Konsertrecension: Colter Wall plays itself beyond all nostalgia

It is good that it – literally – is the high ceilings in the Slaktkyrkan. So there is a place for all the cowboy hats which skumpar around the room, often sharply down in the forehead, especially in, but also below, the scene.

He with the hat closest to the eyebrows, Colter Wall, looks like the character that might not have the most skärmtid, but still is the one that everyone remembers, in any western with a saturated black-blue-gray-brown-color scheme. He had not sung with a little bit of the music of barytonröst he had the west, slightly tough between the tightly compressed lips of a corrupt sheriff.

the canadian is one of the growing number of young artists who, a bit like Dwight Yoakam, once upon a time, opt out of the here and now and instead to wallow in a bygone era, a different mythology. Maybe also a slower tempo, which they themselves have never experienced.

You may possibly have objections to the type of elaborate backward-looking, but the Wall feels so incredibly rooted in the obsolete genre he was just carried away. Covers of among others, Ramblin’ Jack Elliott, and Townes Van Zandt feels so extremely logical and fitting that they as well had been his own songs.

self-written material, songs that very accurately captures the small town life on the margin of the Swift Current, being of such a high class that it definitely would fit on the förebildernas best album. Moreover, it has the brilliant band behind the Colter Wall, after an initial acoustic solostund, the ability to embroider out the songs just enough: but the harmonica and guitar are short and precise, and nobody is allowed to flow out unnecessarily.

He succeeds, with good assistance, simply play beyond or through any mossy nostalgia, and come out the other side as one of the finest managers of the heritage of both Johnny cash's dark country and the 70's trubadurtradition.

And, the most difficult of all, he makes it look so easy.

Read more music reviews by Mattias Dahlström , for example, on how The Lemonheads shows the most respect to their cover songs .