Austin, TX

John Prine in Austin, Texas

"He was here last year, same place," said one girl. "I just wouldn't miss one of his shows." This crowd responded strongly and favorably to John. Again, it was one of diverse ages; from old to young, but with one common characteristic: this crowd knew all the words to most of the songs, and felt free to sing along on most of them.
    John, who had been in fine voice musically but hurting a bit physically the previous evening, had recovered. He played with a constant happy face and the crowd could sense his enjoyment. He was happy with this last performance, and it made up, somewhat, for his ambiguous feeling on the previous night's outing at Helotes, San Antonio.
    As mentioned in that review, John needs, appreciates, and heeds feedback from his audiences. As it turned out, he did well in both concerts, and fans walked away happy and anxious for the next time he came to town. John just wasn't sure how the crowd was accepting him there.
John: they loved you! I had lots of conversations with persons there after the concert, and it was the enthusiasm that is consistent. You responded by instinct in your performance, and it was a success.
    This concert capped a tough week for both John and his cohorts: they did a concert every night except Monday and Wednesday! Fortunately, they lost none of the zeal for performance, and in fact seemed a bit lighter and happier in their final presentation.
It was to be the last concert for Phil, bass man David remarked he was getting tired, and all seemed happy at the prospects of getting to return "home," wherever it was for each.
    John threw in another "new" one" in his concert tonight: "People Puttin' People Down," was a nice selection, and the crowd, undaunted, sang along.
   Seating was in metal temporary chairs, the same one used for the previous nights' sold-out Willie (2800).
It was comfortable, but the standing ovations John and the boys received was a welcome excuse for standing and stretching.
John's ability to relate to an audience, and them to him, should be studied by psychology classes in college. Stage manners should be stolen from him by schools teaching new "wanna-be's". Virtually everyone at one of John's concerts comes away convinced that John is "just like me"..."incredible,"..."tells me how to live."
    I have been able to overhear parts of conversations with John this week. I have heard and digested yells and comments from people in the audience about me, and those speaking to their friends. John touches everyone deeply. His message in the visual scenes he sketches through his music strike home. They touch. The affect the emotions. They say just what you and I wish we could have said first; they get to the quick.
    John transcends gender in his appeal. Women love him; they'd like to take him home with them. The guys love him, too, and would like to go have a beer with him. John will never be homeless, should his fortunes change!
     This time next year audiences will know the words to, and sing along with John, on "Space Monkey." This is another in a series of off-beat, quirky, and catchy novelty songs. John can hold his own with any other author of this genre. This one must be considered for single release and video....
Fans of Austin (Bee Cave) left at 11:30pm, smiling, not realizing as they filed out how head-knocking their hangovers would be on Easter Morning in Austin, Texas. They party hard down in those parts.

THE BOYS WHO MAKE THE NOISE:
ON TOUR WITH JOHN PRINE

    I've now done several pages on John Prine and his concerts. Currently I have seen five, with the last of this series to be completed tonight, here in Austin, Texas, at THE BACKYARD.
    This will be the second open-air performance in a row for Jason, David, and Phil.
    While John has proven he can carry the show by himself, and does each concert with a set of 6 to 8 numbers solo, he needs and appreciates his helpers.
    Each night there is a standing ovation at the conclusion of the "Lake Marie" performance. No wonder, as it is a well-written "instant classic" in the John Prine tradition. What brings paying customers to their feet, however, is the presentation of this song....and one viewing of this rollicking, jamming, all-stops-removed performance makes you appreciate why the crowd is really standing. David Jacques' bass leads the way through this song, setting the pace for Jason Wilbur's remarkable guitar riffs. The addition of Phil in these Texas dates adds credence to the value of the musicians.
    "PRETTY GOOD" is done with complete abandon as well, rocking hard and receiving great applause. The boys who pull this off stand smiling, quiet, rarely showing their pleasure in the overwhelming praise being heaped upon them. John works his tail off on his guitars, frequently even breaking a string in his enthusiasm, but the band is the lifeblood of this tour. The momentum provided by the band on this number invariably has the audience loudly singing along with John.
    Jacques' various methods of providing the bass line involve the stand-up bass, a couple electric ones, and even the so-called "Porno-phone"(like in 1-900-...). This band rocks without a drummer....but it could not be as effective without the fine work of David setting the pace.
Everyone loves "6 O'CLOCK NEWS" and it goes over extremely well as the second in their set each night. The strength of John's vocals are subconsciously reflected in the soft bowed bass by David. He can create an entire mood with his playing. His performance is invariably accompanied with an amused smile, a reflective look that seems to be truly feeling the music he plays.
    Not enough has been said in the past "reviews" concerning young Wilbur's contribution. He switches to the appropriate instrument depending upon the situation. When Phil's not there, he does the mandolin segments, he switches guitars between numbers, and he uses the bottle on the little finger with effective results regardless of the instrument he may be playing. Now with Phil there, perhaps he can take up that slide-whistle for when they do "FISH AND WHISTLE"!
    David and Jason perform well together on "PICTURE SHOW," providing impetus for this wonderful song, and it's fantastic closing lines, "What I never knew I never will forget..."
    A guitar solo to be heard and remembered is Jason's gift to "QUIT HOLLERIN' AT ME!", and with the addition of Phil, the newly added keyboard segment rocks and rolls. Jacques, meanwhile, is hard at his craft in the back, giving the direction, beating like a healthy heart. This is a combination that must be heard.
    Phil is an interesting addition to this group, and after Austin will disappear again to LA. His work in "DADDY'S LITTLE PUMPKIN" is fantastic, and his talents are not wasted on the crowds. If you like theater in your music, Phil pulls no punches as he wanders about the stage. He may be lighting a cheroot, looking for something else to play, stroking his 1/2" wide goatee (from lower lip to bottom of chin), adjusting his horn-rim glasses, or admiring his snakeskin boots. The fedora he wears was brought along from his jazz gigs of late, and adds whimsy to his appearance. He looks like Jake and Elwood's missing brother...but he has more talent ! For those old Jerry Lee fans, it should be pointed out that Phil has a talented heel, also. The toothpick sprouting from his mouth is actually a nice mandolin pick, and he never loses it by carrying it there.
    Prine crowds are mental people, for the most part. They hang on the lyrics; evaluate them, digest them, and invariably approve of them. The musical accompaniment gets the same respect, and John has lined up the proper players. They make him look good, and his form of performance allows them to improvise and get off the melody line at times, but always with a proper respect for the original version.
    Only Phil was involved in the "Lost Dogs" studio work, but it is my understanding that the three now playing were part of the 1995 tour group. They are talented. They are cohesive. They are worth a long, long look.