McCombs in an ambitious, diverse set at Kung Fu Necktie

Cass McCombs performed Sunday, with Frank Fairfield opening.
Cass McCombs performed Sunday, with Frank Fairfield opening.
Posted: January 24, 2012

Baltimore-based singer/songwriter Cass McCombs is renowned for his bleak, urbane lyrics and melancholy musicality. There's a cool sense of distance to some of his saddest, smartest songs.

There's ambition beneath the laconic surface, though. McCombs is driven enough to have released two albums in 2011, Humor Risk and Wit's End; energetic enough to write complicated, cosmopolitan, humorous songs that plumb valuable emotional depths; and calculating enough to plan a wildly entertaining tour with one-man-jug-band opening act Frank Fairfield. The whole wise and weary shebang wound up at Kung Fu Necktie on Sunday night.

It was an ambitious set, all right - diverse, too, jumping from California-country twang to a metronomic groove reminiscent of the Velvet Underground (extending even to an occasional Lou Reed-like lyrical smugness) to a ringing guitar sound that would have made George Harrison beam.

The brushed-drum calm of "Buried Alive" opened McCombs' set with an eerie portent bordering on the pretentious.

"If I'm alive or dead I don't really care / as long as my soul's intact," mumbled McCombs - before yelping about stinking corpses and polyethylene resin. A few songs later, with "Dreams Come True Girl," he was the dazzled, low-voiced romancer so over-the-moon with his girl that past troubles were forgotten. The sweetly contagious "That's That" continued the dippy romance of long drives and bad jobs meant to get and keep the girl.

The best moments - "Don't Vote," "Love Thine Enemy" - started with someone else's words and stepped off. Through a bossa-inspired beat, "Don't Vote" began with an uncle's old saying ("If you don't vote, then you can't complain") - then moved to a dressing-down of politicians, patricians, and the public with McCombsian cocky swagger. A quote from a book inspired McCombs to "love thine enemy/but hate their lack of sincerity." The tune rocked with a Velvet-y chug.

Speaking of swagger, you got it in spades from old-time musical devotee Frank Fairfield. His feet never stopped stomping as the mustachioed Fairfield switched from banjo, to fiddle, to acoustic guitar and from Texas blues to Appalachian bluegrass. Keeping his distance from the microphone, a marble-mouthed Fairfield rambled on about the Cumberland Trail and little Liza Jane as if the 20th century never happened.

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