Cat's Cradle 05/01/2022 Carrboro, NC

[litdimly]

So I saw reference to a “Wall of Sound” in Philly and I felt it in Carrboro. And it was wonderful. A show as fantastic as this one deserves a place on the 3DD board so here goes - sorry to take so long.

They opened with Billy Ringo and closed with People Who Died. I hope someone smart will chime in with a real setlist but here’s a questionable recollection in no particular order.

Billy Ringo
Slow Ride Argument
Gravity’s Gone
Lookout Mountain
Hell No, I Ain’t Happy - epic
Sign O’ The Times - epic x2
Where the Devil Don’t Stay
Thoughts and Prayers
Wednesday - Lydia tried
Ramon Casiano
What’s Love Got To Do With It - Lydia
I’m Eighteen- for THE doctor
Goode’s Field Road - I love this so much
Zip City
The Driver - oh my!
Adam Raised a Cain
Marry Me
Shit Shots Count
Ghost to Most
Every Single Storied Flameout
Sounds Better in a Song
Living Bubba
Women Without Whisky
Let There Be Rock
Shut Up and Get On the Plane
And more…
People Who Died

OK - highlights:

Lydia - First time seeing her live and she did not disappoint. She’s a damn good songwriter and performer and I wish I would have had her songs four decades ago but she was probably not on this planet yet. She covered Wife Beater. SHE COVERED WIFE BEATER!!! She nailed it and it was as wonderful as you can imagine and I feel confident that hearing it from a female will make a difference in the life of the protagonist. Patterson (a genius if you didn’t know) told us later that he wrote it for Tammy Wynette and then she died. He wondered aloud if perhaps he should write a song for someone else and Cooley (another genius) hit a perfectly timed Nugent riff (at least that’s what I think I heard, don’t hold me to it. What’s left of my hearing can be selective).

The guitars and men behind them were on fire. These are not just pretty lyricists. Patterson and his SG do more for me than meditation. Cooley had some good wah-wah action going on throughout the evening and I heard several folks making the “he was on fire” comment after the show. What is amazing to me is how they combine complementary sounds without going off the rails. And then a third guitar? It’s a delicate balance but as we all know, it’s magic when it’s done right, pure magic.

COWBELL! When did the cowbell show up? I didn’t notice it at HC but I was a little closer this time. Close enough to really see and appreciate EZB’s work.

The crew - all of them. Some are pulling triple duty that we don’t see and some are more visible with horns and guitars, teching and playing. The results reflect that a strong team is behind it all.

Do you remember your first time, your first DBT show? The only thing better is getting to witness someone have that experience. I met Kevin in line. Jason was the gateway as he has been for many a DBT fan. I literally heard his “mind blow” during Hell No. I guess it could have been mine. At any rate, the comment I heard afterwards was “life changing.” I think I’ll probably see him again down the road.

[Clams]

^^^Great post

[beantownbubba]

^^^ litdimly on fire. I suppose the band and the other fans were ok too.

What does “Lydia tried” mean?

[litdimly]

Aw shucks - thank you for the kind feedback.

Lydia tried - probably a poor choice of words on my part. So, I wonder if something was up with her ability to hear the band, monitor or whatever? She seemed a little out of sync with the band on What’s Love but that could have been just my old person brain expecting to hear something closer to what I heard hundreds of times from the speakers in my car in the 80s instead of being open to something new and wonderful. She had what appeared to be handwritten lyrics when she came out for Wednesday. She put it on the floor and stayed bent over looking at the sheet for much of the song. Wednesday has a lot of words and a fast pace which is part of the beauty of that song, how something that took years to fall apart is seemingly over in an instant. If you miss that first line, it’s hard as hell to find a place to jump back in. Maybe she got caught up in the lyrics - Who was in that picture? Her (“she” in the song)? How old is she in the picture and did he know of her then (because he never knew her, right)? For all I know, she may have worked up her own lyrics to try out because goodness knows she can write some aching, deep lyrics too.

Or maybe she was having a challenging day. In a world of coincidences, two women named Lydia (Loveless and Ko), each of whom I’m a fan, spoke publicly on Sunday about their menstrual cycles. Not as an excuse, just a statement about a normal bodily function that impacts how you feel (as best as I can remember; different season with different challenges now…). Some days are “The Company I Keep” days. All humans have less than five star days sometimes, especially if they have been out on the road for a stretch (thinking about how discombobulated I get in just one day out of routine). That said, she performed beautifully and a couple of moments of what I perceived to be less than perfection shouldn’t take away from that. If I want flawless, I need to sit at home and spin records but I want the magic that comes with the live event.

