Monday, March 16, 2026
Friday, November 7, 2025
Monday, October 20, 2025
Wednesday, October 15, 2025
Craig Finn: Always Been Lousy with Ghosts
Live at The Fine Line, Minneapolis October 15, 2025
SetList October 15, 2025 Fine Line, Minneapolis
The older I get, the more I try to make sense of the present times. Perhaps to
be able to read trends so I can position myself to make my twilight years easier
since like many Americans my meager retirement savings went to living expenses
following Covid.
One of the bright spots for me in these darkening days of
authoritarian kleptocracy has been the arts, primarily music and literature or a
combination of the two. My tastes have always leaned toward things that felt
real. Somehow the inherent contradiction of authenticity in a piece of art
escaped me. Nevertheless, I have always been drawn to art and artists that are
good at maintaining the illusion of authenticity. Hence, I normally prefer
non-fiction in literature and blues and its progeny in music.
I am always on thelookout for talented singer songwriters. Not that I naively
believe they can change the world with a song (kudos to Gary Nicholson for
"Drinking Bob Dylan Whiskey") but have always found authenticity, in subject
matter and dialogue, help to keep this highly distractable person's attention.
When it comes to understanding the zeitgeist of a particular time, perhaps no type
of artist is better suited for the task than the singer-songwriter. For a long time
now, the geographic center of great singer-songwriters migrated from the North-Northeast
following Guthrie (I know, OK native), Seeger and Dylan, etc and the Northeast
folk scene to Texas.
The dominance of a Texas connection in the singer-songwriter category is so profound
that space limitations prevent an exhaustive list here but a few names to drive home
the point are: Willie, Sahm, Townes, Clark, Hubbard, Shaver, Earle, Escovedo, McMurtry
and the list goes on and on. (I know that I missed many major exceptions to this Texas
monopoly, namely Hank and Hinton and Toussaint, the latter being more
writer/producer/arranger than singer, but you get my gist.)
Which brings me to one of my favorite singer-songwriters/authors of the day and hometown
hero who almost singlehandedly is behind a flip in the singer-songwriter poles back
Northward, Craig Finn. Finn brought his Band of Forgiveness with opening act and
special guest James Felice to the Fine Line in Minneapolis last night. Just six
nights into the tour in support of his latest works, 2025's lp "Always Been" and
its companion novel, "Lousy With Ghosts". Finn and his Minneapolis based Band of
Forgiveness did not disappoint delivering a sublime, if not subdued performance,
which perfectly fit the material (and our present times). While some THS fans
may have been somewhat confused and eventually going through withdrawls for the
adrenaline fix of a frenetic, exuberant THS show delivers, I, for one, have
always preferred his more contemplative, detail rich solo work.
Although somewhat sonically limited by the small ensemble comprised of keyboard, lead
guitar, Finn on rhythm guitar and second keyboardist/ multi instrumentalist who
alternated between sax, clarinet and electronic percussion and bass parts.
Opening act James Felice (of Felice Brothers fame) contributed nicely on
accordion to bring some added rich texture to the Band of Forgiveness' sparse,
ethereal sound. The affable Felice not only proved he could perform one of the
more difficult tasks in show business, that of the opening act, without being
booed or heckled, and sans fraternal accompaniment, speaks volumes of his
abilities.
Thursday, May 29, 2025
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Tuesday, March 25, 2025
The Ballad of American Arts: the History of American Democracy told through Music
I think we can all agree that these are difficult times, regardless of one’s political persuasion.
Navigating difficult times can be exhausting, especially when the stakes are so high. So every once in a while I think both sides should take a respite and contemplate why we are so passionate about this thing we call American democracy and why it is so important, not only to us, but the example we set for the entire world.
Navigating difficult times can be exhausting, especially when the stakes are so high. So every once in a while I think both sides should take a respite and contemplate why we are so passionate about this thing we call American democracy and why it is so important, not only to us, but the example we set for the entire world.
Recently, a musician friend of mine turned me on to this lecture given by #WyntonMarsalis back in 2009 entitled #TheBalladofAmericaArts. In it Marsalis brilliantly tells the history of American democracy through the lens of our greatest soft power, music. Timely and inspirational words of wisdom and love that leave you feeling proud and grateful…and who can argue with that.
