 Return to Lonely Goat Features ArchivesFirst published in Lonely Goat Print Magazine Volume III - #3 Where
the Buffalo Roam Our never-ending quest for fulfilling musical experiences leads us through many unfulfilling places solely in search of those elusive few moments of bliss. Dangerously smoky bars and nightclubs feature a majority of local and regional up-and-coming talent. However, many clubs pack body upon body without regard for fire codes or personal well being, and popular performances quickly evolve into grueling, last-one-standing tests of endurance. And as their followings grow, bands "graduate" to those glorified warehouses that are designed to maximize alcohol sales by cramming even more flesh per square foot with even less concern for sound quality or musical appreciation. And I shudder even mentioning those cold impersonal arenas, coliseums, amphitheaters and stadiums that often take on the spiritual atmosphere of football games, sacrificing all personal connection with the artist in favor of a Jumbo-Tron facsimile. In fact, some of the only consistently rewarding concert situations take place in the fields and pastures of festival fame. However, large outdoor events always rely heavily on the unpredictable elements, last-minute cancellations from artists and most significantly the amount of Wild Turkey that those within your immediate proximity consume. But lately I've discovered that the purest and most productive exchanges between musicians and audiences occur in our numerous local theaters and auditoriums. We are fortunate here in North Carolina and surrounding states to have an abundance of excellent theaters that regularly book bluegrass giants and are beginning to take on larger jam bands like Government Mule and Medeski Martin and Wood. In addition to the Carolina Theatres in Greensboro and Durham, Stewart Theatre in Raleigh and Thomas Wolfe Auditorium in Asheville, we can travel to The Tennessee and The Bijou Theatres in Knoxville, Memorial Hall in Chattanooga and Memorial Auditorium in Spartanburg to name just a few. But now one venue stands out as being truer and kinder to music than any of those outstanding facilities, and that is The Walker Center on the campus of the community college in Wilkesboro. Some readers are probably familiar with the auditorium from sets out at the Watson festival or the legendary "Midnight Jams." While others may have been introduced to the room after String Cheese Incident played there for the first time in the fall. But anyone who's never experienced a concert there should do themself a huge favor. Whatever the case may be, it's impossible to ignore the immense heritage and absolute devotion to the music every time one enters those hallowed doors. First and foremost, there is a dedication to pristine sound quality above all else. The auditorium is constructed especially to cater to room acoustics. The seating area is small and intimate with a seating capacity around eleven hundred and includes sound reflectors on the ceiling and padded walls to enhance sound. The audiences are also well versed in the art of listening, having seen so much incredible music pass through their town. Actually, the venue more resembles listening rooms like The Birchmere in D.C. where concertgoers are forced to observe the etiquette of personal consideration (i.e. actually listen to the music.) Recently, I returned to the Walker Center again for a double bill that I simply couldn't pass up featuring local boys made good, Acoustic Syndicate and New York's groove and zydeco champions, Donna The Buffalo. And indeed, therein lies the Walker Center's greatest strength: consistent booking of top-notch acoustic performers. The past few years in the Americana series, that delivered Donna all the way down from New York, also brought us shows featuring Sam Bush, Doc Watson, Peter Rowan and Tony Rice, John Hartford, Gillian Welch and Chesapeake. And more recently, promoters seem to be branching out to a new audience with younger grass ambassadors like SCI, Donna and The Syndicate. In addition to its drawing power, the venue employs a smiling staff that is one of the friendliest around, making every possible accommodation for the diversified crowd's special needs. Hats off especially to B. Townes for his organization, foresight and above all the cordiality with which he conducted himself. His efforts included blocking off two rows for tapers and the removal of some seats to make room for mic stands as well as allowing dancers to occupy the aisles, as they were not allowed to stand in the seating area. Donna guitarist Jim Miller went one further and invited the dancers up onstage to make the vibes even more real and vicarious. The staff at the Walker Center seems completely dedicated to the musical experience. They do their best to keep prices down: the incredible double bill cost just ten dollars with no service charge whatsoever even for a phone order. Put that in your pipe and smoke it, Ticket Bastard. Additionally, the venue is located in an ideal part of the state for many different areas to enjoy. Boone, Winston-Salem and Statesville clock in at under an hour, and other areas within two hours include Greensboro, Charlotte, Asheville, Southwestern Virginia, Northeastern Tennessee and even parts of the Triangle depending on the driver. And for the travelers, there are also several nice hotels right on the edge of campus that are invariably unavailable for Merle Fest but make a nice haven for smaller shows. The sets themselves that night were exceptional with both bands mixing up many different selections into their setlists, taking full advantage of the fantastic sound. The Syndicate warm-up was a solid seventy-five minutes that showcased the quartet refining their harder rocking sound and new material. They said they would be headed to Nashville to record a new CD and slipped in a few new songs ("Crazy Town," "Sunshine Falls" and "Carnival") as well as some rarities ("Dancing to the Requiem.") Donna's set was lacking their trademark interlocking guitar sound as lead guitarist and co-lead vocalist Jeb Puryear was back in New York celebrating the birth of his new baby boy. Congratulations to him and his girlfriend. This shook up the repertoire by featuring more of Tara Nevin's songs including material from her solo album, Mule to Ride. The band also delved more into the traditional and non-traditional side of things with impressive covers of songs by George Jones, Bob Marley, Ralph Stanley, Bob Dylan and Bill Monroe. And in true Wilkesboro fashion, the audience showed its gratitude for the band's show-must-go-on perseverance with quiet and polite appreciation. What makes this town and college so special is the love and understanding they exhibit for the sanctity of the musical experience. It's because they've seen so much wonderful music that they know the power it can have and the respect it deserves. So everyone keep the upcoming Watson Festival on April 27-30 in mind as well as the rescheduled performance of John Cowan Band on Saturday March 25 and experience the magic firsthand. |