Some things I neglected to mention - Lydia was accompanied on Wife Beater by someone lovely and talented and properly introduced but I didn’t retain her name. Both Lydia and <someone lovely and talented> joined on People Who Died as well.

The show was well attended, great group with lots of familiar faces.

The vibe was loose AND tight. Loose in the “x days on the road and I’m a-gonna make it home tonight” sense and tight in the “I’ve been on the bus with you for x days in a row and I know what you are going to say and do before you do” sense. It’s important to me to notate the vibe for when I’m looking back while sitting in my room at assisted living. I think history will be more than kind to Drive-By Truckers and some young punk at the center will take better care of me when the family is not around if they find out I saw DBT live.

[Cole Younger]

Good to see you around and posting so much, litdimly.

[beantownbubba]

It’s important to me to notate the vibe for when I’m looking back while sitting in my room at assisted living. I think history will be more than kind to Drive-By Truckers and some young punk at the center will take better care of me when the family is not around if they find out I saw DBT live.

This captures perfectly something many of us feel but seldom if ever talk about, which is that, at least w/in the world of rock n roll, we fans believe that DBT have created and are creating something important, special and lasting and for the rest of our lives we will be able to say "we were there." Kind of like when I learned that my father had seen Charlie Parker live. * I'm not sure if I took better care of him because of that but it sure did improve our relationship.

For those of us who weren't there, the 2 words "Lydia tried" were mysterious in part because she hadn't sung on that one (or on any second song) before. Your explanation more than cleared that up so thanks for that but no need to be defensive.

*I am not trying to directly compare DBT to Bird but on a general level of "how can the squares not get this and how cool am i because I do?" and that history will validate the quality of their work I think the analogy works.

[beantownbubba]

Good to see you around and posting so much, litdimly.

x2

[Kudzu Guillotine]

Setlist and video below courtesy of Tyler Eaves, though I've added a couple minor things.

First and foremost I have to say how much I enjoy seeing the Truckers at the Cradle and it's more than evident they enjoy playing there as well. Back in 2003, it was the first time I saw them perform in a venue of that size. Tickets suddenly went from $5-10 to $15 which there was some complaining about. Just goes to show that the more things change, the more they remain the same. The last time I saw the Truckers was at the Ritz in Raleigh in 2019. One of the chief complaints about that venue is the poor sound (despite a million dollar renovation several years ago). It's not something I notice that much, probably due to the fact that at this point I'm almost completely deaf in one ear. That said, when I entered the venue for my first show there back in the mid-90's (Paul Westerberg) the first thing I noticed is how it sounded like ass. These days, it's more the impersonal nature of it. It certainly doesn't have the "hallowed hall" feel of the Cradle to me, where I've seen countless shows over the years. That said, per some posts in what is referred to as the "big" DBT's group on FB, some noticed the sound was off a bit at the Cradle on Sunday night. I was to the left of the stage so I can't say that I noticed it. However, if I had moved to the center or other parts of the room, I might have. Still, it seems no one believes it was off to the detriment of the show overall.

Though the start time was listed as 8:30 I planned to arrive at 8 just in case. Still, I managed to be late. The show had started at 8 so I missed the first 3 songs. As I believe has previously been mentioned, Lydia closed with a cover of "Wife Beater." She was joined by Michelle Sullivan who has a backing band called the All Night Boys. This is only the second time I've seen an opener play a DBT's song. The other was an ad hoc band called Jesco White's Army (mostly comprised of members of Big Dixie a few of which went to form Hank Sinatra) that opened for them at Firebelly's in Wilmington in 2001. Overall, that's the third time I've seen an opener play a song by the headliner. The first was Zen Frisbee playing "Shotgun" by Southern Culture on the Skids when they opened for them at the Cradle in 1997. That was not only my first SCOTS show but also my first show at the Cradle.

