Well-oiled: The Dave Rawlings Machine at The Wilbur (Boston 11/16)

To a theatre filled to the brim with music lovers and musicians, Dave Rawlings Machine performed, not one, not even two really, but something more like 2 and a half (if you count that extended encore as a half set for argument) sets that burned through the night here in Beantown. Versatility and energy are the name of the game for the Machine and there was no lack of either of those things as the band played selections from the recent ‘Nashville Obsolete’, some classic Welch/Rawlings tunes and a cover or two.

A humble, but excited, Rawlings jaunted onto the stage with his signature 35′ Epi Olympic and his bandmates in tow to launch the show with a rousing rendition of the first single from Obsolete, ‘The Weekend’. Starting strong, but only building from there. Fiddler Brittany Haas and Willie Watson then departed the stage as Rawlings, Gillian Welch and bassist Paul Kowert took on another great track from the new album: the haunting and cavernous ‘Bodysnatchers’. The dynamic this created in just two songs gave the audience a taste of what would unfold over the next 2 and a half hours.

The first set contained another from the new album, a collection of Gill and Dave tunes, but the two standouts from that first hour of music were the Willie Watson lead cover of Charley Jordan’s “Keep it Clean” and Dave’s flawless execution of Dylan’s ‘Lily, Rosemary, and the Jack of Hearts’. All night long Watson was on fire. Leading this tune let him step into the limelight with his signature high register howl and larger than life personality, but what was truly amazing was how incredibly brilliant and sublime he was with his sideman duties. Switching on a dime mid-song when Dave shouted out “I want more fiddle!” to accompany Haas in an eruption of joyous noise and cascade of notes flooding the air. His harmonies blended with the voices of Dave and Gillian, almost TOO perfectly. As if he had been playing with them for the past decade or two (not for a record and a couple weeks on tour). Like a glove. Rawlings made a comment about how he was running this song earlier, and never played it on stage before, but it sounded pretty good so he was thinking he would run it…though, it has a lot of words. Gillian looked at him and remarked something along the lines of “well just give us some fair warning” as she fiddled with the capo on her guitar neck anticipating the singer and guitarist’s next move. I can say this, I am damn glad he went for it and judging by the audience reaction (both when they realized what song he was playing and at the end of it) validates my thoughts as well.

The second set began with a deep and moving version of ‘Ruby’ off of 2009’s Friend of a Friend. I had to cover my face a bit and shield it from the judgement of my old man (who I was at the show with) as a tear trickled down my face. Just, wow. Brittany Haas was doing something on that fiddle that just took me to another place and she was a perfect addition to this group. Following the sometimes unimaginable runs that Rawlings took on his archtop with poise, grace, and speed. Holy sh*t the speed. As tasteful and talented of a player as they come and I do believe I have found myself a new favorite fiddle player.

I think its just a matter of time before the world gets Paul Kowert solo record. The upright bassist pulled double low end duty, singing the baritone and playing the bass on the Bill Monroe classic ‘He Will Sets Your Fields on Fire’. If there isn’t a Paul Kowert fan club, you can feel free to sign me up as the president. I love this guy, one of the most understated and talented folks in the business all while remaining so incredibly humble. I think its safe to say the ladies in the crowd went a little nuts, as Rawlings tried to give Kowert his due with a good ol “PAUL KOWEEEEEERT ladies and gentleman!” and he bashfully nodded his head and went back to being the glue of the quintet on stage. ‘Shorthaired Woman Blues’ was my favorite track off of the new record and the live version did not dissapoint. Just an immeasurable amount of energy and fierceness was present on stage as Rawlings bounced and danced about, almost trying to pull as much out of that small bodied guitar as it would give. Bringing it to the brink, but easing it back again. Another Watson lead tune gave us some good ol audience participation in the traditional “Stewball” and the Wilbur boomed with the resonant voices of the entire crowd. I again lost my cool during Method Acting into Cortez the Killer. So much emotion and zeal were burned into this performance it was inconceivable to think people could play that well, sing this well together, and make the music that they do. Dave’s fretboard might as well have gone up in flames with his breaks during this tune as they built and built and built into the Neil Young portion of the medley.

The encore was one of epic proportions. BOTH of them. Boston couldn’t get enough of the band and the Gillian Welch lead “Look at Miss Ohio” was a pleasant surprise for old fans. And with ‘Going Down the Road Feeling Bad” we could have been left with a better night of music that 99.9% of every show I have ever attended, but that wasn’t quite enough. They came back for a cover of The Band’s ‘The Weight’. This just confirmed for me that Gillian Welch has THE MOST beautiful, natural, and real voices on planet earth. The band switched up verses, taking a turn and tossing a solo over the verse to Haas as she emulated the melody of the vocals with perfect tone and pitch. You could almost hear words as she played. Willie Watson’s voice was pure bliss as he took his verse. Heart, pure and simple is how that man sings. Genuine and heartfelt. And again, the crowd went wild when Paul took the fourth verse. I tell you again, this boy better keep singing because his voice is pure and angelic.

The chemistry that the five of these artists share is astonishing. Typically, you take 5 incredible talents, put them on stage and one will shine brighter that the other. Rather than try to one up or overplay, the quintet merges their styles and personalities into something that is breathtaking. The collective voice of Dave and Gill has always been one I admire and look to as what GREAT music and dynamic chemistry can pour out, but the addition of these other artists was something completely magical. Dave Rawlings is often times overshadowed by his guitar work, but his voice is one of the finest in roots music today…plus, I mean, the guy’s guitar playing is beyond human. I firmly believe that he is one of the most influential and original guitar players of all time. His style is one unlike any others and he marches to his own beat. Respect garnered is so well deserved by this musician and songwriter.

The Machine live show experience last night will be the gauge at which I measure and judge each and every live show I take in for the rest of my life. I just hope a handful of what I see in the future can measure up to Rawlings and Co. and the pure soul and heart they spilled on the stage last evening.