Old-time instruments meet new-world issues.
Two Runner is the musical nom de plume of Paige Anderson (although until this record, the band had been a long-term collaborative relationship with fiddler Emilie Rose). Anderson has now taken things forward on her own, and has recorded Porchlight, a collection of songs that showcases traditional acoustic instruments, with banjo, fiddle, upright bass and acoustic guitar to the fore. Recorded live from the floor by Oz Fritz (Tom Waits, Wanda Jackson, The Ramones), bluegrass and ‘mountain music’ are obvious in the musical presentation, though the songs are allowed to go along different paths if required.
Opening with the rather delicious, world-weary title track, Anderson asks “How many times have you left the life you’ve always known?” Is it a challenge? An invocation? Ultimately, it seems to be a reference to her own personal journey. Whatever, it is a brilliant way to draw the listener into the album, with a distinctly old-time feel to the song that is instantly familiar and yet also as fresh as you could want.
This feel is maintained through the tracks that follow, with high-quality folk and bluegrass playing on show throughout, and Fritz’s naturalistic production leaving the listener feeling as if the performers are in the room with you.
Roadrunner sounds like another choice cut from the old-time archives, but by Strawberry Rhinestone, a singer-songwriter feel starts to permeate, with the clawhammer intro of Punk Rock Bar nonetheless giving way to uplifting pop melodies.
What this shows is that Anderson and her band have all the craft and skills of the best traditional musicians, which has then been coupled with her own burgeoning talent as a writer and arranger. This is heady stuff indeed, delivered with the lightest of touches, and a general lack of showboating; always a good thing.
To illustrate, the brooding Witch Well, which begins with a road trip story, soon turns the focus inwardly: ‘Why do you keep on running, girl? You’re chasing something you cannot catch / A game that has no end / and he always wins”. The instruments swirl and move behind her in a ghostly setting, which augments the slightly gothic setting of the lyrics.
Five Minutes has the kind of sad, beautiful yearning you might find in an Iron and Wine song, and is followed by the equally ruminative and regretful Bridge. With Rose having left the duo, and Anderson also marking the end of a long-term romantic relationship, it is unsurprising that themes of loss, longing and rebirth are plentiful throughout the record. These are the materials that any writer worth their salt would draw on, and she certainly finds a way to turn her personal experiences into universal themes.
Anderson is clearly one to watch, as she continues to refine her musicality into her own distinctive mould. This is a very fine record indeed, and for anyone who likes the modern yet traditional likes of Molly Tuttle, Watchhouse or similar, there will be plenty to enjoy.
