The Second Annual Marcus King Band Family Reunion: The Best Kind of Family Affair
I learned two things during my recent visit to Black Mountain, NC. Other than the fact that it’s an idyllic little mountain town chock full of creative types, I discovered (1) Pisgah Brewing Company throws one hell of a party and (2) Marcus King nailed it for a second year in a row curating The Marcus King Band Family Reunion.
Held on October 5th and 6th at Pisgah, the two-day festival was a true family reunion in every sense of the word, featuring artists hand-picked by Marcus, his very own family and friends, and a couple thousand devoted fans. The event served up something for everyone’s musical tastes including Southern rock, jam, bluegrass, country, funk, jazz and R&B and featured a number of musicians from King’s hometown, Greenville, SC. Throw in some excellent brews (my taste buds did flips for Pisgah’s Turtleback Brown Ale) and a thoroughly tasty selection of food trucks, and it was a raucous, backyard family barbecue of epic proportions.
Friday’s festivities opened with Steelism, a Nashville instrumental outfit that defies categorization of any sort. The soul of the band consists of guitarist Jeremy Fetzer, hailing from Canton, Ohio, and pedal steel guitarist Spencer Cullum from Essex, England, who mix together a concoction of sonic flavors that draw from ’60s instrumental acts like Booker T. and the M.G.s and The Ventures.
Their high-energy set heated up the already toasty Taproom Stage inside the brewery. Black Mountain’s temperatures were unseasonable warm for the festival (84 degrees to be exact), but sweating it out to these guys was a sheer pleasure. Playing on the quirky reverb effects of surf music, theirs is one of the more innovative, fresher sounds I’ve heard on the music scene in some time. It was a wholly satisfying start.
Country artist and singer/songwriter Nikki Lane was already into her set on the festival’s Outdoor Stage when I made my way over there after Steelism. It would become a rollicking affair with Lane’s gritty twang wending its way through songs from her hit albums, 2017’s Highway Queen and 2014’s All or Nothin’.
A gifted story-teller who fearlessly imbues her songs with raw emotion, Lane took us on a journey through her soul with songs like the unapologetic “700,000 Rednecks,” starting it off with a moody howl of “yippee ka-ya” to the delight of the crowd. She had the audience in the palm of her hand with “Love’s on Fire,” a song that starts sweet and slow but explodes into a joyful romp, and the soulful ballad, “You Can’t Talk To Me Like That.” By the time she and her ultra-tight band broke into a cover of the modern country classic “Why You Been Gone So Long?” by country music legend Jessi Colter, Lane had clearly solidified herself in the minds of he audience as a rising star to watch.
It wasn’t a far stretch to switch into dance mode back at the Taproom Stage with Nashville-based DeRobert & The Half-Truths. A little John Legend and a little James Brown rolled into one, DeRobert led his band in a relentless assault of funk on the crowd, who gladly succumbed to the beat in one sweaty, gyrating mass.
Made up of band leader and soul singer DeRobert Adams, drummer Nick DeVan, bassist Dave Singleton, guitarist Andrew Muller, saxophonist Vernon James and trumpeter Charles Ray, the band tore through syncopated soul numbers like “100 Yard Dash” and “Freedom Sounds – Don’t Pass No Judgment” with the zeal of gospel preachers. They took nary a pause except to pay respects to Charles Ray’s exquisitely pure trumpet solo on “Joy,’’ which brought DeRobert and some in the audience members to tears.Twenty years of crowd-pleasing scorching performances like this are why Marcus King chose DeRobert & The Half-Truths to tour with him in Europe. We can’t wait until they get back to the States to see them again.
Sundown brought The Marcus King Band to The Outdoor Stage and the crowd to their feet with a no-holds-barred version of ”Virginia” from the band’s self-titled album released in 2016. The song was a fitting introduction to King’s raw vocals and soaring guitar work that mark him as some kind of otherworldly troubadour whose monstrous talent belies his young age. He’s just 22 but is fast approaching the legendary status of Warren Haynes and Derek Trucks, his mentors.
King leads a stellar group of young musicians with Jack Ryan on drums, Stephen Campbell on bass, Justin Johnson on trumpet and trombone, Dean Mitchell on sax, and Deshawn “D-Vibes” Alexander on organ and keyboards, who match him in talent and veracity. Jack Ryan is ferocious anchoring a rock-solid rhythm section with Campbell, and the MKB horn section is utterly relentless. Deshawn Alexander throws himself bodily at the keyboards, attacking them with fingers flying in a blur on songs like the MKB 2016 hit “Ain’t Nothing Wrong with That.” Later things got downright filthy on “Good Man,” a ballsy, crashing rock number that has King igniting his guitar while the MKB horns and D-Vibes attempting to blast a hole in the fabric of the universe.
