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ACL review: Mike Farris and the Roseland Rhythm Review
Recovering alcoholic Mike Farris has come home to God — and along the way, this one-time bad boy of the 1990s independent rock scene has developed an unabashed love for “black church music.” Hallelujah, Brother Farris. Hallelujah.
No doubt about it: Farris’ hand-clapping, foot-stomping, raise-the-roof Gospel-and-Soul set in the WaMu tent Sunday afternoon was an ACL Festival highlight. Imagine a blue-eyed soul singer and a Stax-style horn section at a tent revival, and you get the idea. Farris and his 10-piece band had the crowd in his hand from the moment he launched into Thomas A. Dorsey’s Gospel classic “Precious Lord, Take My Hand” and held them through a 10-song set that drew almost entirely from his acclaimed album, “Salvation In Lights.”
It was a lot of fun, especially when nationally renowned gospel singers Ann and Regina McCrary got revved up and jumped into the mix. But make no mistake: Farris’ musical intent is quite sophisticated. He’ll take a classic gospel tune like “Can’t No Grave Hold My Body Down” and splash it oh so tastefully with soul and blues colors. At the same time, he’ll write original songs — such as “I’m Gonna Get There,” which closed the set — that mix gospel and soul, and the theme of salvation, in a way that makes them seem of the same family as those gospel standards. Easy to conceptualize, but very hard to pull off.
Farris received an extended standing ovation midway through his set for his stirring cover of Sam Cooke’s “Change is Gonna Come” — and man, did he earn it. Farris delivered the song as testimony, backed by the suggestion of a church organ, bringing to it a rare physical force as he clenched his fist and shouted out with conviction, yes, yes, a change is gonna come. He went the opposite way with “Oh Mary, Don’t You Weep,” slowing it down a bit, giving it some reflective accents, and inviting a horn section solo (featuring Austin’s John Mills, Tony Campisi and Michael Mordecai) that suggested a New Orleans funeral march.
“The beauty of these old songs is that at the point of despair, (they connect) to our need to believe in a better day,” Farris said before a delicate cover of “Trouble in This World.” “That’s why songs like this are as relevant today as they were 150 years ago.”
Photo: Jay Janner AMERICAN-STATESMAN
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Permalink | Comments (4) | Categories: ACL 2008: Sunday, ACL Festival
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By bama
September 29, 2008 9:34 AM | Link to this
Saw Farris at Stubbs and again at ACL. High energy music no matter what your beliefs are.
By Barb in Austin
September 29, 2008 10:31 AM | Link to this
Mike Fariss was amazing! we always love the shows in the WAMU tent - and went to see Nakia and his southern cousins - he recommended Mike Fariss and we were nott disappointed. Best suprise of the fest for us!
By Barry From Austin
September 29, 2008 12:41 PM | Link to this
I was there and Mike did an incredible set. I cannot believe how emotional I became upon hearing and witnessing this guy’s chops. I’ve seen a lot in my time, and this was a singularly excellent show.
By Casey
September 29, 2008 6:34 PM | Link to this
Farris was something special, that’s for sure. But what’s up with the first two words in your review? So he had a problem with alcohol and today he’s not drinking. So he’s working on it. He’s supposed to work on it. It’s his problem. Kind of like what Chris Rock says in a different vein, “you’re supposed to take care of your kids.” How’s an artist (or anyone else) supposed to “recover” when his medical/personal life situation is used as the lead compound adjective? When you pat someone on the back for doing what they are supposed to be doing anyway, you’re not helping anyone, especially an alcohol addict. Today matters; yesterday’s gone.