Monday, December 2, 2024
Soul Legend Johnny Rawls Closes 2024 Tour with Triumphant Finale in Minneapolis
It felt strange to be back in the old Sun Saloon again after nearly a quarter century. Now named Shaw's Bar & Grill, I must admit the "new"regime (celebrating their 25th anniversary this year) really did a good job turning the former home of Steve Hull's Thursday night biker karaoke into one of the finer small music rooms in the cities. Excellent sound and sightlines in an intimate, yet comfortable setting, topped off by a friendly, attentive bar staff and decent draught beer list. Who could ask for anything more?
Johnny got the evening off to a start at 7:30 PM with some Sonny Boy, "Help Me" before segueing into the Fever. Next up was a song off his recent "Live in Europe" album, "Country Boy" which featured the affable Rusty Walls on harp. Mr. Rawls paid tribute to one of his early mentors next, the great Z.Z. Hill, with a medley of "Down Home Blues" "Bump and Grind" and "Rock Me Baby"..jpg)
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I believe the next number was "Shake and Fingerpop" but instead of featuring the harp it featured Johnny's under appreciated guitar work. Johnny's economic playing looks effortless but as anyone who has ever picked up the instrument knows, there is nothing harder than to play seemingly simple notes in the perfect tone and Johnny's playing is all about the tone and then some. I couldn't help but think of one of my favorite guitarists, the late great Paul "lil Buck" Sinegal, when watching Johnny play while leading his band. Playing both lead and rhythm, you see where the great Jimmie Vaughn got his inspiration. Whatever it was that they taught guitarists in places like Lafayette, LA. they must have been sharing it with their colleagues in Mississippi or vice versa. They understood that guitar playing was not an end in itself but rather was in service to the song.
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When Johnny called for "Turn Back the Hands of Time" I have to admit that I questioned whether they would be able to pull off the Tyrone Davis classic with out horns and strings. But to their credit they did and then turned it into a medley with snippets of Rufus Thomas' "Funky Chicken" "Sister Sookie"and "Take Me Back to School Days". Johnny performed one of his best originals next, "Love Machine" which he wrote with Bob Trenchard. Not to be confused with the Miracles song with the same name or Wynonie Harris' "Loving Machine". Johnny's song "Love Machine" is my favorite of all the songs sharing that or a similar name and in the hands of a great horn section is a tour de force. Even a stripped down version of the song sans horns is a powerful thing in the hands of a performer like Johnny Rawls.
As a change of pace, Johnny asked that the house lights be dimmed and then promised to do us men in the crowd a favor and help us "get lucky" (i.e. laid). He then launched into a sultry Marvin medley of "Let's Get it On" and "Sexual Healing" eventually ending with the Rawls original "Come and Get It" to close out the set.
The second set opened with Johnny covering BB's "The Thrill is Gone" before handing over the reins to his daughter Destini who worked the audience up close with an excellent set of her own starting with "I Don't Need No Man" followed by "Chain of Fools" "Everybody Gets the Blues Sometime""Walking Shoes" before ending with a rousing version of the Staples "I'll Take You There". Destini Rawls is a talented singer with impeccable taste who is destined for greatness even without her famous father. I was so impressed I picked up her cd and highly recommend it.
At this point in the show Johnny recognized an old friend in the audience, Jelly Bean, of Flyte Time productions fame before having some fun with Rick James' "Brickhouse" to close out the second set. Destini would be wise to enlist our local production talent who did such a stellar job producing Janet Jackson.
At 74 years old Johnny is still the consummate performer and like his contemporary, William Bell, shows no sign of slowing down. He opens his third set with "Pride and Joy" followed by perhaps his biggest hit "Red Cadillac" throwing in a little "Woman Gotta Have It" before closing with "I Say Yes , Yes ,Yes". The appreciative crowd at Shaw's were not going to let them go without an encore, "Lucy". Kudos to Johnny and Destini Rawls and their midwest touring band consisting of John Magee on guitar, Trent Boldt on bass and I hope I am correct that Allen Kirk was on drums and local hero, the aforementioned Rusty Walls, on harp. These guys are much more than your local journeymen musicians but rather play with the Rawls on a regular basis dozens of shows throughout the region and it clearly shows. Thanks to Shaws for booking my favorite show this year!
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