John Courage and the Great Plains: New Album + Release Party

Posted by on Apr 19, 2012 3 Comments

John Courage and the Great Plains

By Leilani Clark

With the death this week of Levon Helm, the world lost one of country-rock’s finest ambassadors. As drummer and singer for The Band, Helm was at the forefront of a musical movement, along with The Birds, Bob Dylan, Flying Burrito Brothers, Gram Parsons, and even Led Zeppelin at times, that combined, to fine effect, the rough-and-tumble feel of rock with the rangy, winsome tones of country music.

Fortunately, Sonoma County has produced its own country-rock ambassador in John Courage. On Saturday, April 21, at the Last Day Saloon, he celebrates the release of Don’t Fail Me Now, his first album to feature the bona fide, full-blown band known as John Courage and the Great Plains. A springtime release date is perfect for this smooth-toned, solidly produced album. Just like the black velvet drawing on the back by local artist Mica Jennings, the album is a prime soundtrack for poolside hangout sessions with a cold drinks and friends, or maybe long stints on the road driving to deserts and mountains.

While some of the lyrics are in the vein of “yearning for a pretty, long-haired lady in a short skirt who understands that behind my stoic, highway-burned face is a man who just needs real love,” the songs have an expansiveness that probably comes partially from the time Courage (nee Palmer) spent in living in New Mexico’s high desert a few years back. In one of the album’s best moments, on the song “Heartbreak Man,” the unapologetic narrator says goodbye without looking back, in the morning, or “under cover in the middle of the night,” and the lady and town about to be left behind are gifted with this caustic observation: “I miss my life back on the West Coast/I forgot my true identity/No one here knows my god-given name/They’re just in love with the fantasy.”

“Old Faithful Pulse” explores the three M’s: mortality, mystery, and misery. It sets the tone for the ensuing set of songs, well-crafted melodies that build up to crackling, sing-a-long choruses, of the type to be sung in hot, southern bars, where the only requirement is a beer in hand and a lost love lingering in the shadows near the jukebox.

The song “Middle Man” is a bluesy juke-joint tale of lies and cheating. “If it all ends tonight,” Courage sings, “how it all went down.” Money trees, devil tea, and bad men on the horizon, it’s all in there, sung with an convincingly burning sarcasm. It tells a story, and reminds us that often times the best music is told from the distant third, not necessarily the close first.

On many songs, Courage’s voice carries the languid, passionate, caramel tones similar to Chan Marshall from Cat Power, and though at times the songs are as world-weary—filled with hustlers and heartbreakers— as the famously world-sick front woman’s, the album’s 21st-century wild-west territories are subtly optimistic, bathed in golden California sunlight. The title track has a surprisingly poppy bridge, kicked up a notch with dulcet bell tones that might have come straight off Smashing Pumpkins’ Siamese Dream. “You take the mountain, I’ll take the crown,” sings Courage, simultaneously giving in and remaining hopeful.

On the last track, Courage wails, “I sold my soul for rock-and-roll” in a somber, nearly cracking voice that belies his age, singing softly, sadly—seeming over it before he’s even started. “It ain’t paying up,” he bemoans in the chorus. Yet, in actuality, with this new album, music’s melodic riches have truly bestowed themselves on this particular lanky, red-headed West Coast son.

The North Bay Hootenanny presents the album release show for John Courage and the Great Plains on Saturday, April 21, at the Last Day Saloon. 120 5th Street, Santa Rosa. 8pm. $10-$12. 707.545.5876. CDs will be available for $5.00.

Here’s a video for Courage’s home demo “Game of Charades.” It’s not on the album, but it’s a nice, pensive tune.

Live Review and Photos: Pulp at the Warfield

Posted by on Apr 18, 2012 4 Comments

“Anybody come here by cable car?”

Jarvis Cocker had only been in San Francisco for a few hours Tuesday when the longest legs in rock raced his upper half to City Lights bookstore. Later, on stage at the Warfield, he read an excerpt from his purchase—a copy of Lawrence Ferlinghetti’s translations of the French surrealist poet Jacques Prévert—and quoted playwright Thornton Wilder and author Isak Dinesen.

“Do you want to see a dolphin?”

