When Meschiya Lake and Hurray for the Riff Raff’s Alynda Lee (two of this city’s powerhouse singer-songwriters) both gush on stage about how excited they are to be opening for their favorite band, it’s hard not to expect something truly spectacular to follow in their wake. But that’s exactly what happened last February, when on an Ash Wednesday no less, mere hours after Mardi Gras’ last gasp, an eager crowd packed the Hi-Ho Lounge to catch Shovels and Rope. A fiery, wedded duo from Charleston, South Carolina, Michael Trent and Carey Ann Hearst juggled a junkyard drum set, banjo, acoustic guitars and a harmonica between the two of them and sang sweetly and loudly about everything from cocaine to deadbeat dads and of course, traveling. Lots and lots of traveling. Perpetually on tour it seems, Shovels and Rope have come through New Orleans twice within a year’s time and are set to pass through once again this month. ANTIGRAVITY was lucky enough to catch up with Trent and Hearst as they made their way out west to discuss their connection to New Orleans, how magical their last show here was, tour karma and the health of country music today.
You’ve passed through New Orleans a few times and it’s clear you have some fans here, including some of our most exciting musicians, like Alynda Lee, Meschiya Lake and Stix Da Clown (all who opened for you last time). Can you speak for a minute about your relationship with this city and those musicians?
Shovels and Rope: The night you saw us was the third show we had played with Alynda Lee. She is magic and we love her band Hurray for the Riff Raff. They are so good, and we are lucky to count them among our music friends in New Orleans. We had heard of Stix (we know him as Michael James) from our friends in the Winter Sounds. They had told us about My Graveyard Jaw [James’ band], recommending them to play with us, and we are thrilled that they did. The recent Hi-Ho show was our first meeting, though hopefully not our last. That same show was the first time we had met Meschiya, and we were stunned at her magnetism and her voice. That night, they were having some sound issues, so rather than wrestle with them, they just went off mic and the room fell silent under the sway of their voices. You could hear a pin drop and more importantly, you could hear the music and not some jabbermouth talking over it.
At the end of the night, when it came time to settle up the money, one by one these wonderful musicians came and put their hard-earned money in our pockets. Word had gotten around that our van had broken down in Birmingham and that it had been a pricey fix. We tried to refuse, but they each insisted. Alynda told us “this is what we do down here. We look after our own.” Our hearts exploded. Their generosity was uncalled for and overwhelming.
Being Charlestonians, we feel like we are y’alls Northern cousins, sharing many aspects of culture and history. New Orleans is, as a matter of fact, one of our favorite cities. We spent this last Mardi Gras in the midst of Saint Ann’s, watching two of our dear friends marry by the Mississippi while others bid their loved ones goodbye, scattering ashes into the river. It was a total full-circle moment that completely solidified our passion for New Orleans, and it was only reinforced by that magic that happened Ash Wednesday night.
We love touring at AG! What are some of the better, more original tips you’ve discovered by being on the road so much?
Never get the hotel next to the strip club. Trust the locals on where to eat. In most cases, we decline free lodging from strangers. Generous, lovely, well-meaning people offer up their homes to us almost every night so we don’t have to pay for a hotel, an amazing and gracious gesture; and though we very much appreciate it, and where I’m sure that most of these people are perfectly sane, there’s always that teeny tiny off- chance you might wake up with a rubber ball in your mouth. Choose wisely. Say thank you to the sound man– sincerely– after the sound check, even if it sucked and after the gig. Manners go a long way. These guys hear a lot of shitty bands and haven’t any real reason to suspect that you are any good, much less that you are not an asshole. A little kindness can get you a better mix. Or at least a little better karma.
You’ve been outspoken before about commercial country music, which I think we can all agree is pretty terrible these days. What do you think happened? And just how bad is Toby Keith for country music?
The major commercial music ball game is a bummer no matter which genre you’re talking about. It’s driven by money and test markets and formulas and the science of manipulating the average Walmart shopper. Whether it’s gangsta rap or country music or metal, they all create these glorified illusions of a lifestyle that they’re trying to package and sell. It’s all co-oping and name-dropping. We love Hank, Willie and Waylon as much as anyone else, maybe even more, but guess what: these guys would want us, as artists, to find our own identities and grow country music’s idiom. “Ole Hank” would want us to aim higher than singing about “Ole Hank” all the time.
We don’t believe there is a lack of quality artists or songwriters out there, but we all know that you most likely won’t find them on the radio, at least on the static-free stations. We have mixed feelings about TK. We hate his politics. We hate confrontational patriotic songs that promote not knowing the difference between Iraq and Iran. On the other hand, we love the song, “I love this Bar.” It’s a great song. The guy has been around for twenty-something years, and as far as commercial country goes, he’s the quintessential star, so he’s been great for the bidness of country music, selling a brazillion records.
Carey Ann, at the Hi-Ho show, it seemed like you just bumped Michael right off the drums and while it was a pretty seamless transition, I wondered how choreographed or planned out that move was. How do the two of you decide who’s going to play what, when?
The show is pretty much off-the-cuff. I guess that’s the part of the freedom that comes with being a 2 piece. We’ve got a couple little bits that have evolved out of trial and error. I’m always waiting for Michael to get off the drum and let me settle in. He always makes me wait there, and it creates a certain awkwardness that we have just made part of the show. The transition changes all the time, but sometimes he makes me stand there until I have to “encourage” him off the drum throne.
You’re quickly capturing the attention of people across the country, so my last question is: what’s the last thing you’d like to say before you hit it big?
Forgive us in advance…
Shovels and Rope will perform at the Allways Lounge on Saturday, April 21st, with Jonny Corndawg, Hurray for the Riff Raff and the Kid Carsons. For more information, check out shovelsandrope.com
