The Lexington welcomed JP Harris back with his full band in tow, ready to give an evening of rocking country tunes in styles that predate the big-hat, big-arena styles of the Eighties. There would be honky-tonk, there would be outlaw styling, and there would be some filtering of the New Wave. What there would not be was any of the dark Appalachian folk stylings of the “Don’t You Marry No Railroad Man” album – hinted at by the absence of a banjo on the stage and confirmed directly by JP Harris himself. Not this time, and not with this band. Instead, there was a focus on the latest release, “JP Harris Is A Trash Fire“, which is a fine thing since we liked it… a lot… intermixed with songs from his first and third albums.
It’s a full band – drums and bass, tasty lead guitar and pedal steel – which perfectly complements JP Harris’ gravely vocal that gives a rugged authenticity to everything he sings. The songs are the very definition of punchy, sticking to the three-minute single template, which makes it remarkable just the amount of words that he manages to fit into that short space.
Sharing that ‘Badly Bent‘ is the musical equivalent of a speed dating way to find out about him, Harris led the band through a honky-tonking depiction of a life lived a little rough, perhaps a little drunk, and just maybe a little heart sore and aching. ‘Trash Fire‘ is a further insight into Harris’ world-view and personality – whilst he’s no fan of “cell ‘phone movies” and modern art and has dedicated himself to making “old songs in new style / just trying to stretch this country mile a little further on down the road” he doesn’t have time to envy anyone as he ploughs his path to being a forgotten legend who can easily sell out coffee houses. It’s a song that pulls off that rare trick of being humorous and honest, ringing true in the deepest registers. We might have called this combination of attitude and music “Outlaw” once upon a time – and it’s true that JP Harris fairly radiates a “don’t give a shit” demeanour, albeit a very engaging one.
Another side to the man was shown in the semi-autobiographical ‘Runaway’, which Harris explained draws on his own experience of leaving home young. It’s like a country take on Tom Petty. Standouts from the new album included the harsh ‘Dark Thoughts‘ – appropriately described as “a song about being cruel” and the twangy fear of ageing of ‘Long in the Tooth‘, which also offers a believable picture of this tough-looking character writing poems to girls he meets.
Of old songs revisited naturally, ‘When I Quit Drinking‘ — with its message of the recall that sobriety provides, driving one to drink — went down a storm. The evening closed out the same way the new album does with a powerfully rocking take on Devo’s ‘It’s a Beautiful World‘ which was shot through with rage and allowed the band to really kick some righteous ass. It oscillated between a full-on glam stomp and a psychedelic workout. Glorious, and such a sublimely perfect way to close the set, there’d be no encore – but really none was needed.
A great evening from a strong artist with a real presence and love for his music. Which, Americana fans of London and its easily commutable surroundings, begs only one question: why wasn’t it a sold-out gig?
Photo: J. Aird
Support came from London-born but Essex-raised Jack Browning, who sang a series of wry songs that pulled on country and a little acoustic blues. His self-deprecating stage presence was epitomised by the song ‘Champagne Tastes’, which couples with the line “but lemonade money”, a phrase that his grandmother used to describe him. A song inspired by driving through Kentucky in an upgraded hire car and encountering a hurricane turns out to actually be a love song for his fiancée, whilst ‘Factory Reset‘ has a conspiracy theory podcast as the original inspiration. Diverse topics, and a suitable opener for JP Harris.
Wish he’d been able to visit Scotland – another time. Sounds like a top notch night. Excellent review.
Thanks – and it was, JP Harris is one of those people who can be relied on to give it his all, every time