Prevért? Wilder? Dinesen? Needless to say, Cocker is not your average rock star. But he’s no bookish dweeb, either—the Ferlinghetti recitation served as lead-in to “This is Hardcore,” the most dramatic song about sex ever recorded. A bra was flung on stage; he picked it up and buried his nose in it. He gyrated, jumped, lay prone, thrusted and grinded his way through an exhilarating two-hour set, and nobody in the Warfield left last night without wanting to go to bed with him.

“Well, the afternoon is really the best time to have sex. Why is that?”

Everything about Pulp’s show at the Warfield amazed and delighted. Aside from a handful of recent reunion dates, Pulp has not played together for almost a decade, but you wouldn’t have known it from their set on Tuesday. They were supremely tight, the set list was outstanding, the sound was superb, the crowd was energetic, the lights were dazzling, and Jarvis Cocker, good God, was at his most Jarvis Cockerish.

“Just because something’s obvious doesn’t mean you shouldn’t say it.”

It’s been said before, but Jarvis Cocker is truly the consummate frontman. The art of talking to the crowd, I realized last night, is a lost art. For all the listless rambling heard in the 1990s, well, I miss the attempt. Cocker attempts, and nails, and even his listlessness tends to quickly draw up a list and get on a point to connect with the crowd. He’s been introducing these songs for years. He still finds new routes to their titles.

“It’s difficult to introduce this next song, because then you’ll know what it is.”

Of course, it was “Common People,” and of course, it was incredible, and of course, of course, of course… there are so many “of courses” associated with “Common People” and yet it sailed across the Warfield like some majestic liberating angel of light unifying everyone there against everyone else and for however many minutes it coursed through a collective vein and wrapped us all up with empathy and a red bow and a beer bottle.

“If I give you this beer, will you share it?”

And still I’ve never loved “Common People” as much as last night. “Disco 2000,” “Babies” and set opener “Do You Remember the First Time?” were also grand singalongs. But the beastly favorite of mine is “This is Hardcore,” delivered with all the hot drip and luscious terror of the record. Cocker scaled the speaker tower, dangled his microphone from strategic places and collapsed in a pile across the stage monitors.

“How fortunate that this arrived here at this particular moment.”

Looking back, it’s unbelievable that only one bra was thrown on stage, but Cocker took it to launch into “Underwear,” an overt song worthy of San Francisco, which Cocker clearly was grateful for. Introducing “Mis-Shapes,” he related how touring bands love coming to San Francisco because “it seems a bit messed up, and there are strange people all around. Just like us.” He also reminded the crowd that the last time Pulp played in town was at Bimbo’s, in 1996. Jarvis Cocker, awesomely, reads his own fan site..

“I was in Las Vegas last night. That’s a fucked up place.”

The site, PulpWiki (“it knows more about my life than I do”) told Cocker that the band’s first album It was released 29 years ago to the day. So the show ended with Pulp playing “My Lighthouse,” the very first song from their very first album. No sweeter arc could have been circled to end the show, which, judging from the sweat and exhilaration on the sidewalk in front of the Warfield afterward, is going to go down as legendary. As for my standing-in-front-of-the-speaker self… well, I’m going to be answering the phone with my left ear all week.

Set List:

Do You Remember the First Time?
O.U. (Gone, Gone)
Something Changed
Disco 2000
Sorted for E’s & Wizz
Acrylic Afternoons
Pencil Skirt
Like a Friend
This Is Hardcore
Bar Italia
Common People

Glory Days
Party Hard

My Lighthouse

The World of Pop Music

Posted by on Apr 13, 2012

Pop music is a specific genre of modern music that can be distinguished from art music or classical, as well as folk music. This term generally refers to the specific unique style and traits in music, but the type also includes different artists that are working in various musical styles such as hip hop, rock, R&B (rhythm and blues), and country. This results to a category which is, rather flexible compared to others. The term pop music can also be used to point to specific subgenres which can sometimes be referred to as pop/rock and soft rock.



Pop was originally designed to provide a good appeal to everybody. It does not really come from a specific place, or from a specific taste. In the world of music, pop music technically falls under the conservative type since it tries to resonate a huge segment of its focused demographic instead of pushing the boundaries of art. It is also supported by record companies, concert promoters and radio programmers. Radio stations commonly spread the popularity of this genre of music by playing them regularly in their channels.

