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Winkle Picker! February 19, 2012

Posted by littlebangtheory in music.
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4 comments

Well, a new “tradition” got its start this weekend in Ashfield, MA: Winkle Picker!  It’s ostensibly  a Mardi Gras-themed celebration with music and food and related festivities, though the name was chosen to allow plenty of latitude for future explorations along different lines (I mean, it doesn’t really pigeon-hole the thing, does it?)

This year’s line-up included Cajun food served at the excellent Elmer’s, a restaurant/store in the center of town; Cajun cooking classes, a museum display of Cajun/Creole/General Mardi Gras costumes, and two musical events – an afternoon show headlined by Chris Smither and an evening event capped off by Buckwheat Zydeco!

I had the good fortune to go to the afternoon show, with the ticket being a Valentine’s Day present from my sweetie-pie, Susan B.   Thanks, Sweetie!  🙂

And as I’m trying to learn new tricks, I brought my camera.  I’m not versed in photographing people, and want to take every opportunity to practice.

The show was opened by Andy Friedman, a singer/songwriter from New York City:

He did a commendable job, and we’ll doubtless be hearing more from him.

The Main Event, though, is in a rare class of musicians who spin words into gold, alternately tickling you to tears and ripping your heart out with them:  Chris Smither is a master at telling quintessential truths in ways you never heard before and will never be able to forget.

Here’s Chris and his part-time sideman, whose name I’ve shamefully misplaced (he deserves better) and can’t find anywhere:

He joined Chris for half a dozen songs mid-way through a loooong set, and really added a nice sound, hauntingly hollow and as tasty as it gets:

But mostly it was Chris’ house, held in the palm of his hand, singing his ass off and stomping up a whole rhythm section in his trademark one-man-band style:

It was a more intimate setting than when last I saw him play (at the Green River Music and Balloon Festival,) and I dug in at the left edge of the stage with my 24-105mm L-Series lens, which worked well at this distance of perhaps sixteen feet:

The room was daylight-bright with visual distractions behind the performers, so I shot everything two full stops under-exposed, then played with the levels in post-processing to get these results.

Thanks to Mr. Smither for a brilliant and moving performance, and for allowing me to get in this close.

And people, if he comes your way, don’t even think about it, just go.   You won’t be disappointed.