Before he left us with the soul-satisfying “Plant Yo Corn Early” from the band’s new album “Carolina Confessions” and a raucous rock medley where every musician on the stage threw down hard, King promised to play his new work, which was released this very day, in its entirety the following night’s The Marcus King Band Family Jam. A roar of approval went up before we headed back to the steamy confines of the Taproom to catch Carl Broemel, multi-instrumentalist for My Morning Jacket.
We were delighted to find Steelism backing Broemel during his dreamy set that featured songs off his third solo album, Wished Out, and more. A gifted musician who plays guitar, sax, and pedal steel guitar and sings for My Morning Jacket, Broemel is an able front man apart from his primary gig. He led the band this night through a lush, melodic soundscape while weaving in whimsical introspective lyrics that ponder the everyday absurdities of life. It brought a smile to my face.
Having caught our breath, we were about to have it taken away again by the rolling party that is The Revivalists. The expansive space in front of The Outdoor Stage had been filling up for nearly an hour with RevHeads, the band’s devoted fan base, and the curious who had yet to be swept up in the Revivalist juggernaut. It only took the opening chords of the first song “Oh No,” a hard-driving tune from the band’s upcoming album Take Good Care, to light things up.
Coming on the heals of their triumphant sold-out appearance at Red Rocks in Colorado on September 13 and a second number one hit, “All My Friends,” topping the alternative charts, the band’s appearance at The MKB Family Reunion was a relaxed, joyous affair. They were here for their friend Marcus King, who has played support for them with his band, and they were here to celebrate family, including their growing legion of fans.
Always dynamic, giving their all on stage whether it’s 10 or 10,000 in front of them, the band tore through fan favorites including a hair-raising rendition of “Criminal,” a perfectly funky sing-along in “Got Love,” and the timelessly beautiful “Soul Fight.” Slipping effortlessly between horn and guitar-driven instrumentals, a trait that marks them with the sound of New Orleans, the band romped through crowd-pleasing rock anthems like “All In The Family” and “Keep Going.”
The Revivalists have grown from seven to eight members with the addition of drummer PJ Howard who, along with drummer Andrew Campanelli and bassist George Gekas, form a thunderous rhythm section. The band’s two court jesters, saxophonist Rob Ingraham and trumpeter Michael Girardot, who also plays keyboards, make up the horn section. Guitarist Zach Feinberg and pedal steel guitarist Ed Williams lay down powerful riffs with laser precision. And front man David Shaw, who owns one of the most distinct and recognizable voices in the music business, also possesses the kind of star power that when unleashed sucks all the air out of a room.
The band’s wholly satisfying, high-energy set ended with the their other number one hit, “Wish I Knew You,” which topped the alternative charts for weeks in 2017. And just to make sure that the audience stayed on a high, they brought out Marcus King for a blazing cover of Tom Petty’s “Refugee,” which, I was told, could be heard booming from several miles away. We were left buzzing.
The party continued in the Taproom with Naughty Professor, a young jazz and funk sextet out of New Orleans. Their super-charged, horn-fueled sets put them among a unique class of the Crescent City musical ambassadors. They have the ability to weave a tapestry of traditional jazz and improvisation with funk and R&B making for a danceable and irrepressible combination. Made up of Bill Daniel on guitar, Noah Young on bass, Sam Shahin on drums, Nick Ellman on alto and baritone saxophones, Ian Bowman on tenor sax, and John Culbreth on trumpet, the band sweated and sizzled along with the audience for the duration of their hour-and-a-half set and closed out the first day of the festival to the boisterous, noisy approval of many new-found fans.
Day two brought more warm weather and an even bigger crowd. Asheville-based The Travers Brothership drew the midday opening slot at The Outdoor Stage – a set I regret missing. I’d been hearing about this young band’s skill at creating a unique stew of alternative rock, soul and funk from local fans who describe performances that feel more like wild, neighborhood parties where friends and family gather to share cutting edge, uplifting music, camaradery and fun. Comprised of twin brothers Kyle and Eric Travers, with KyIe on guitar, slide guitar, keys and vocals, and Eric on harmonica, drums and vocals, The Brothership is rounded out by keyboardist and percussionist Ian McIsaac and bassist Josh Clark. I made a mental note not to miss them again.
