On Friday, May 17, folk/punk, genre everything pioneers the Violent Femmes brought most of Cincinnati, OH to Riverfront Live for a festive, festival atmosphere and a clear sky, outdoor show. The big stage was open and in one hell of a turnout, the line of people went around the building almost a mile to see the Femmes. They didn’t disappoint bringing two albums of material with them, opening with second record, Hallowed Ground first, then after a short break played their self-titled debut, each start to finish with a two song encore. Their debut, with the girl looking in the window is officially 41 and their sacred sophomore set has turned the big 4-0. Needless to say individually the records were older than many people there to see them.
There was no doubt or question of the VF’s continuing popularity, drawing power, filling the outside area. They’ve been doing their thing since the early ‘80s and vocalist Gordon Gano’s high school years. With 10 records to date, fans flocked for the intrigue of hearing their earliest work back to back with the creepy cover of Hallowed Ground.
For beginners and newbies, it was a night of diverse, unique, style bending and blending music with a mix of independent, folk, punk, bluegrass, ‘50s, ‘60s, surf, Go Go, religious revival, and a little bit of country with some nice, shiny big sax. Not withstanding guitars, a banjo, violin, Brian Ritchie’s big, uniquely crafted bass, a hand beat/thump box, a white bucket, a grill (not used) and (definitely used) xylophone all added to the musical experience. Ritchie even ‘played,’ blew into a sea shell during the second set. There was a body of water near by. It was like seeing an eclectic music store come to life, with a cookout and concert in between.
Life long, career long fans knew what they came for and what was coming, showing their love, passion and energy for the band and show. People danced in different degrees and levels of happiness, some bobbing/grooving along while others spent most of the show in full Go Go mode with a little bit of dancefloor pulp fiction.
It was a gorgeous night to get violent with the femmes though no mosh pits or crowd surfing occurred, given the crowd, a wall of death was quite out of the question too. No opening act could satisfy the crowd either. It was all Femmes, all evening.
Gano appeared on stage with Ritchie, Blaise Garza and John Sparrow beginning the show on Hallowed Ground with the haunting, creepy lyrics of “Country Death Song.” One of the calmest openers possibly ever played there. A little bit Johnny Cash, a little bit, dark and creepy back road banjo twang and whatever horror movie that came to mind. The crowd knew what was in the well, way down in the depths, as long as it didn’t stagger out.
For roughly 90 seconds, “I Hear The Rain” taunted with punk length, dueling unnerved vocals, xylophone keys with multi-faceted voices and personalities, dead in the prairie.
From 90 seconds to seven solid minutes “Never Tell” felt like a ‘50s desert road trip, weary from distance with a little bit of surfin’ and some pulp finger picking. There’s nothing like hula-hooping on the beach and hiding bodies in the trunk. Was it a summer vacation or true crime in the making? The secret was safe with Cincinnati. The band will do what they could to make sure you sink to the bottom of the river, with the songs battling, crashing ending crescendo.
The spirited revival hit the tent and the open air stage, with an, oh my, oh my. “Jesus Walking On The Water.” Did he, did he? The melancholy violin told the tale, with a touch of barbershop quartet vocals. “I Know It’s True but I’m Sorry to Say” calmed the pace, traveling the straight and mellow.
“Hallowed Ground” felt and sounded like a deep sands, trip to the desert to bury some secrets under the scorching sun and never speak of again, though the hawks and vultures always remember. “Sweet Misery Blues” was a short and to the point attempt to score, with kind, sleazy, stalker determination.
Drums scurried “Black Girls” along, with fast, swinging jazz, masking some questionable intentions and actions. The sax shrieked and a truly bizarre, battling solo of squeaks shrieks and country bluegrass bludgeoning each other for loudest recognition unfolded. It was a genuine moshpit of sounds that had no business participating in one.
“It’s Gonna Rain” gave off a reggae rain cloud ceremonial dance for moisture and growth. Thank God it didn’t. Some people in the crowd didn’t want the weather Gods temped, no matter how good the harmonica was played. They slowly exited the stage with Ritchie blaring goodbye through a blow-horn. They’d be back.
While Hallowed Ground was a more experimental take, and ceremonial musical offering, their debut was the beginning of everything to come, from high school inspiration to career longevity spanning into 2024 and beyond. Violent Femmes felt more like a kiss to or sarcastic flip off of the ‘50s and ‘60s, than a love letter, though guitars were played sounding abused, threatened and used, almost alive, like notes were mimicking raw human emotions while the strings begged fingers to stop. Asking for the same kindness and love, some lyrics spoke of.
After a short break they returned opening album #1 bringing back 1983, with the song that thousands have danced to in clubs across the world crunching down with a twist and shake, singing the song, high as a kite, that probably, ‘everyone’ knew. Despite the weather, Gano returned robed, smiling at the songs reception.
“Kiss Off” kissed off an off kilter acoustic jam, going on everyone’s permanent record. With a count-up, however their one and one started cleaner than a certain notorious rap groups did. “Please Do Not Go” screamed the sad saga of being sweet and stuck on the wrong girl, paying the emotional price.
It was a good day to worry as “Confessions” started a blue grass clanker and was in no hurry. Some aggressive screaming gave self assurance to pull it off. An off-note session of strings sped up into a mass mess then slowed back down resembled musical interpretation of fast and slow thought patterns, normal with confusion.
Two versions of the ‘50s sound came with “Add It Up” Go Go’ing idling with sexual frustration, don’t point and sh-sh-sh that guitar at us and “Prove My Love” with a subtle twist and shout with socks on the dance floor. A dance till you drop, roller skate all-nighter riddled with innocence. What happened in the car on look-out/make-out point could vary on time, night, mood and who was Zodiacing around.
“Promise” screamed a loud, acoustic jam. “To ythe Kill” mimicked a gangster, campfire track. Twisting the strings to make sounds, the instruments were never intended to.
The xylophone carried “Gone Daddy Gone” in creepy, depressing ‘50s fashion while papa went off to cater to more carnal passions. “Good Feeling’s” violin strings comforted, contorted and courted the feeling he didn’t want to leave.
The first record came off more like a chaotic, acoustic jam, independent, blue grass, folk, noise rock. With some dirty lyrical motives at work.
The encore got upbeat with some saxcapades and dance, spinning round and round, with The Blind Leading The Naked “I Held Her in My Arms.” The crowd liked and loved the birds singing on “American Music” defying age, decades, chronology and genre.
The scenery and landscapes put in people’s minds from their lyrics and music was a show in itself. The open-sky ambiance added to the cool atmosphere and a crowd dancing the night away. It was literary a festival vibe for a one band show. If you haven’t exposed yourself to their sound yet, its time to get turned on to the violence.
Images & words – Mike Ritchie
Violent Femmes – https://vfemmes.com
