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Freedy Johnston
400 Bar Minneapolis, MN
By Al Kunz
 While waiting
for the start of the first set at the Café Momo in Madison,
Wisconsin my friend Bill started reminiscing about all the shows
he'd seen there. Discussion of Bill's college roommate, alt-rock
super-producer Butch Vig (who's worked with bands like Smashing
Pumpkins, produced Nirvana's Nevermind disc, and is a
member of the rock band Garbage) led to mention of a Freedy Johnston
show Vig (who also produced Johnston's This Perfect World
disc) had attended. I'd never heard of him but Bill assured
me that, unlike some of the Vig produced acts, Johnston's music
was something I'd love. So when I spotted him in the club listings
it seemed like the perfect opportunity for putting Bill's recommendation
to the test.
I'd ground out my first cigarette on the floor before I realized
that in a move unprecedented at this venue (or any other Twin
Cities club I frequent) the promoter had declared this a no smoking
show. Oh well, in my frequent trips just out the front door for
a nicotine fix I was still able to hear. One more advantage of
music in small clubs.
While billed as a "solo acoustic" performance Johnston
was joined for a majority of the two hour set by his buddy Jay,
who alternated playing electric guitar and accordion. Among Johnston's
originals the standouts were "Bad Reputation," his
best known tune (not to be confused with the similarly titled
Joan Jett song) and one that might be called "Livin' too
Close to the Rio Grande," with the great line "between
my wife and my ex, I ain't seen a dollar that's not already spent."
But what struck me was Johnston's interpretations of an eclectic
mix of cover songs, many of which I would have claimed, at least
prior to this night, to be perfectly happy to never hear again.
From the guitar and accordion version of Seals and Crofts' kitschy
70s-love-song "Summer Breeze" to a straight-up version
of the Edison Lighthouse hit "Love Grows (Where My Rosemary
Goes)" or filling a shouted request for "Do You Know
the Way to San Jose," Johnston demonstrated a talent for
helping see the song-craft hidden in tunes long ago relegated
to the background music bin. The primarily college-age crowd
called Johnston back for two encores which included his spin
on "Wichita Lineman," a version of the Carpenter's
"Close to You," (the only clunker all night) and a
medley of the Bread hit "Guitar Man" with Steve Miller's
"The Joker." Who'd have dreamed that could work, let
alone that this crowd would go for it.
Photo courtesy of www.freedyjohnston.com
Contact Al Kunz at kunz-at-rockzilla.net
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