The Echo is one of those venues that is not concerned with the glitz and glam of the unfortunate business side of the music industry; moreover, it is a sanctuary for emerging artists to showcase their talents. The artists that graced the stage last Thursday included: Maria Taylor, 13 Ghosts, and The Parson Red Heads. 13 Ghosts opened up the night with a few songs busting out of Birmingham, Alabama. The Sam Beam lookalike frontman, Brett Armstrong, noted, “We hate Birmingham,” but they surely could not due to their Birmingham aura oozing out of their music. 13 Ghosts came across as a few friends living in Alabama that decided to write some folk/rock songs as a side project during autumn and wintry nights. To sum up, 13 Ghosts played singer-songwriter songs that you could envision being performed in the coffee shop somewhere in the Midwest.
Seven white-outfit clad individuals flooded the stage next with their plethora of equipment. The Parson Red Heads were a highly likeable group of musicians that falls into the same kind of pop-indie-folk genre of harmonizing duet vocals (my favorite). They seemed to be some sort of hybrid between The Brunettes and Okkervil River. With some fine-tuning, they will easily become very popular in the coming years. Each member had something to add the dynamic and presence of the group, which was quite delightful. I could not get the idea of Fred from Scooby Doo out of my head every time I looked at the bassist; furthermore, the drummer was an adorable spectacle that constantly looked so intent on not making a mistake, but she did a wonderful job. The most entertaining bandmates had to be the two percussionists that were the most enthused individuals I have seen in a very long time that simply displayed the nowadays, overlooked aspect of music, that is – just having a great time. They were a wonderful group that made you want to dance and sing along to all their songs.
Maria Taylor. She is no ordinary woman. Her solo album, 11:11 released by Omaha’s very own Saddle Creek, let her run free with the more wholesome and folk side of Azure Ray. By the looks of Maria Taylor’s initial cool and collected presence, one wouldn’t suspect the talent and passion behind those subtle looks of apathy, but as soon as she steps up to perform, all previous opinions are thrown out the window. The addition of her younger sister, Kate Taylor, on the keyboard and backup vocals, permitted the performance to become slightly more familial and instill that “un-nameable” feeling inside us all (Listen to “Xanax” with your eyes closed to understand). Speaking of “Xanax,” one of the highlights of Maria’s set would easily be that song due to the expulsion of some sort of spell that filled the Echo (I swear, she must be a witch). I was fond of how most of her songs tend to radiate her identity, her past, and the essence of her songwriting. Throughout the night, you could easily find yourself dreaming up sultry visions of the South and hypothetical snapshots of her childhood, especially during “Birmingham 1982.” Alabama never sounded and looked so good until Maria Taylor showed up on the music scene. It was also nice to see the intertwining of relationships within Maria’s social/musical network with her band and the addition of special surprise guest, Conor Oberst, popping out and singing along during the last song of the night, “Song Beneath the Song.” All in all, after experiencing a Maria Taylor show, I have great confidence that she will have no problems with her Orenda Fink-less endeavors.
