“Most of you have heard of the trouble I had a couple months ago. Problem was I was drinking a lot and doing cocaine,” Justin Townes Earle confessed during his Thursday show at Metro. “Here’s to knowing better, and not giving a [expletive]” he continued, before launching into the bluesy ode to his struggles with addiction, “Slippin’ and Slidin’.”
This wasn’t a concert about redemption, but it was Earle being real. Whether it was confessing his love for his mom, in as plain-spoken a manner as his admissions of loving cocaine, talking about his troubles with women or stating that his family was messed up, his openness revealed a man in the final year of his 20s, accepting who he is: flaws, talent and all.
Justin Townes Earle, son of revered singer-songwriter Steve Earle, inherited his father’s musical gift and vices. He says he’s kicked the bad habits, and he’s excels at mining similar country byways of his father, while giving those efforts his own signature. After turns playing with his dad and in other bands, Earle went solo three years ago, signing to Chicago’s Bloodshot Records. His recent “Harlem River Blues,” houses accomplished modern twists on classic Americana roots stylings, in tales of loneliness, longing and restlessness. Earle’s songs may embody old-time vibes, but they’re set in urban landscapes and settled in city street dust.
During his Metro set, he made a case for the commonality of our experiences, where big-city and small town troubles found universal ground during the 90-minute set. It was a stripped-down affair in comparison to the nine instrumentalists on the album, as violinist Josh Hedley and upright bassist Bryn Davies joined Earle. The gospel romp of “Harlem River Blues,” devoid of the recorded choral refrains, felt assured and resonant with the trio’s backing vocals. The intricately picked guitar melody of “One More Night In Brooklyn” was buoyed by bubbling bass and sweet violin strains.
From the strutting two-step stomp of the rollicking “Move Over Momma” to the country-kissed hymn “They Killed John Henry,” Earle’s set captivated, losing momentum only when Earle did a mid-set solo turn, and played to some backing tracks. This segment could would have benefited from live instrumentation, but that’s a minor quibble about an otherwise-riveting show.