This being only my second show since the pandemic, and probably the longest I've gone without seeing DBT's since I first became a fan, it was an especially joyous occasion. As previously mentioned, it's obvious they were reveling in it as well. Not just because of their long history with the Cradle but also for it being the last night of the tour with Lydia. I don't necessarily go chasing songs but I'm pretty sure this was the first time I've heard them do "I'm Eighteen," which was a treat. Patterson also motioned to me after "Why Henry Drinks," though I wasn't entirely sure it was meant for me. Later, I learned that indeed, it was. He told me he appreciated me being there as one of the fans that used to come see them when there was only 4 people in the audience. That sort of connection with their fans is one of the many things that makes them so special. However, truth be told, I really only saw one show that fit that description, which was the first time I saw them at Firebelly's in Wilmington in October of 2001 (which was my third show overall). The next time I saw them there (which is when Jesco White's Army opened) in December Jason had just joined the band. That night, the place was packed to the gills. I'm not sure if David Fricke wrote his raving review of Southern Rock Opera for Rolling Stone before or after it was re-released on Lost Highway but if it was before, I'm guessing that had a lot to do with the increased attendance on that night. For whatever reason, I can never seem to find that review online. I know much of Rolling Stone's content is now behind a paywall but I don't think it should prevent it from showing up in a web search.

It goes without saying here but I'm constantly amazed at how vital the Truckers are at this stage. Not just the live performances but also the new material. This long into some bands' careers, even the most diehard of fans might head for concessions or the restrooms during the debut of new songs. That is most certainly not the case here, as everyone is in rapt attention, hanging on every word, which is how it should be. That said, it is usually not until the release of the songs on the albums that I truly get to live with them and get to know them inside and out. Also, it appears the Truckers either aren't allowing these new songs or these performances where they're being played to be shared on the likes of Archive.org

One of the many highlights of this night in addition to the new material and old favorites was an especially epic "People Who Died." When Cooley broke out "Get Your Ass on the Plane" I thought it might go in the direction of "Angels and Fuselage" being the closer which I would have been perfectly content with but given the feel and vibe of the show overall, the more upbeat (despite the nature of the song itself) "People Who Died" was appropriate. I also loved that Patterson gave a shoutout to Dave Robertson, former owner of the Local 506 up the street, site of many Truckers shows in their early days. Also, site of at least a couple after parties I attended after some of their Cradle shows back in the day. I love it that they acknowledge their roots in that way. My second Truckers show was there in the early part of 2001, which reminds me that I have multi-camera footage of their set (which was part of a fest called Honky Tonk Arama) shot by then local videographer Craig Zearfoss that needs to be transferred to DVD and uploaded to YouTube. Craig donated pretty much all of his archives (which also includes flyers, posters, articles, contracts, audio, etc.) to UNC's Southern Folklife Collections several years ago but for whatever reason, that bit of vintage Truckers footage was not included. For "People Who Died," they were joined by guitar tech McKendrick Bearden (Grand Vapids) and monitor engineer Ben Hackett (formerly of New Madrid) on guitars, as well as Lydia and Michelle. McKendrick and Ben also provided the horns on "Every Single Storied Flameout." All things being equal, I plan to catch them again when they come to Greenfield Lake Amphitheatre in Wilmington in July.

In this footage, Patterson tells a cool story about the origin of "Wife Beater." Thanks to Tyler for capturing it as well as the two songs with Lydia that follow.

https://youtu.be/V_YNx-wXYG4

Billy Ringo in the Dark
Slow Ride Argument
Thoughts and Prayers
Ramon Casiano
Why Henry Drinks
Sounds Better In The Song
The Living Bubba
Ghost to Most
Goode’s Field Road
Where The Devil Don’t Stay
Hell No I Ain’t Happy >Sign ‘O the Times >Hell No I Ain’t Happy
Every Single Storied Flameout (w/ horns)
The Driver
Women Without Whiskey
What’s Love Got To Do with It (w/ Lydia Loveless)
Wednesday (w/ Lydia Loveless)
Zip City
I’m Eighteen
Shit Shots Count
Lookout Mountain
Gravity’s Gone
Let There Be Rock
Marry Me
Adam Raised A Cain
Get Your Ass On The Plane
People Who Died (w/ Lydia, members of crew, and Michelle Sullivan)

[blessedcurse]

Setlist and video below courtesy of Tyler Eaves, though I've added a couple minor things.

First and foremost I have to say how much I enjoy seeing the Truckers at the Cradle and it's more than evident they enjoy playing there as well. Back in 2003, it was the first time I saw them perform in a venue of that size. Tickets suddenly went from $5-10 to $15 which there was some complaining about. Just goes to show that the more things change, the more they remain the same. The last time I saw the Truckers was at the Ritz in Raleigh in 2019. One of the chief complaints about that venue is the poor sound (despite a million dollar renovation several years ago). It's not something I notice that much, probably due to the fact that at this point I'm almost completely deaf in one ear. That said, when I entered the venue for my first show there back in the mid-90's (Paul Westerberg) the first thing I noticed is how it sounded like ass. These days, it's more the impersonal nature of it. It certainly doesn't have the "hallowed hall" feel of the Cradle to me, where I've seen countless shows over the years. That said, per some posts in what is referred to as the "big" DBT's group on FB, some noticed the sound was off a bit at the Cradle on Sunday night. I was to the left of the stage so I can't say that I noticed it. However, if I had moved to the center or other parts of the room, I might have. Still, it seems no one believes it was off to the detriment of the show overall.

