In the 18th, 19th and early 20th centuries, the people of the Appalachians were known for using folk magic. Often called "Water Witches" or "Witch Doctors" depending on their area of expertise, the people (mainly women) used a variety of mediums to cast various spells and charms. Much of these rituals were brought over by the first settlers from Ireland and Scotland and mixed influences of those who would eventually be known as the Cherokee Indians, creating an old world label known as "Appalachian Granny Magic." One of the mediums used in said magic was music. Often times charms and incantations were sung and accompanied, ranging from shape hymns and lullabies, to Cherokee tribal syllables. Moreover, the music was often accompanied by traditional Irish step dancing or clog dancing.
All of that was brought to life Friday night at Detroit's Huma Room at HopCat when openers,Woven Tangles, and headliners, The Ragbirds took to the stage.
I was instantly captivated by Woven Tangles lead singer, Holly Millea. Her voice was bewitching and chameleon like when switching from song to song. At some points she had a reedy bluegrass quality to her vocals, while, in slower moments, a deeper smokier 'listen to my story' tone. And yet, not once did her vocals come off as ingenuine--as if saying ‘hey look at me posing all these different styles. Aren’t I talented?’
To add to Ms. Milea’s stunning smooth vocals were Kevin Kline’s fluid backup harmony and masterful guitar.
Woven Tangles took several genres and tied them together nicely. Not one song was purely folk, or purely bluegrass (except maybe the charming Lumber Jackson). Every moment had an element of some additional ingredient. Like a finely crafted potion.
My only issue with the set was the tunes seeming too short. Some of them felt almost like samples for the real thing. Perhaps it was because I was so indulged in the music that it went by so quickly, as good times often do.
The Ragbirds were next. The set began as a contrast to Woven Tangles-- the first 3 songs were a bit more of an effervescent folk, showcasing some newer tunes. I was especially impressed with Erin Zindle’s ability to play a melody on the violin and sing a counter harmony. The first songs were lovely, but not quite attention grabbing for me.
And then came Book of Matches. And that is when I was instantly a fan.
I had never heard the song before, but from the opening bars, the spell was cast on me.
The gypsy feel of the tune was instantly addicting, with almost Tarantella like effect on the crowd. Those who listened could not help but dance.
Halfway through the tune, Erin showed off her fiddle virtuosity giving a fiendish etude breakdown. At, not one, but two points in the instrumental section, Erin brought the music down to an intense stage whisper and followed it with a devlish crescendo while drummer Joe Brown added an insistent kick drum beneath. It flawlessly captured folk magic without added effort.
Pass that point, the Ragbirds stunned me with everything they did. One of the highlights wasThe Tango (which unfortunately I did not catch the title). It was-to me- an hommage to the Argentine Tango style dancing that was so infectious.
The other members of the band were just as vital. Dan Jones truly showed life in his bass playing, unafraid to move with the music and smile with each phrase. Nothing irritates me more than performers not being able to let go and enjoy the moments of the music, so it was refreshing to see his unabashed commitment to his craft.
The percussion, both set and aux, were wonderfully executed by Joe Brown and Randall Moore offering variety to the songs with a mix of world influenced instruments.
Rounding out the band was T.J. Zindle’s guitar which greatly complimented Erin’s vocals. The collaboration of the two could easily create a two person act with great vitality.
The show was my first induction into the world of folk music and it shattered my image of what folk is. It was a master class and a history lesson tied together. The modern day magicians in both bands were able to take roots of music long steeped in Appalachian tradition, add elements of modern genres and make it not only thrive, but flourish. This ain’t your granny’s folk music, it’s something far richer, greener, raw and full of charm. And I can’t wait to be under its spell again.
For more information on Woven Tangles visit the website here:
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