Pop music, in general, is real contemporary music. These days, whatever type of music you may hear, as long as it jives with the times, everything is pop music. Decades ago, this music was referred as contemporary. However, these days, pop music has stolen the crown of whatever music in the fore. Pop has maintained its popularity by using melody that stay in people’s minds. They may not use catchy beats, but these beats are what force it to your mind. At the same time, these songs are not really filled with music. Most of the times, there is a single tempo that goes on the entire song, and does not change. However, this element is the reason why criticism or appreciation is given to the song. Most critics often say that these are worthless.


Pop Industry and the Internet

These days, the internet is home to various information about this type of music. The internet is also a place where you can find the entertainment that you want. For instance, aside from music, you can play online entertainment, such as online casinos by visiting here. Aside from that, pop industry has become so huge these days. Thus, there are many groups, and solo singers who have created their own music, while some particularly enjoy performing the ones being prepared for them by talented songwriters and other music creators.

Indeed, pop music has played a vital role in our lives. We sing to it, and relate to it. As a matter of fact, every moment in our life has a song that goes along with it. Pop music reaches to our very soul, and it translates even to different languages, with no national and language barriers. Pop music is music at its best. With time, pop music has definitely changed a lot. Therefore, in the years to come, we can expect more beautiful music to come our way.





Setlist: fIREHOSE at Slim’s, San Francisco

Posted by on Apr 12, 2012

Ed Crawford couldn’t sing the high notes anymore. Mike Watt and George Hurley occasionally got off-time from each other. And you know what? It didn’t matter! fIREHOSE were great! They haven’t played live together for 18 years! You expect them to be as tight as they were in 1991?

Anyway, it’s all about the setlist, see below. The band has a new “anthology” to hawk that only covers the Columbia albums, but they pulled generously from the SST albums. (Ed sang “What Gets Heard.”) Lotsa tall old hairy guys in the crowd. Lotsa cheers when Watt sang. Slim’s is unbearable when it’s sold out. For real.


Live Review: Jeff Mangum at the Fox Theater, Oakland

Posted by on Apr 10, 2012

For a few seconds after Jeff Mangum walked out of the wings at the Fox Theater in Oakland on Monday night, there was only one prevailing collective thought. “Holy shit, he’s real,” said almost everybody to themselves. For a certain fraction of the sold-out crowd, that moment could have begun and ended the show. We were, after all, paying to see the most mythical figure in music since, I don’t know—Syd Barrett?

Mangum’s story is so compelling, and his In the Aeroplane Over the Sea filled with such brilliance, that when he disappeared it truly felt like a betrayal. How could he give the world this work of beauty and then retreat? What if he never wrote another song again, ever? Just where is he, anyway?

So in the short time it took Mangum to walk to his chair at the center of the stage, pick up a guitar and start strumming “Two Headed Boy, Pt. II,” the theater was already fully satisfied: There he is, hallelujah. Naturally, it just got better from there. No longtime Neutral Milk Hotel fan could have possibly left the Fox Theater disappointed. Mangum’s voice, penetrating as ever, filled the large theater like xenon, and I was relieved to find that it hasn’t changed one iota in the last 13 years. Still a reedy, forceful instrument unto itself, and still capable of hitting high notes, like the climaxes on “Oh Comely.”

I was also worried that the crowd would be so overcome they’d sing along to every word, and even though it happened, it wasn’t irritating. Mangum himself encouraged it, especially on the iconic “King of Carrot Flowers” and encore “In the Aeroplane Over the Sea.” He spoke little between songs, and what he said was muttered and hard to hear. It was really, really fantastic to hear Mangum introduce “True Love Will Find You In the End,” by Daniel Johnston, and I heard that the next night, during Tuesday’s show, he dedicated a song to the Thinkin’ Fellers Union Local 282, which, wow.

People hung on his every word, of course, and being revered has its privileges. When, at the start of the set, Mangum asked someone to stop filming, they instantly complied. In fact, in my section of the theater, it seemed like everyone got the memo. Barely anyone had their phones up in the air. And other than singing along, no one made a sound while Mangum unfurled brilliant song after brilliant song: “Holland, 1945,” “Ghost” and “Two-Headed Boy,” which ended right on the beat with a familiar drum-and-tambourine cadence emanating from backstage, and guest horn players Scott Spillane, Laura Carter and Andrew Reiger waltzed out to a perfect reprise arrangement of “The Fool.” The place went nuts.

