Opener: Paul Thorn
Venue: The Triple Door - Seattle, WA
Date: Saturday, April 1, 2006
New Orleans In the House
When I lived in New Orleans, it seemed like there was this sister-city love triangle between New York, New Orleans, and the cities of the Pacific Northwest. If anyone moved away from the Crescent City, they usually either headed to the Big Apple, or they trucked it on up to Portland or Seattle.
Tonight, the Seattle crowd has poured out in droves to take part in a night of down home New Orleans roots music, courtesy of the Subdudes. No matter who I strike up a conversation with, everyone seems to have ties to NOLA. The guy to my right has a friend who plays in a band with a standing gig on Bourbon Street. The woman behind me in line has been going to Jazzfest every year for nearly two decades.
The enthusiastic dancing couple to my left takes every opportunity to announce their allegiance to their former home in New Orleans, as if their association with the Big Easy makes them groove easier and party harder (as we all know, it does).
In fact, that’s what this show is all about, after all: bringing a good time the likes of one that’s only ever seen to the immediate east of the Mississippi.
“When you’re in New Orleans,” my line-mate quips, “it’s like you’ve left the country, or something. You’re in a totally different world.” It is that “different world” feeling that made the Crescent City famous, and the Subdudes have no problem bringing that energy with them wherever they go.
From the moment you enter the Triple Door tonight, you can feel the energy in the room. You can see the displaced New Orleanians decked out in Mardi Gras beads and sporting the Crescent City glow. Everyone is ready for a good time.
Opening Act, Paul Thorn
Tonight’s opener introduces himself as, “Paul Thorn from Tupelo, Mississippi: the birthplace of Elvis Presley.” As he makes his way through his set, he asks, “How many people that came here tonight have never heard of Paul Thorn?” Just about everyone in the room raises their hand, marking the difficult task for an opener: captivate someone else’s crowd for a full hour, or risk heckling.
Thorn, however, is well up to the task. His earnest, fearless songs tackle important issues we all face in relationships, with song titles like “I’d Rather be a Hammer Than a Nail,” and lines like, “I couldn’t get laid when I was single, so I guess I’ll just stay married.” By the end of his set, the line to buy a copy of his CD stretches around the corner and down the aisle. Job well done!
Subdudes In the House
The Subdudes hit the stage after a short break, bringing their unexplainable brand of Americana and roots/blues/funk/folk-rock out to play. Their super fun, energetic set features everything from an impressive impression of a cricket to a rather extensive yo-yo solo, complete with classic tricks like walk the dog and around the world.
It’s no wonder this band is so tight - they’ve been playing together for years. The two percussionists feed perfectly off one another - with the primary “drummer” Steve Amédée spending much of his time rhythmically whacking the heck out of a tambourine.
Accordion/keyboard-player John Magnie has his share of shining moments as well, working his accordion with the cool subtlety and skill of a great electric guitarist.
Audience Participation
Throughout the night, there are plenty of clap-alongs, and the pre-encore set caps off with an enthusiastic sing-along to one of the more well-received songs off their new album, Behind the Levee. As the crowd repeatedly sings the rhythmic series of “Na na na’s” that make up the chorus of “Papa Dukie & the Mud People,” enthusiastic-native-new-orleanian-man sings the phrase “behind the levee” at the top of his lungs, and the band forms a parade to walk offstage.
After one of the most enthusiastic encore-plea breaks I’ve seen outside an Ani Difranco concert, the band returns for a three-song encore. During what is undoubtedly the most shining moment in the entire set, the ‘dudes do a completely unplugged (meaning zero mics or amplification) version of their beautiful song “The Rain” from their Miracle Mule CD (2004).
The final tune of the encore is the appropriate selection, “Bye Bye,” and with that, the unbeatable energy of New Orleans wanders backstage as the rest of us headed out into the brisk, quiet Seattle city streets.
