The final day at the AMA’s started with my phone going off at around 10 AM… not usually an early hour for me, but I don’t usually stay up after 2AM four nights in a row either. Nevertheless, being a hard-core music nut is not for the faint-hearted, and as the late Warren Zevon sang, I’ll sleep when I’m dead.
The last day always features the Americana Music Association’s “town meeting” where the AMA board members open the floor for the conference attendees to speak out and ask questions. It also gives AMA president Jed Hilly a chance to talk about where the non-profit organization is today and what’s ahead in the future. The current economic situation has affected the festival as far as commercial sponsorship and attendance, but thanks to generous support from individuals, like the attorney who has worked pro-bono for the 10-year lifetime of the AMA, the organization is surviving if not quite thriving. They (and I) suggest joining the AMA now.
Hilly mentioned that there is a possibility of moving the conference to a smaller and more supportive meeting place or hotel complex. That sounds like a good idea to me; the Renaissance Hotel, the current host, was overrun with a thousand women there for a convention for Slumber Party, a company that mainly markets sex toys. I wish I were kidding. The afternoon AMA schedule featured a party at The Basement with many of the artists who didn’t make the cut to play the usual showcase sets. It was a nice affair, and with Grimey’s upstairs, there was plenty to do between sets.
Sara Watkins
That night, I started out at The Station Inn, knowing that the limited-seating club would fill to capacity early. They were offering an all-women evening with SARA JAROSZ, DIANA JONES, NANCI GRIFFITH, MARY GAUTHIER, ELIZABETH COOK and SARA WATKINS. I know it’s crazy, but I only stayed for part of Watkin’s set. Her self-titled CD is one of my favorites of the year and I know that she would be ably supported because of WPA’s set later that evening. As I expected her brother SEAN WATKINS and lap steel player GREG LEITZ joining her for a beautiful set.
In this short attention span world, the AMA Festival is co-dependent by offering 5 clubs of music each night, frequently quality acts playing at the same time. As much as I love BUDDY MILLER, he wasn’t going to make the cut tonight. They do offer 3 shuttle buses that drive from club to club, but they seemed to be less reliable than in earlier years so, as not to miss anything, I drove my rental car to The Basement just in time to catch the end of ANGELA EASTERLING’s set, backed by her band with WILL KIMBROUGH. Then ran over to 3rd & Lindsley (a club at the corner of… well, guess) only to find out that CLARENCE FOUNTAIN’s set had been canceled due to illness. A little chit-chatting and then it was back to The Basement for Sirius Radio’s DALLAS WAYNE singing solo. My excessive driving did not help stop global warming that night; sorry, Earth.
The Stone River Boys
The Basement started filling up for the Nashville debut of DAVE GONZALEZ’s new band (since the sad passing of CHRIS GAFFNEY) called THE STONE RIVER BOYS. MIKE BARFIELD from THE HOLLISTERS is in front, taking most of the lead vocals; he has an animated stage presence that was fun to watch. They carry the country-soul tradition of the HACIENDA BROTHERS. DAN PENN was sitting up front and liked the new band, and I like to think Gaffney would’ve approved as well.
A few of us ran over to Douglas Corner for a non-AMA showcase put together by Stephen Garvin —a long-time AMA member who supports a lot of up-and-comers— just in time to catch the end of DAVID BALL’s “Thinkin’ Problem” and then a nice set from CHRIS SCRUGGS. He’s Earl’s grandson and one-time BR549 guitarist who has a new CD due soon.
Kuzin' Kate, Dan Penn & BF
Okay… at this point I’m getting tired, seriously losing my game, and thinking I’m really not in the mood to be pitched any more new artists. How ’bout some good ol’ double-earplugs BOTTLE ROCKETS? BRIAN HENNEMAN and the boys were in rare screaming form, but it sucks to be a sober person after midnight on a Saturday night, so it was off to find some good ribs and call it a night.
At the end of it all, it was quite the enjoyable week, as always. I’ve only missed one of these yearly musical reunions in Nashville, and I plan to keep coming and supporting the AMA as long as I’m still walking and talking!
The conference offically opened this afternoon at the Nashville Convention Center, although no panels were scheduled, there was a whole night of music scheduled at the 5 AMA clubs, including a strong rumor of JOHN FOGERTY planning a surprise set at The Mercy Lounge, the smaller of the two clubs that share the same building. The other, larger room is the Cannery Ballroom, which was doing a whole night of Austin artists including SETH WALKER, who was quite good in a soulful bluesy sort of way, and ASLEEP AT THE WHEEL, who are just always great, in a boogie woogie western swing way.
It is customary for AMA Showcase evening shows to limit each artist to a 45 minute set, no matter what, encore or not. Well, either Mr. Fogerty didn’t get the memo or the AMA let him slide, nevertheless he did an almost and hour and a half set. I thought the new songs were great and would’ve liked a few more of those and a few less CCR classics. But I can’t say I wasn’t singing along like everyone else to “Down On The Corner” and “Born On The Bayou.” I especially loved a few surprise selections like “Night Time Is the Right Time” and ”Big Train From Memphis” which particularly cooked. Nashville’s PETER COOPER has a nice 
It was off in another drenching downpour to The Basement, the smallest AMA club but the room that usually has some of the best music. In this case, it was THE TEJAS BROTHERS, a fine quartet let by accordian player DAVID PEREZ, their Tex-Mex with a dash of Bakersfield was nothing less than excellent. A great band and a perfect way to end the first night at the AMA’s. Much more to come including the big awards show tomorrow night at the Ryman.