At the end of the night, when Mangum walked off the stage after his encores, after the house lights came up and music started playing over the P.A., I saw something I’m not sure I’ve ever seen in all the shows I’ve seen. The wildly cheering audience would simply not give up. They kept clapping. They kept screaming. It got louder, and louder. This went on for a long time. Come back, Jeff Mangum, come back, the roar said. Don’t go away again. Come back, come back. Louder, and louder, and louder.

And then the lights went back down.

Mangum came out one last time, and played “Engine,” a b-side. A thrilling end to a special evening.


1. Somewhere I still have emails between Mac and Laura and myself about publishing for “Two-Headed Boy.” (It was 2003, and we wanted to release a cover of it.) And in one email Laura says “Is this something we should get in touch with Jeff about?” and I was like NO WAY HE EXISTS.

2. No new original songs were played. Mangum’s been honest about his chances of writing a new record: “Sometimes I kind of doubt it,” he’s said. Without new material, it’s questionable how long he can stay satisfied playing the same old songs, and based on his demeanor I get the impression these shows he’s playing might be rare.

3. We were talking on the way back to the car about Aeroplane and its place. “It’s like the Blonde on Blonde of our day or something,” I theorized, but Hoyt one-upped me: “No, no. Forever Changes. It has horns.”

4. The show helped heal over a decade of regret: I actually had the chance to buy tickets to see Neutral Milk Hotel at the Bottom of the Hill in 1998. I hated the Jesus Christ line. So I didn’t.

5. Here’s the setlist:

Two-Headed Boy Pt. 2
The King of Carrot Flowers Pt. 1
The King of Carrot Flowers, Pts. Two & Three
Gardenhead / Leave Me Alone
True Love Will Find You in the End
Holland, 1945
Oh Comely
April 8th
Song Against Sex
Two-Headed Boy
The Fool

Ferris Wheel on Fire
In the Aeroplane Over the Sea


Live Review: The-Dream at the New Parish, Oakland

Posted by on Apr 7, 2012 One Comment

The-Dream has played only twice before in the Bay Area—once opening for Mary J. Blige and Jay-Z at the Oakland Arena, and once opening for Keyshia Cole at the Paramount Theatre. Finally, on Thursday night at the New Parish in Oakland, he headlined here, and played a nearly two-hour set with a live three-piece band. The show was tremendous. The-Dream’s been on tour for a while now—Jay-Z and Beyoncé showed up to his tour opener in NYC—and at this point he’s totally honed his set.

From the opening notes to the last bass hit, the show was one huge party, with a room full of fans reveling in song after perfectly crafted song. On the floor, grinding. Up in the VIP, ass-shaking. On stage, ruling it. For two hours, the entire club was awash in sweet release. You think I exaggerate, don’t you? Well, watch this video.

“I’ve had this Oakland cap on since I started this tour,” said The-Dream, pointing to his Raiders cap. “I remember. I don’t forget shit.” It was Oakland, he explained, that embraced his songs early on. His set spanned his first two albums, mostly, and pretty much ignored the vastly dull but critically praised Love King. “Shawty Is the Shit” was a perfect opener—those stories about never being able to hear the Beatles live, because of teenage girls screaming so loud? Yeah—and within 25 minutes we got “Nikki,” “Falsetto,” and a slowed-down “I Luv Ur Girl” that exploded the joint.

Radio Killa signee Casha joined Dream for “Hit the Lights,” his latest single, and then worked the stage solo to perform her Denice Williams cover of “Silly.” It was weird enough to include the song on his free album 1977, and a set-killer in the live show; the monitors must have been dead, because Casha sang it flat. (Other so-so choices: token versions of “Gangsta Luv” and “Throw it in the Bag,” the Snoop and Fabolous hits that Dream guested on, and a cover of LoveRance’s “Beat the Pussy Up.”)

“Walkin’ on the Moon” contained a brief Michael Jackson tribute, “Love King” was the one and only song performed from Love King, 1977‘s “Used to Be” scathed with fierce passion, and the epic “Fancy” was all backlight and mood, erupting with drummer Charles Chaffer’s entrance in the song. Even though just a three-piece, The-Dream’s band replicated his songs perfectly, and ably took cues from their leader when to deviate from the arrangements.

