Atticus Upton Lewis/Jefferson Jimplecute
Being in a rural East Texas town, access to blues and jazz artists is challenging to say the least. The few local bars and restaurants who put on jazz or blues shows in the surrounding area are all also 21 and up facilities, so that is an additional challenge as I’m only 15.
Thankfully a new restaurant in our town opened this weekend and they had Chris Cain as one of their concerts and they’d let me attend.
Cain’s Memphis Style Electric Blues kept the audience riveted and smiling through the two one-hour sets.
Between sets, he continued the sense of personal storytelling in his music by coming out and interacting with the audience – generally showing concern for how they enjoyed his music and taking time to be interested in them.
Cain’s performances showed his love of the music in everything he did – from “feeling’ the music he played, the emotions the music created, to how he was “one with the music.”
His expressions and body language were not rehearsed and showed how he put everything he had into the music.
When other members were playing, he hugged his guitar like one would a small child – even lightly kissing the neck – so when he played it was like the instrument took on its own life expressing what he desired the audience to feel.
Cain stomps his feet to start off each piece rather than counting it off like most artists do. That in itself sets the tone and shows how his whole body is as involved in the piece as much as his fingers and voice.
Cain played as much on the neck of his guitar as in other places. Preferring to use a guitar pick, yet had trouble to keep it in hand throughout the night, constantly reaching back into his pocket for another one until he ran out.
Then searching around on the stage for one he had dropped. He never missed a beat though. When other band members took center stage he paid attention and participated and enjoyed their music as much as when he performed.
1852 on Austin is a brand new venue so everything wasn’t completely setup yet and things like acoustic panels and a permanently installed lights and sound system gave the stage a “thrown together” feel which is indicative to the naturalness of blues street performances.
The stage in the 25×50 foot hall was orientated along the long side and took up almost half the width and three quarters of the length so there was no doubt the artist dominated the room.
It also has a small balcony running across the room opposite the stage so there were no “bad seats” in the room.
Cain capitalized on the room dynamics by being able to easily see everyone and making eye contact from time to time throughout the performance.
However, while I’m sure he had a “set list” to follow, he frequently asked different band members what they wanted to do next and, once or twice, the audience – and always shifted to that request immediately.
Cain is called the “white BB King” and that is evident, along with how he was influenced by BB and Arthur King.
While performing the audience was encouraged, by the owner, to close their eyes and listen and “you’d swear it was BB King” – and he was right.
The ragged deep tones along with rolling “r’s” and sometimes gravelly voice, paired with the “sing from side of your mouth” with cocked jaw, gives a timbre that is hard to imitate and leaves your emotions raw from how the music feels and leaves you feeling.
Cain is rarely in Texas, this was only his second performance in the state, so we were really thankful to have him – let alone in a small east Texas town.
As my first Jazz/Blues concert, I can’t wait for the next one. The owners said they would have him back as often as they could.