Fourteen months ago, I mentioned Blue Merle, who I’d seen open for Train. I always meant to write more but, of course, never got around to it. Having just returned from seeing them play in Baltimore, though, I think I’ll take advantage of this opportunity to kick myself in the butt.
Tonight’s show was at the Patterson Theater, which I’d never heard of until I bought the tickets, and was presented by Towson University’s radio station and something called the Creative Alliance. The space was just about the perfect size, but the general logistics of the evening were less than perfect. Doors didn’t open until 6 — which was, kind of misleadingly printed on our tickets as the start time — and even then it was only for an odd catered (sandwiches on the biggest rye bread I’ve ever seen, and really bad pizza). We still weren’t allowed into the black box theater where the show itself would be for another 45 minutes or so. Once we were finally permitted to enter, it was clear that the available seating was inadequate for the mostly older crowd that would probably be uninterested in standing to hear an unknown band. It was okay, though, and once the music started people didn’t seem to mind sitting on the floor. Jancey and I were able to snag two tall retro-ish chairs on the side of the room, providing us with both comfort and a great view.
Justin Jones opened the show. Although his lyrics are a bit weak, he has a strong, clear voice and he plays harmonica, so I enjoyed him. He was almost as funny as he thought he was, but, on the other side of the coin, talked a little too flippantly about his former heroin problem. But that may have bothered me only because I thought he was pretty cute until then. His cuteness, though, does not compare to that of Jason Oettel, bass player for Blue Merle, so I was okay once they took the stage.
I had been worried that the departure of Blue Merle’s fiddler, Patrick, would mean that their sound would not be as dynamic as it had been when we saw them before, but it turns out that they have recently acquired a new violinist (at least for now, not sure if he’s a permanent member), K Ishibashi, who has crazy big hair and is pretty damn good. Really, the whole band is pretty damn good. Better than they were 14 months ago.
Their sound is kind of bluegrass-inspired pop, with a fiddle and mandolin added to the standard guitar/bass/drums mix, and the bass turned upright. When I saw them open for Train I thought they had a lot of raw talent, but they still needed some polishing. Whether it’s been the added time, the result of being in the studio recording their forthcoming album, or just luck, it’s worked. Their new maturity and their unique combination of instruments edges them well past the standard radio fare. And with an infectious enthusiasm that hasn’t waned a bit, Blue Merle is well on their way to becoming a sensation beloved by even those of us who think we might smash the radio if we hear Gavin DeGraw or Maroon 5 one more time.
Did I mention how cute Jason is, grinning and bouncing with his bass?