Photos by Doug Freeman (Click pics for full image)
Set as a local cd release for Tom Schraeder, a Chicago songwriter who spent a spell down here in Austin last spring to record his new EP, Lying Through Dinner, the show managed to bring out a solid crowd for a Wednesday night at the Mohawk. While Schraeder’s headlining return was the primary draw, he was supported by two of Austin’s best up-and-coming artists whose praises we have been singing for while now: Leatherbag and Dana Falconberry. Falconberry was celebrating her own new release, Oh Skies of Grey, and Leatherbag had several new songs to deliver for the evening as well.
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Leatherbag opened the night with a raucous set, as songwriter Randy Reynolds seems to have increasingly moved into more rock and power-pop terrain over the past year. It’s a sound that suits him well, and with a new backing band which includes members of locals Jude Ross, Reynold’s rocking intent seems to have translated into much more informal and fun shows. While this year’s sophomore LP, Love and Harm, showcased Leatherbag’s movement away from his folkier, songwriting roots, he has also proven that he can maintain his impressive lyrical poignancy while expanding the sound.
There was a Replacements-like shagginess to set and new material, but given his songwriting prowess, the more apt influences that Reynolds seems to be currently plying may be some of the New Sincerity rockers that dominated Austin in the Eighties behind artists like Alejandro Escovedo. Among the new songs were “Autumn Leaves,” the almost rockabilly/ Velvet Underground sound of “Pretty Tuff,” and the psychedelic bent of “Yesterday, Tomorrow, and Today.” Screaming into the mic and doubled over his guitar, Reynolds closed with “Love and Harm” and, appropriately, “It’s Over.” It’s been exciting to watch Leatherbag’s progression over the past three years, which has surprised at every turn and testified to his musical depth and curiosity in a way that refuses to be bound and that he follows wherever it may lead. It may not always work perfectly, but it keeps the band continually exciting and creatively versatile.
Dana Falconberry has likewise expanded her sonic palette with her new album. Her beautifully weary 2006 debut EP, Paper Sailboat, established her as one of Austin best new voices and songwriters, but Oh Skies of Grey stylistically pushes with moments of hazy electric guitar that balance her subtle folk sound.
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The core of her songs, however, still remains her powerfully soulful vocals embedded in the three part harmonies courtesy of Erika Maassen and Gina Dvorak, while Andrew Bergmann provides backing on upright bass. This was, surprisingly, Falconberry’s first show at the Mohawk, so hopefully it will precipitate her making more headway with the indie crowds, though her set was still primarily rootsy and acoustic.
She started with the delicate “Blue Umbrella” and the low, bluesy moans of “Baby Blue Sky” as she, Maasen and Dvorak shuffled out time against the stage, their harmonies pitch perfect as always. It would be great to see Falconberry deliver live some of the electric moments on her new cd like “Silver” and “Fluorescent,” but for those that have never seen her before, she never fails to be a revelation. The surprise of the set, however, came with a gorgeously twanged version of the Motown hit “Cupid.” The defiant stomp of “Satin Dress” faded into beautiful “Birthday Song” with Bergmann bowing his bass to mirror the high harmonies with a gentle low anchor, and she closed with the gorgeous lilt of “Do You.”
Tom Schraeder has a loose Austin connection for his new EP, and it was clear from the turnout that in his short time here he had found a number of fans who were excited for his return. Following this year’s SXSW, Schraeder stayed in Austin and recorded Lying Through Dinner, and he was aided in his show at the Mohawk by a band that included members of Brothers and Sisters and Danny Malone flaying away on drums. His nasally croon manages to rip his songs with a lasting impact that on the slower numbers isn’t far removed from Tom Brousseau, but with the band Schraeder seemed to propel his songs in much the same way as Leatherbag’s earlier set. Among the tunes, “Needle Will Bite” rolled with a rocking drive and “Guadalupe Cries” reflected his Austin influence in sentiment. The best moment of the show, though, came after Schraeder guitar jack seemed to give out, so he stepped solo from the stage to play “Sorry, My Dear” in the crowd. Schraeder is apparently part of burgeoning songwriter scene that is building in Chicago, taking conscious notes from Austin in doing so, and if Schraeder is any indication of talent their producing up north, there is a lot to look forward to.
