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Kristin Hersh in Baltimore, MD at the Ottobar: 10.25.99
by Denton Beity
I had no idea what to expect as I headed into Baltimore's coziest venue, the Ottobar. All I knew about Kristin Hersh was that she had been a member of a sort of mythical band called Throwing Muses. I say 'mythical' because although I hadn't heard their music, the band's name is arguably one of the coolest in the 'little black book' of rock n' roll. Hersh and Throwing Muses began in the early-eighties and lasted until the mid-nineties. I suppose it's 'mythical' in the sense that it's difficult to imagine any group staying together through the dynamic changes that swept through the music world over those 15 years. From new-wave to grunge, the Muses albums were always critical successes, but never really caught on with the bourgeois of music aficionados. But such is the poetic irony of musical innovation.
Stepping into the Ottobar, one would expect it to be at least three times its actual size. It only takes about five steps to get to the (Otto) bar, and the room is about the size of a high-school classroom. There are Christmas lights hung, and flyers manifest the ghosts of performances past on every wall. Upstairs there's an even smaller bar and a couple small rooms with couches. This place definitely has a club-house feel to it. The close-up, squatter vibe of the place provided the perfect oeuvre for an intimate acoustic evening with the mythical Kristin Hersh.
Billy O'Connell from Throwing Music came onstage and thanked those in the crowd who have been 'hanging around' on throwingmusic.com. It's a music-related web community dedicated to Kristin, the Throwing Muses and their offshoots. This is another 'club-house' of sorts where you can make a homepage, post messages, and chat with other Kristin Hersh, Throwing Muses, and Lakuna fans.
Kristin took the stage with a Samuel Adams in-hand. (Incidentally, I had one too, so I felt instantly connected.) From the first note, the audience was captivated. The songs are beautiful and soulful, and her presence is extremely intense. Her voice is enormous, with a tinge of fray on the high notes that lets everyone know that she's been at this for a while. Her voice has weathered well, and any cracks seem to accentuate the emotion in her mysterious tone. The guitar work was furious and dynamic-she is no passive strummer. Kristin treated the audience to songs from many of the Muses albums, as well her subsequent solo efforts. The selections from her acoustic album, Murder, Misery, and then Goodnight were particularly enchanting. These were Appalachian folk songs she had absorbed as a child. The eerie tunes speak of the typical pressing social issues of Appalachian folk. Themes of love, dishonor, honor, and murder convey a sense of human urgency, and moral rebellion. The melodies were haunting, and the crowd was spellbound throughout the set.
This was one of the most intimate concert experiences I can remember. When she performs, Kristin gets a look in her eye that gives you the feeling she can see right through you. Seeing Kristin Hersh is a unique opportunity to see a 'mythical' rock icon perform before your very own eyes.
by Denton Beity
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