Uncle Lucius Brings Texas Americana Rock to London
Published
Hailing from Austin Texas, Uncle Lucius came into London not knowing what to expect from the crowd for their first ever UK show. Those fears proved unfounded though; as it was clear from the moment they took the stage that the crowd was behind them 100%.
It turns out that many fans in attendance had seen the band in America, while others had bought their album online and had been waiting for a UK tour. Fortunately, for those in attendance, Uncle Lucius quenched their thirst with their unique blend of Americana Rock.
The opening song “Set Ourselves Free” began with a driving drum beat before lead singer Kevin Galloway’s strong voice begins to shine. The song builds energy; taking the crowd along with it, and ending with a blazing guitar solo, solidifying the fact that this was going to be a great set of music.
The energy was kept alive as the band played “Somewhere Else,” an upbeat tune with a drum beat and guitar riff like a chugging locomotive. This song also provides the band their first chance to show off their harmony skills, as well as guitarist Mike Carpenter’s strong Allman Brothers Band influence in the form of a ripping solo.
Next came the title track from the band’s newest album “The Light,” a catchy song that was extended in its live form to include a breakdown which included Carpenter breaking out a bow to play his guitar à la Jimmy Page. This jam transitioned seamlessly into “Liquor Store” featuring some great B3 organ playing from Jonny Grossman and equal prowess by Josh Greco on the drums.
“Liquor Store” might be the band’s strongest song, with a chorus that manages to be catchy without being kitschy, and lyrics that evoke a world usually only occupied in songs by the likes of Tom Waits and Townes Van Zandt:
“I put thirty-two grand on a horse named Believe
And the jockey fell off of it's back
Now I'm really in deep with the shark this time
He'll kill me for cuttin’ me slack”
After an impressive jam led by Grossman on the piano, the band once again seamlessly transitioned into the next song, a super-funky cover of Erykah Badu’s “On and On,” which, had you not recognized the song, you might have thought was one of their own.
Finally we had a chance to catch our collective breath, as Galloway took a minute to talk to the audience and tell them that this was their first show outside of the United States, which got a welcome round of applause.
“Coming Down” is a short song that hits you like a quick One-Two punch, using a “Folsom Prison Blues” style train drum beat behind the preaching vocals and the slide guitar solos. Just as the song gets going it seems to be over much too quick, as the slide solo flowed right into the gospel-tinged “Age of Reason,” written by ex-bassist Hal Vorpahl.
Once again, Galloway’s voice is put on display here, backed up by the church organ. After hearing him sing this song, it comes as no surprise that he was once the music leader of a Southern Baptist church, and sites the influence of Ray Charles, and how he “took gospel music and made it secular.”
The next song, “End of 118” was dedicated to Donald Trump, whom Galloway said this about: “Y’all are talking about banning him from here. I highly suggest it. That’s all I’ll say about that,” which led to another big round of applause. It’s nice to be reminded that Austin isn’t really Texas. “End of 118” was sung by guitarist Carpenter, who’s voice and intonation reminded me of Reid Genaeur and Strangefolk.
Galloway set down his guitar and picked up a tambourine for the next song, “Ouroboros” (the Greek symbol of a snake swallowing its' own tail). Grossman took over vocals on the bridge, while the Fuzz Face guitar riffs and strong left hand of the piano melded with the drums for a driving force behind the vocal intensity.
“Keep the Wolves Away” was the first time it felt like the band slowed it down all evening, and it was the first time I really noticed that bassist Johann Valles’ absence (due to UK visa issues for Venezuelans). This isn’t a knock at Valles, rather a compliment to Grossman, who filled in the bass parts on the keys.
The band finished off the set with “Taking in the View,” the most purely country-influenced song of the evening. The lyrics are peppered with religious imagery, as well as shout-outs to musical influences like Bob Dylan, Ray Charles, Ernest Tubb, CCR, The Beatles, and Johnny Cash; all of which can be heard in their own music.
After the band left stage, the crowd erupted, calling them back for an encore; quite a nice sign for the band’s first UK show. They came back to play “Everybody Got Soul,”
which was the loudest, most upbeat and rollicking song of the evening, and had the crowd dancing and singing along to the drum and guitar-heavy tune.
As the band left the stage, I followed them to the green room for a quick interview, which the crowd didn’t let happen. The applause and cheers for an encore continued, so the band came back for a second encore. This time they gave the audience three more songs: “Don’t Own the Right,” “Ain’t it the Same,” and “Pocket Full of Misery.”
The crowd might have forgotten that just outside was a cold London winter, as the upstairs room at The Garage was transformed into a sawdust-floor bar in Texas that night, if only for an hour or so.
COMMENTS
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Great review
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Love it!