Between songs, The-Dream himself seemed energized by the love from the sold-out crowd. “Purple Kisses,” awash in purple lights, led into a spoken interlude:

“In case you forgot what kind of records these are… these are records to fuck to,” he said. “If your life is hard, if things ain’t goin right, you just ain’t fuckin’ the right bitch. Girls, you too. If things aint goin right, you just aint fuckin’ the right nigga. It’s that easy. I ain’t been fuckin the right bitch for the last two years. You could tell. So instead I wrote songs that made it sound like I was fuckin’ the right bitch.”

The-Dream has a new album out this summer, and based on the two new singles and the raw intensity of this tour, it’ll be incredible. After infamous snubs from the music industry and the threat of retirement, his return is welcome indeed—just ask the dedicated group of fans chanting for “Put it Down,” even after the lights came up and the exhausted crowd started filing out.


Love vs. Money Pt. II Intro
Shawty is the Shit
Fast Car
Kill the Lights (w/ Casha)
Silly (Casha)
I Luv Your Girl
Ditch That
Walkin’ on the Moon
Love King
My Love
Right Side of My Brain
Gangsta Luv
Throw it In the Bag
Beat the Pussy Up
Used to Be
Purple Kisses
Rockin’ That Shit
Let Me See the Booty

Live Review: Branford Marsalis Quartet at the Napa Valley Opera House

Posted by on Mar 30, 2012

“We were butcherin’ up the Sonoma Country Club today,” said Branford Marsalis, before his band had played a note at the Napa Valley Opera House. “We were playing so bad we decided to let some girls play though so they wouldn’t have to look at us. So we invited them to the show tonight… and there they are, sitting right there!”

It was a warm, welcoming way to start the show—Marsalis shouted out, by first name, a long list of friends in the audience, “and all you people we don’t know, we’re glad you’re here too,” he continued. “This is just a hang. A big hang.”

And then the band catapulted into “The Mighty Sword,” and man, all hell broke loose. Marsalis led a solid seven-minute block of quick-paced, rapid-fire jazz, churning and whirring over the angular bass of Eric Revis and the interwoven lines of pianist Joey Caldarazzo, and thwomped the whole thing to a sudden stop. I tilted my head back and laughed in awe.

Yes, awe. The unbridled propulsion with which the quartet is playing these days comes from young drummer extraordinaire Justin Faulkner, who Marsalis hired away from his previous job at Benihana wielding ginsu knives. Or at least it seems that way. Faulkner is a dizzying presence at the kit, sounding like two drummers at once. He tackles the entire drumset, beating toms and cymbals and stands and whatever’s handy, and has a polyrhythmic thrust that calls to mind Elvin Jones. Did I mention he’s only 21 years old? Get used to the name, folks: Justin Faulkner.

Older track “In the Crease” that was the set’s highlight, with Caldarazzo’s solo building to such a climax that he leapt off the bench. This was followed by Faulkner’s shining moment, a blistering solo that was just plain unexplainable—except to say that contrary to popular belief, dropping a pile of drum sticks on the stage can be a percussive moment.

All through these moments, Marsalis himself was fine with sitting out behind the band to let them shine. That’s the right thing to do with this band; they’re remarkably tight, and even with Faulkner, who’s relatively new, they listen intently to each other. The Marsalis quartet has an album coming out next month, Four MFs Playin’ Tunes, and based on the songs played tonight, it’ll be excellent. “Teo,” the Thelonious Monk composition, magnified the playfulness of Monk’s melodic conception; “Maestra” was a nice, plaintive ballad.

A set-closing “Don’t Mean a Thing If It Ain’t Got That Swing” caused calls for an encore, and suitable “52nd Street Theme” was a fun, frivolous, lively closer. It’s a thrill to have jazz of this caliber played in the small confines of the Napa Valley Opera House, and I doubt many who were there will forget it anytime soon.



Harmony Festival Cancelled for 2012

Posted by on Mar 29, 2012 12 Comments

Talk has been swirling for weeks, and now, it’s been made official: After 33 years, there will be no Harmony Festival in Santa Rosa in 2012.

The full announcement from Harmony Festival CEO Howard “Bo” Sapper is below, and it looks like the decision wasn’t made lightly. Harmony Festival organizers “spent many months creatively exploring dozens of promising options” to keep the festival alive, Sapper writes, but to no apparent avail. “We know this news is a great disappointment to the entire Harmony team and the community at large,” Sapper writes. “We share your feelings of disappointment.”

