The Velvet Marias know how to throw one hell of a party.  In celebration of the release of their debut album Don't Mind If I Do, they packed the National on February 26 for one of the most enjoyable nights of live music I've had in a long time.  And I do see quite a bit of live music.

Now, the majority of my recent ventures to the National have been in pursuit of live electronica.  It is, after all, my new favorite genre of music.  But I'm damn glad I broke the cycle when I did.  It was a long overdue reunion with my old buddy, country music.  For those of you unfamiliar with the genre, don't bother turning on K95 to find it.  It's a rare moment you'll hear the kind of country I'm talking about on today's radio.  You might as well look in the garbage disposal.  More on that in a second.

I wouldn't dare pigeonhole a band as vibrant as the Velvet Marias into a single genre.  Yes, country may be the style of music that jumps out at you when you listen to their original tunes, but this band is much, much more than that.  Sarah Gleason (vocals), Paul Pearce (guitar and vocals), John Ran Smith (guitar and vocals), Michael Skiffington (bass), and Jorge Santamaria (drums) started off as a cover band and acquired quite the fan following playing shows around town at places such as Poe's Pub, Shenanigans, Grandpa Eddie's, and Hometeam Grill.  Their repertoire ranged from classic country to classic rock to modern rock to R&B covers.  While Smith's vocal chops are ideal for singing country-western music, Gleason brings something a little different to the table.  Her voice is strong, reminiscent of Chrissie Hynde of The Pretenders but substituting the edgy rasp for something more sultry and soulful.  As far as covers go, a crowd favorite always seems to be Janis Joplin's "Me and Bobby McGee."  A Mary Catherine favorite: Radiohead's "Creep" every time.

But now, they've expanded their horizons and have proven to be quite gifted in the arena of songwriting.  Says Gleason, "We're noticing we're getting bigger responses out of the originals than we are the covers." 

She explains that for the most part, the band members' roots are steeped in old country, and the evidence is in the lyrics.  That said, they also grew up on rock, punk, metal, and bluegrass and elements of those genres are infused into the twang sound of their music. 

So, back to the night they packed and rocked The National.  This savvy group had far more tricks up their sleeves than just their own phenomenal performance.  The Velvet Marias put together a showcase of top notch opening acts that could not have been more complimentary of one of another.

The Santamaria Bros. kicked off the night's festivities with a set that was lock stock and barrel full throttle energy, playing originals and some covers that included Radiohead's "Paranoid Android" and for that, I'd like to thank them because if it isn't obvious by now, I love Radiohead.  What was most impressive about that cover was the vocals sounded like a dream...dare I say that I may have even preferred them to Thom Yorke's?  I can say that.  I know what I'm talking about.  I was only on my first and second drinks during their set.  As the opening act, they set the bar high with their original sound, driving Latin jazz/funk, which is impressively full for a trio.  They're busy, precise musicians onstage and have a tendency to wow new audiences.  Their performances at two Magazine33 showcases makes this more of a fact than an opinion.  Just ask the ladies who bartend at the Camel. 

Next up were the Deaves, who followed suite in terms of playing the hell out of their instruments.  From what I understand, it had been several years since this rock band had played together, which is mind blowing due to the quality and tightness of their performance.  Singing and playing guitar was the Velvet Marias' own Paul Pearce whose praises were echoed in the ladies room. 

"I didn't know Paul could rock so hard," one lady gushed. 

"I've never seen him play like that," said another.

The irony in this is that in any Velvet Marias performance, Pearce's vigorous presence onstage could put the Energizer Bunny to shame.  He's awesome.  And he's from Tennessee, so that makes him doubly awesome. 

The Chiggers were the third act to grace the stage, and this is where we can start talking real country music.  If you're a musician or a true lover of music, it's nearly impossible not to have an appreciation for the sounds of old school country.  From the balcony, I watched their set with two friends who play in a rock band that wouldn't touch country music with a ten foot pole.  We were several hours into the night, so remembering now exactly what people were saying to me then gets to be tricky.  But I do recall from both of them, deeply impressed, "Man, listen to that pedal steel."  

Or something like that.

Ah, the pedal steel.  One of the most beautiful sounds you'll hear in country music.  It was also quite effective in their lovely renditions of Chris Issak's "Wicked Game" and the Eagles' "Peaceful Easy Feeling." 

Then came the Bopcats like Santa Claus on Christmas morning.  I say this because they brought me the gift of Ricky Nelson.  This rockabilly band is well-known and loved in the Richmond area and up and down the East Coast.  Apparently I live in a cave, so it was my first experience with them but by God, it won't be my last.  Yes, I have a deep-seated love for old school country.  But I could just as easily say the same for rockabilly, surf music, and rock and roll.  I'm having so much fun at this point, I want to retire my glow sticks, build a time machine, and start over as a teenager in the late 50's.

I'm kidding about the glow sticks.  I might like electronica, but I'm 27 years old, and I don't wield things that glow when I go to the National.  Serious as a heart attack about that time machine, though.

Then came the moment all nine million of us had been waiting for.  (It was packed.  I kept losing people.)  The Velvet Marias took the stage.  And what a good looking sight they were.  Smith, a fashion plate in all white.  Santamaria, festive in his western inspired crushed velvet shirt.  You have to love it.  And Gleason, who forwent the theme attire and came out dressed and looking as beautiful as she sounded.

This wasn't the Velvet Marias first go round at the National, but it was by far their best.  One contributing factor had to be all the positive response to the original songs.  Another, Santamaria explains, is a feeling that they have "grown since the last time we were there.  We've gotten tighter.  We know each other better.  We're more able to handle a large audience."

That large audience loved every moment of it.  The only thing I found disappointing was how quickly time seemed to pass.  One thing is for sure - a large stage is a complement to this band.  They are more than just excellent musicians.  They are entertainers with a knack for showmanship unlike any local band I've encountered.  Even so, a large stage isn't necessary in order to experience this band for all it's worth.

Be sure to check the Velvet Marias' website to find out how to get your copy of Don't Mind If I Do and for upcoming show dates at their regular venues, as well as performances at Gibson's in June and the Hat Factory in April.  You'll have a great time and probably leave with a crush on Sarah Gleason, as well as a new favorite band.

velvetmarias.com

facebook.com/velvetmarias

myspace.com/velvetsrock

 

By Editing Department, Regional Editor and Author: Mary Catherine Gaulding

Mary Catherine Gaulding, a Richmond native, has been writing her whole life.  She lived in Knoxville from 2000-2005, an invaluable experience, where there was never a shortage of great music from all ends of the spectrum.  She transferred to VCU from The University of Tennessee, where she majored in English and wrote briefly for The Volunteer Voice.  She is currently on sabbatical until the fall and is grateful for the opportunity to write about music.  She dislikes confining her tastes to genres, and describes her favorite artists as anything from Rage Against The Machine to Dwight Yoakam to Tori Amos to singer-songwriter Neil Young.  She thinks 1993-1995 were great years for music.  Her favorite albums include Pink Floyd's Meddle, Bob Dylan's Nashville Skyline, and Radiohead's The Bends.  She loves it when any band covers "Rocky Top."  She will cover phenomenal and unconventional acts from Richmond's sweeping Experimental/Fusion scene.

 

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