As if Jack Ryan isn’t busy enough as drummer for The Marcus King Band, he also anchors his side project The Shady Recruits, a super group of a rotating troupe of seasoned musicians who play something their Facebook page describes cheekily as “tasty tunes.” The band’s set at The Taproom Stage turned out to be much better than just tasty. It was absolutely delicious.
The Shady Recruits supporting cast includes keyboardist Marcus White of Chattanooga’s Soul Mechanic, bassist David Katilius of Greenville’s Earsight and The Jordan Okrend Experience, guitarist Charles Hedgepath of Greenville’s The Bad Popes and The Work, and trumpeter and trombonist. Justin Johnson of the Marcus King Band. They were joined by MKB’s Dean Mitchell on sax and Deshawn Alexander on keys for a booty-shakin’ dose of funk and R&B. Sly & The Family Stone’s “Same Thing,” Nigel Hall’s “Don’t Change For Me,” the band’s own “Save Your Pride,” and, out of mad respect, Colonel Bruce Hampton’s “Working On A Building” and more were on the menu. Just in case anyone was still sitting down, somewhere in there were teases of Parliament Funkadelic’s “Give Up The Funk.” Jack Ryan will be keeping his day job, but I hope he moonlights with The Shady Recruits for a long time to come.
The second generation of The Allman Brothers’ progeny, The Devon Allman Project featuring Duane Betts, took The Outdoor Stage by storm. Devon Allman, Greg Allman’s son, and Duane Betts have been playing together (in the sandlot and on stage) since they were kids and are huge talents in their own right. Their broad repertoire includes so much more than Southern rock, which they delivered sizzling hot on Allman classics including “Blue Sky” and “Dreams.”
Gifted guitarists and vocalists, they moved easily between raging guitar riffs and beautiful country melodies. “These Are The Good Old Days” and “Keep On Pushing” were stand-outs. Betts even had a surprise R&B classic in store with The Spinners’ “I’ll Be Around,” which those of us of a certain age could not help but sing along to. Betts’s and Allman’s passionate play will surely carry them until the third generation of Allman descendants take over.
There’s no way to pigeonhole Asheville’s April B. & The Cool. What I heard pouring off the Taproom Stage crossed genres that include R&B, hip hop, soul, jazz, reggae and rock. It’s alternative everything. Led by multi-instrumentalist April Bennett and a rotating stable of talented area musicians including guitarist JP Miller and trombonist Derrick Johnson, both from Asheville’s Yo Mama’s Big Fat Booty Band, bassist John Durham and drummer Joshua “Forte” Joyner; April B. & The Cool had us dancing to jazz, a heady genre normally reserved for older hipsters sipping vodka tonics in cramped dark clubs. Didn’t think that was possible, but April’s stunning, sensuous voice and expert guitar licks gave us no other choice.
Small in stature but huge in talent and energy, she led her equally talented band through wonderful covers of funk and R&B classics like Tina Turner’s “I Can’t Stand The Rain” and Sly & The Family Stone’s “If You Want Me To Stay.” There were original works too – works written by April that are pure poetry and showcase the full breadth of her vocal skills on “You Have All I Need, Walk On By,” “I’m Ready” and “Revolution Coming.” I don’t think Asheville will contain April B. & The Cool for long. It’s only a matter of time before they’re beamed out to a wider audience who will appreciate their unique talent as much as we did.
Billy Strings. That is all. No, really. I don’t have adequate words to describe what this young bluegrass phenom does, but I’ll give it my best shot. When Billy Strings opens up the floodgates, flatpicking a guitar at lightning speeds, the earth shifts on its axis, birds fall from the sky, and the polar ice caps melt a little faster.
At 26, Strings (a.k.a. William Apostol) is racking up accolades from around the country including raves from Rolling Stone, The Huffington Post and Bluegrass Situation and has toured with bluegrass luminaries such as Greensky Bluegrass, Left Over Salmon and The Infamous Stringdusters.
He and his brilliant band of young string players, including banjo player Billy Failing, bassist Royal Masat and mandolinist Jarrod Walker, eased us into their set on the Outdoor Stage with high energy tunes from Strings’s brilliant 2017 release Turmoil and Tin Foil, including the title track, the edgy “Pyramid Country,” and “While I’m Waiting Here,” woven with beautiful harmonies and Strings’s rich vocals. There were nods to tradition as well with a raw, soulful rendition of Tim O’Brien’s “Senor” and an homage to excess and self-destruction, “Lonesome L.A. Cowboy” by New Riders of the Purple Sage.
