By Paul T. Mueller
“Americana” is a pretty big tent, but a lot of the musical landscape that falls under that term was on display May 18 at the first Houston Americana Women’s Fest. The event, at Dan Electro’s Guitar Bar in Houston’s Heights neighborhood, was a benefit for the Houston Area Women’s Center, which provides services to survivors of domestic and sexual violence. The seven-act lineup featured established names among the women of Houston’s Americana community, as well as some relative newcomers.
Local duo Brightwire – husband and wife Samuel Barker and Kimberly Barker – opened the eight-hour event with a set of earnest, folky songs, many dealing with relationship difficulties. Samuel’s guitar provided melodic support for Kimberley’s strong, clear singing, with Samuel contributing harmony vocals. Brightwire had also produced a CD for the event, featuring one song each from six of the festival’s performers; proceeds from CD sales benefited the Women’s Center and Houston nonprofit Menstrual Flux, which provides menstrual hygiene items to those unable to access or afford them.
Next up was Houston’s Mystery Loves Company, with a high-energy set of self-described “chamber rock” featuring the electric cello of Madeline Herdeman and the guitar of Carlos Machado. The two, marriage as well as musical partners, shared vocal duties, with harmonies that at times recalled the classic vocals of Yes. Filling out the sound were clarinetist Alauna Rubin and drummer Danny Patterson. Originals such as “Muddy Blue” and “Your Makeup” showcased the band’s singular sound, which also brought new dimensions to such covers as Seal’s “Kiss from a Rose” and the Righteous Brothers’ “You’ve Lost That Loving Feeling.”
Little Outfit calls itself a folk-rock band, but the emphasis this day was on rock, in a loud but melodic set fueled by the capable vocals of Amie Krebbs and the two-guitar attack of Nathan Taylor and Randy Hill. The band’s sound recalled the better moments of ‘70s rock, whether on its own material, including “22 Miles,” or covers, such as fellow Houstonian Matt Harlan’s “Elevator Ride” and Gillian Welch’s “Tear My Stillhouse Down.”
Amanda Pascali and the Family – on this occasion, singer and guitarist Pascali and multi-instrumentalist Addison Freeman – followed with an enjoyable set of “immigrant American folk music.” Pascali, at only 21, possesses a level of confidence and stage presence some performers take far longer to achieve. Throw in formidable skills on acoustic guitar and an expressive voice capable of at least two languages and it makes for a highly entertaining experience, as does Freeman’s accomplished playing on violin, mandolin and cello. Much of Pascali’s playing, and many of her lyrics, have a Mediterranean feel – her set list included “Uccellino” (“Little Bird”}, sung in English and Italian, and “Bella Ciao,” which was adopted by the Italian resistance movement as an anti-Fascist anthem during World War II.
Grifters and Shills – event organizers John and Rebecca Stoll – came up next with a powerful set featuring John’s frenetic guitar and uninhibited vocals, grounded by Rebecca’s solid bass and impassive demeanor. The set list included such originals as “255,” a tribute to John’s hardscrabble childhood, and “Left Right Left,” a sarcastic look at the unfortunate necessity of day jobs. Impressive covers included a punkish rendition of Steve Earle’s “The Devil’s Right Hand” and an evocative take on Robert Johnson’s “Me and the Devil Blues,” featuring an extended, jagged guitar solo.
Country and Americana veteran Libby Koch took the stage with her band, The Dealers, for a set of rocking country. Koch, who has fine vocal and guitar skills and an engaging stage presence, was able to draw from an extensive catalog of songs, many focused on the ups and downs of love. Highlights included “You Don’t Live Here Anymore,” “Out of My Misery” and “Just Move On.” She also threw in an impressive cover of John Prine’s “Angel from Montgomery.”
Austin native Marina Rocks closed out the evening with a set featuring her emotional singing and impassioned playing – the large hole below the strings of her guitar a testament to her physical approach. Some of Rocks’ songs were autobiographical (“Stuck in the Mud”); others described others’ lives and troubles (“Ina & Austin,” “It’s Messed Up,” “Nameless”). Well-done covers included Jackson Browne’s “Running on Empty,” which turned into an extended demonstration of Rocks’ distinctive guitar playing, and “All Along the Watchtower,” a staple of her live shows.