In Los Angeles we have almost too many concert venues. Some months it seems as if there are two more opening and two more closing forever. It’s hard to imagine there being any more places that could reasonably fit a show, but deep in the center of the otherwise business- and skyscraper-filled Century City the descending garden terrace adjacent the Annenberg Space for Photography makes for picturesque setting. Two years back, the space in conjunction with KCRW put on a series of shows themed around the Who Shot Rock exhibit, finding Moby, Raphael Saadiq, Band of Skulls and others playing the outdoor space. This year, a similar exhibit Country Portraits of an American Sound was on display and a trio of country/American-styled bands are scheduled to perform. For the first of these events, Sturgill Simpson and jam rock legend Gregg Allman took the stage on a cool Saturday evening as the sun was setting.
Like the Who Shot Rock display, the Country Portraits of an American Sound exhibit was an elegant look at some little-seen and often eye-opening photos of some of the true greats from a rich history dating back over 70 years. Inside were candid or portrait shots including Loretta Lynn, Steve Earle, Joni Mitchell, Roy Rogers and the man himself, Hank Williams Sr. Some greats had literally only one shot in the exhibit like bluegrass legend Bill Monroe. Johnny Cash on the other hand had a multitude of shots from portrait work around the exhibit, varying in his demeanor from studly and dignified to downright bizarre and creepy. Early shots of Dolly Parton and Roy Orbison comingled with shots of new guns Holly Williams and mxdwn favorite Hank Williams III.
Back outside, Sturgill Simpson was the night’s opener. Simpson is a slice of the best of modern popular country. He employs a clean and strong voice with a slight hint of a Southern drawl. Simpson alternated between upbeat rockers and calmer dance numbers. “Sitting Here Without You” and “Water in a Well” were charming and fun. Appropriately Simpson covered bluegrass legend Carter Stanley’s “Poor Rambler,” stating, “If you aren’t familiar with country and you went and picked up his album after hearing this it would be the greatest compliment you could give me.” Simpson harmonized well with his drummer Miles Miller, but his real secret weapon was his guitarist Laur Joamets. Joamets effortless picked out an array of scales, licks and solos, punctuating every song perfectly.
Headlining tonight’s inaugural event was Gregg Allman sans his usual cohorts in the Allman Brothers Band. Allman sat stage right perched behind his massive organ and led the band through a series of blues-based jams. Some were Allman Brothers Band staples such as Blind Willie McTell’s “Statesboro Blues” and T-Bone Walker’s “Stormy Monday.” Allman was accompanied by both a full brass section and guitarist Scott Sharrard and on each song the group rotated between frequent members for opportunities for solos. Even at 66 years old, Allman still sings with a powerful, gospel-infused intonation. Slower songs “Sweet Feeling” and “I Found a Love” ruminated on love both gained and lost and Warren Haynes’ “Before the Bullets Fly” delivered on the danceable energy. Through a decent portion of the set, Allman’s organ was drowned out in the mix, buried under the sound from electric keyboardist Peter Levin. Midway through Allman took a short break and then returned to close out the night with a slew of ABB favorites. “Black Hearted Woman/Hot ‘Lanta,” “Melissa,” “Midnight Rider” all rounded out the latter half of the show with the set ending the only way it could, with “Whipping Post.”
Leave a Comment