So far, this is only a postponement—the festival is not necessarily permanently cancelled. In an egalatarian move worthy of the festival’s aims, organizers have set up a website, www.harmonyfestivalonline.com, to collect ideas about the future of the festival from the fans and extended community. “We are looking ahead to the annual Harmony Festival in 2013,” it reads.

Obviously, this is sad news for many. Official announcement below.

Dear Harmony Festival Family,

On behalf of the Harmony Festival Board of Directors and management team, we sincerely thank you for your continued support and encouragement as we grew and evolved the Harmony Festival from a grassroots community event in 1978, into the nationally renown music, arts and cultural festival—that you’ve come to expect year after year.

It is with a deep sense of regret that we announce that after 33 years we will not be producing a Harmony Festival in Santa Rosa, CA in June 2012. As you can imagine, this is a very difficult announcement for us to make. We appreciate your patience as we took the necessary time to prepare a thoughtful message to inform the greater Harmony community of our decision, which is now effective immediately.

You might ask why we made this decision. Please trust that we have spent many months creatively exploring dozens of promising options in the hopes that we could keep this magical event alive this year. We know this news is a great disappointment to the entire Harmony team and the community at large, and we share your feelings of disappointment. We ask that we work together to move beyond this stage, toward hope and optimism for future Harmony Festivals.

We are working on plans to reorganize the company and the possibility of creating Harmony Festivals in the future. We are counting on engaging YOUR support and participation going forward as we re-envision a sustainable future for the festival. We also ask that you assist in communicating this message within your own community, in the most positive light possible.

We welcome your comments and feedback via our new blog www.harmonyfestivalonline.com and look forward to the possibility of rekindling the Harmony Festival flame so it shines even more brightly again in the future.

Howard “Bo” Sapper, CEO Harmony Festival, Inc.

In News

Healdsburg Jazz Festival 2012 Lineup: Roy Haynes, Kenny Burrell, Vijay Iyer, Many More

Posted by on Mar 28, 2012

We’ve already reported that Roy Haynes, Vijay Iyer and Sheila Jordan will be at this year’s Healdsburg Jazz Festival, but today’s announcement of the full festival lineup brings in another big name in jazz: Kenny Burrell.

Burrell’s a towering figure in jazz guitar whose bio is too extensive to do justice here. His Blue Lights albums for Blue Note are iconic (love that Andy Warhol cover!). His album with John Coltrane, impeccable. Even local blues guitarist Volker Strifler once asked be to track down a copy of his Bluesin’ Around record, citing it as a major influence. And my personal favorite Kenny Burrell album is Asphalt Canyon Suite, a sublime masterpiece.

Now 80, Burrell plays both solo and in a trio on Saturday, June 9, at the Raven Theater.

Other festival highlights include Calvin Keys Organ Quartet, a quartet led by Freddy Cole (that’s Nat “King” Cole’s brother to you), a concert on the plaza featuring Azesu with Orestes Vilato and Maria Marquez, the Michele Rosewoman Trio, the Lorca Hart Trio, Healdsburg wunderkind Kai Devitt-Lee, the Shotgun Wedding Quintet and many, many more. See the full schedule here.


In News

Nicki Bluhm’s Van Sessions: “I Can’t Go For That”

Posted by on Mar 24, 2012 2 Comments

Nicki Bluhm and the Gramblers have this great YouTube series where they drive around California in their van, playing classic cover songs. So far, they’ve done tunes like “You’re No Good” by Linda Ronstadt, “Islands in the Stream” by Kenny Rogers & Dolly Parton, and long before she died, “How Will I Know” by Whitney Houston. (Songs by the Beatles, the Dead and the Allman Brothers all show up too.) The whole project has such a pure and spontaneous feel, calling to mind Jackson Browne’s Running on Empty album—parts of which were recorded in motels, in backstage rooms, and on a tour bus.

Today, Nicki Bluhm posted “I Can’t Go For That” by Hall & Oates, and it’s just fantastic:

Here’s the fun fact: Even Hall & Oates themselves took quick notice, and reposted it.

Locally, Nicki Bluhm’s singing with a Haggard-Owens-Parsons-style country tribute band, Brokedown in Bakersfield, at Hopmonk Tavern on April 7, but she and the Gramblers play May 18 at the Mystic Theatre. Judging from the swift popularity of the video above, I don’t see how the audience is going to let them off stage without playing this song.