Though the start time was listed as 8:30 I planned to arrive at 8 just in case. Still, I managed to be late. The show had started at 8 so I missed the first 3 songs. As I believe has previously been mentioned, Lydia closed with a cover of "Wife Beater." She was joined by Michelle Sullivan who has a backing band called the All Night Boys. This is only the second time I've seen an opener play a DBT's song. The other was an ad hoc band called Jesco White's Army (mostly comprised of members of Big Dixie a few of which went to form Hank Sinatra) that opened for them at Firebelly's in Wilmington in 2001. Overall, that's the third time I've seen an opener play a song by the headliner. The first was Zen Frisbee playing "Shotgun" by Southern Culture on the Skids when they opened for them at the Cradle in 1997. That was not only my first SCOTS show but also my first show at the Cradle.

This being only my second show since the pandemic, and probably the longest I've gone without seeing DBT's since I first became a fan, it was an especially joyous occasion. As previously mentioned, it's obvious they were reveling in it as well. Not just because of their long history with the Cradle but also for it being the last night of the tour with Lydia. I don't necessarily go chasing songs but I'm pretty sure this was the first time I've heard them do "I'm Eighteen," which was a treat. Patterson also motioned to me after "Why Henry Drinks," though I wasn't entirely sure it was meant for me. Later, I learned that indeed, it was. He told me he appreciated me being there as one of the fans that used to come see them when there was only 4 people in the audience. That sort of connection with their fans is one of the many things that makes them so special. However, truth be told, I really only saw one show that fit that description, which was the first time I saw them at Firebelly's in Wilmington in October of 2001 (which was my third show overall). The next time I saw them there (which is when Jesco White's Army opened) in December Jason had just joined the band. That night, the place was packed to the gills. I'm not sure if David Fricke wrote his raving review of Southern Rock Opera for Rolling Stone before or after it was re-released on Lost Highway but if it was before, I'm guessing that had a lot to do with the increased attendance on that night. For whatever reason, I can never seem to find that review online. I know much of Rolling Stone's content is now behind a paywall but I don't think it should prevent it from showing up in a web search.

It goes without saying here but I'm constantly amazed at how vital the Truckers are at this stage. Not just the live performances but also the new material. This long into some bands' careers, even the most diehard of fans might head for concessions or the restrooms during the debut of new songs. That is most certainly not the case here, as everyone is in rapt attention, hanging on every word, which is how it should be. That said, it is usually not until the release of the songs on the albums that I truly get to live with them and get to know them inside and out. Also, it appears the Truckers either aren't allowing these new songs or these performances where they're being played to be shared on the likes of Archive.org

One of the many highlights of this night in addition to the new material and old favorites was an especially epic "People Who Died." When Cooley broke out "Get Your Ass on the Plane" I thought it might go in the direction of "Angels and Fuselage" being the closer which I would have been perfectly content with but given the feel and vibe of the show overall, the more upbeat (despite the nature of the song itself) "People Who Died" was appropriate. I also loved that Patterson gave a shoutout to Dave Robertson, former owner of the Local 506 up the street, site of many Truckers shows in their early days. Also, site of at least a couple after parties I attended after some of their Cradle shows back in the day. I love it that they acknowledge their roots in that way. My second Truckers show was there in the early part of 2001, which reminds me that I have multi-camera footage of their set (which was part of a fest called Honky Tonk Arama) shot by then local videographer Craig Zearfoss that needs to be transferred to DVD and uploaded to YouTube. Craig donated pretty much all of his archives (which also includes flyers, posters, articles, contracts, audio, etc.) to UNC's Southern Folklife Collections several years ago but for whatever reason, that bit of vintage Truckers footage was not included. For "People Who Died," they were joined by guitar tech McKendrick Bearden (Grand Vapids) and monitor engineer Ben Hackett (formerly of New Madrid) on guitars, as well as Lydia and Michelle. McKendrick and Ben also provided the horns on "Every Single Storied Flameout." All things being equal, I plan to catch them again when they come to Greenfield Lake Amphitheatre in Wilmington in July.

on the best of nights, the music, the songs are tattoos of a deeply personal, yet shared, experience. Love this write up Kudzu.