Slave to the System Concert Review
Antones
Austin, TX (4/23/6)
Some artists have that intangible quality. They know how to rock. They have that swagger. They know how to write a good song and, better yet, they know how to deliver it. Old rock dog Damon Johnson, who it seems only yesterday debuted with his band Brother Cane (probably the best band ever dropped from a label), put together a side project with his old bandmate Roman Glick and Queensryche veterans Scott Rockenfield and Kelly Gray. This was supposed to be just a simple album project that a few people would hear; but it grew beyond the loyal and tapped in fans via the internet. Spitfire Records picked up this DIY project and the thing began to live a life of its own.
"Can you believe it's been 13 years?" lamented Johnson, while explaining to me how this thing became a touring band. He learned that making music like his was not something that was lucrative in today's musical market, but that this thing could tour for six weeks or so and release an album about once a year. So they threw together a short little tour and are planning on writing a new album soon.
When I found this out prior to the show, I was even more excited, knowing that this was not just a special show in my own little mind, but a rare one at that. Now, while all this talk of old rock and the butt-rocking glory of that other band being dropped (I did say Queensryche), this is not some 80s metal band trying to squeeze one more moment of glory out of a tired and smelly onstage towel. No, Brother Cane was that authentic rock and roll band with great, controlled tone and we-understand-the-blues songwriting that's as home with Stevie Ray Vaughan as it is Rocks-era Aerosmith. And Slave to the System is led by the voice and songwriter of Brother Cane, and it certainly sounds more like its sibling than anything that's relegated to VH-1 Classic.
It was announced, however, that Queensryche's new album, Operation Mindcrime II, debuted at #14, which speeded up that band's tour, and thus Rockenfield had to bail. One of Johnson's old friends stepped in, and they brought the rock.
Johnson's just got that rock swagger down. Copping a look from Keith Richards, he at times looked like he didn't care if anyone else was there and at other times grinned like a twenty-something guitarist that was ecstatic about playing on this stage. Midway through the set he launched into "And Fools Shine On," with its "bump-bump" bass heavy intro that most recognized and responded with knowing body swaying. This was followed by "The Crow Flies," an urgent number from the Wishpool album. The audience really enjoyed the nods to the past, but the band sounded just as tight yet loose as they romped through "Slave to the System," "Ruby Wednesday," and the current single getting airply, "Stigmata," with its recognizable and chiming guitar intro.
When they slowed it down for a tune like "Abyss," it conjured up that beautiful and captivating vibe found in "Voice of Eugena" (from Seeds). The acoustic guitar strumming swells and dives with the full band electric at just the right times.
"I know you're leaving / please stay / I'll make it alright / Please comd down, Jesus, and buy me a little more time / I see you go and it's got me burning inside / I can't believe my eyes."
Before long, they were encoring with "Waitin' For The Bus" and "Jesus Just Left Chicago," and another from their solid self-titled album. It was hard to believe that 90 minutes had flown by. With a rich catalog from which to draw from, everyone there could've stayed for another 90.
Photos by Doug Holleman / Review by Doug Van Pelt
2006 HM Magazine. All rights reserved.
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Comments
are these guys Christian?
