
though, it’s nothing short of beautiful.
Thanks to the movie “O Brother,
Where Art Thou?,” artists like Welch,
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Emmylou Harris, and Alison Krauss are
experiencing a surge in popularity.
Asa lyricist, Welch is a real poet, but
she also has musicianship enough that
her songs are beautiful even apart from
her lyrics.
She sang many of her best-loved
songs, including “Orphan Girl,” “Caleb
Meyer,” and “Rock of Ages.” As if in
tribute to the “O Brother” movie, the
one song that Rawlings sang lead on
was “Big Rock Candy Mountain.”
Proving the strength of her new
album, Welch drew largely from newer
material. One of the best was the won
derful song, “Elvis Presley Blues,” in
which she perfectly captures the sadness
of lost American myth.
Perhaps most remarkable about
Welch is the authenticity she manages to
achieve. For a girl who grew up in Los
Angeles, when she sings about red dirt,
whiskey and Wichita, it’s pretty con
vincing. Even her slight drawl seems
straight from the coal-mining country
she sings about.
Also part of the show’s success was
the casual charm Rawlings and Welch
exuded as they bantered to one another
on the stage. Their self-effacing com
ments and casual modesty belied the
musical truth that became apparent to
everyone at this show: Gillian Welch
and David Rawlings are two of the
finest musicians and best live perform
ers today.
The Arts & Entertainment Editor can
be reachedatartsdeskQunc.edu.
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Butchies Embody Tough Estro-Punk
By Michelle Jarboe
Staff Writer
Butchies drummer Melissa York
stood on her stool. Towering over her
drum set, she made a proud declaration
to cap off her band’s set.
“I feel like Madonna ... with a little
bit of Celine Dion!”
Maybe so, but
the Butchies are
another scene,
entirely.
For the punk
queer-core trio
hailing from
Durham, the
r-
/Tev/ewr'
The Butchies
Saturday, Sept. 29
Cat’s Cradle
★★★★☆
diva-esque sequined formal wear is a far
cry from their standard issue.
Each band member was clad in black
Converse low-tops, blue Dickies work
pants and blue workshirts with nick
names embroidered on it like a hard
core version of “Laveme and Shirley’s”
factory garb.
It’s not a soft image, to be sure, but
there is a sort of tough, beautiful
androgyny to their appearance under
the stage lights.
Such a look meshes well with their
energetic sound, a more hard-core ver
sion of Veruca Salt, minus the angry-girl
driven lyrics. Basically, the Butchies are
a punk band with an astounding musi
cal ability that permits them to blend
bass, guitar and drums into complex
rhythms that are complemented by
strong and varied vocal overlay.
As the trio took the stage following a
handful of lukewarm opening acts, a dif
ferent sense pervaded the crowded
room. When guitarist/singer Kaia
Wilson began by saying “I’m so happy
that you could be here tonight to attend
the homosexual concert,” that was it -
the crowd was hooked.
Wilson was accompanied by
bassist/vocalist Alison Martlew, who
captivated with her tough-girl shaved
head look, and York, who played the
part of an atypical drummer by con
standy approaching a forward mic to
converse with the audience. The trio
was tight, and their closeness only
served to add to the music.
But the band members were not there
to showcase their egos or to impress the
crowd with their musical prowess.
HljK' '
Hpk J
•V, I; * 1
DTH/SARA ABRONS
Butchies guitarist and lead singer Kaia Wilson cranks out hard-core
punk —with a gender-bended twist at Cat’s Cradle on Saturday.
of the energized crowd, which was pulled
along as the Butchies displayed astound
ing talents. The band has a knack for flu
idly switching tempo by combining soft
er, more vocally-focused bridges with
quick-paced, bass-pumped choruses.
Most amazing was the synchrony
demonstrated' by Wilson and Martlew,
who stood at the front of the stage at
neighboring mics. Every movement that
the two made was perfectly choreo
graphed, so that the duo even moved
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for Undergraduate Excellence
and the Curriculum in Folklore present
Thursdays
o, i the. J
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lerrace
M Live Music and Food Every Thursday at Noon
Algia Mae Hinton
Coming Soon:
John Dee Holman, John Covach: Beatles
Unplugged! Men’s Glee Club
For more information on this and
upcoming events please visit our
website at http://uvw.unc.edu/dcpts/jcue
or call 966-5110
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their heads side-to-side simultaneously.
Such movements augmented the
rhythm and drive of the overwhelming
music.
The group’s set closed with a cover of
Kim Wilde’s “Kids in America,” which,
in a surreal way, served to clinch the
band’s promotion of unity and accep
tance.
The Arts & Entertainment Editor can
be reached at artsdeskQunc.edu.