Turns out we were being set up to be finished off by a hair-raising 15-minute medley of “Meet Me At The Creek” and “Train Train” that required us in the audience to hold on to something or be blown out of our shoes. It might have been longer. I dunno, because I lost all track of time and space. The band sounded more like Led Zeppelin backed up by the London Symphony Orchestra than four musicians playing stringed instruments. Without realizing it, I think we were all holding our collective breaths. But when we exhaled, we were completely spent. Billy Strings. That is all.
Singer/songwriter and guitarist Geoff Achison was the perfect chance to decompress a little and enjoy some serious blues and soulful rock. Currently touring the U.S., Achison came a long way to play Black Mountain. He calls Melbourne, Australia, home and has been playing the blues for more than three decades, winning The Albert King Award at the 1995 Memphis International Blues Challenge along the way and recording more than a dozen albums. With an earthy voice honed in smoky clubs and on the international festival circuit, Achison kept the party going on The Taproom Stage with high-energy roots rock and soulful blues.
There is nothing more satisfying than watching a master of his art effortlessly craft a set that fills an audience to the brim with music that stands the test of time. Chuck Leavell, Grammy award-winning keyboardist for The Allman Brothers and musical director for The Rolling Stones and David Gilmore, is just such a master.
During the hour-long set on The Outdoor Stage, Chuck Leavell and Friends plunged into such classics as “Tumbling’ Dice,” “Southbound” and a killer “Jessica” featuring Duane Betts. There was a richly layered rendition of Pink Floyd’s “Comfortably Numb,” a song that caught the audience by surprise but that was one they wholeheartedly embraced.
Watching Leavell’s legendary hands fly over the keyboards, filling the air with its jubilant sound, was a joy and reminded us that, while we might get old, the classics never will. Bless you, Chuck.
The Tap Room Stage was filled to capacity with members of Dynamo, a jazz/soul/funk/fusion outfit from Nashville that was blowing apart the ceiling with syncopated beats leveled from the horn section and two sets of keyboards. Tonight’s ensemble consisted of Ryan Connors and Josh Blaylock on keys, Kevin Gatzke on saxophone, Andrew Golden on trumpet, Adam McPhail on guitar, Zachariah Witcher on bass, and a dynamite drummer sitting in with the band.
Dynamo most certainly lived up to its name, weaving their high-energy magic into a complex instrumental tapestry that drew from jazz and R&B with elements of reggae, rock and soul a soundscape that is beautifully complicated and unforgettable.
As promised, The Marcus King Band took The Outdoor Stage to play their new album Carolina Confessions, released on October 5, the first day of the festival. The album, written by King, dives deep into matters of the soul, which he laid bare for the rapt audience. “Homesick,” about yearning, leaving home and love, was a beautiful vehicle for King’s rough-hewn vocals. “Welcome ‘Round Here” about injustice and acceptance was a powerful vehicle for the righteous anger flying from King’s guitar.
The album would be just the start of a mammoth two-and-a-half-hour set that was The Marcus King Band Family Jam that included just about everyone whom King had corralled up to play his festival. April B. took the stage to sing “Compared To What” with Ivan Neville playing keys alongside DeShawn Alexander. They were soon joined by Chuck Leavell and Paul Riddle, drummer for The Marshall Tucker Band, for “Fire On The Mountain” and “Take The Highway.”
This being a family reunion, King brought out his father, Greensville bluesman Marvin King, who traded guitar licks with his son to the boisterous approval of the crowd. Billy Strings and Duane Betts added another intense layer of guitars to the jam which included the classic bluegrass tunes “Orange Blossom Special” and “Rocky Top.”
The finale thundered with everyone raging on “Whipping Post.” The audience shook. Black Mountain shook. It was a fitting end to a set built to honor family (blood or otherwise) and the deep connectedness between them.
Not ready to call it a night, attendees packed the Tap Room one last time to get their funk on with Dumpstaphunk, The Crescent City’s roving party band.
Ivan Neville and company poured sweat and put the pedal to the metal in a relentless set. They had a few surprises in store with drummer Nikki Glaspie, one of the fiercest drummers on the planet, and the MKB horns sitting in.
The dancing went non-stop for the next 90 minutes with bandleader and keyboardist extraordinaire Ivan Neville leading the band through a classic set of Dumptsa that included “Let’s Get At It,” “Do You?” “Justice” and punishing versions of “Suck My Kiss” and “Ramble On.” By the end we were happily beat but already thinking of next year’s Family Reunion.
Message to Marcus King: please make this family reunion an annual event. We want to grow old with you in these mountains.