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20 August 2002
Observation 1: The crowd at the Ogden. After an extended hiatus from live shows in Colorado (and beyond), I thought 16 Horsepower might lose some of its fanbase momentum that grew during the Secret South "era". To be honest, I expected a relatively weak crowd showing. In addition, I also thought that the venue choice might exasperate this effect because of its much larger capacity (than the 16hp Denver standard, Bluebird). Let's just say I was VERY wrong on both accounts. Great crowd...in size and enthusiasm. Observation 2: How did the guys get along on stage? Did they appear to be enjoying their renewed endeavours? In general, I perceived a very positive vibe emanating from the stage. With the exception of the frustrations expressed during the brief sound/amp problems (which has become as common as bandoneons and banjos at 16hp shows), the 16hp members, old and new, all appeared to be relishing the moment. Many smiles, nods, and positive gestures were shared by all on stage throughout the show. So, unless David Eugene Edwards (DEE), Jean-Yves Tola and Pascal Humbert, took some effective acting classes over the past year, I think the positive response was sincere. This is a good sign for the future of 16hp.....hopefully. Observation 3: DEE's "presence". Let's just say DEE was in prime form on this particular night. By his stage animation and enthusiasm, I'm convinced that he was VERY excited to be back on stage with his old cohorts. Relative to other 16hp shows over the past decade, DEE was particularly "active" on Tuesday night. More twisted facial expressions, more hand/arm gestures, and yes, he even stood up on his stool several times while feeling the energy of "Sac of Religion". DEE standing while playing? Really?!! Yes. And, be ready for the violin bow!! That took his stage animation possibilities to a new level! I can only assume that this animation was an outlet for his excitement to be "back". Then again, what the fuck do I know? ;-) 
Observation 4: "Folklore" material, live. I know many 16hp purists have mixed emotions about the more "sedate" Folklore material. Through CD reviews and messages, it appears that some are/were concerned with the "limited energy" of this new material... particularly at a live performance. Those of you who have such concerns really shouldn't worry. I was amazed at how well the Folklore material translated to a live show. To be honest, I was actually expecting the show to be a "mellower" experience (hey, if our dumb-ass president can create new words on a daily basis, so can I). However, IMHO, I think the Folklore material actually took the standard 16hp show to a new level. Why? Well, this observation is based on the "theory of silence". Sound is more prominent when it follows silence. The powerful and energetic tracks (e.g. Clogger, For Heaven's Sake, My Narrow Mind, etc.) were greatly enhanced because they followed the more low-key mesmerizing tracks of Folklore. I appreciated this effect immensely. The live Folklore songs played out as a fine complement to previous 16hp material...resulting in a very diverse and powerful show... maybe even 17 horses strong... Observation 5: More specifically, "Folklore" tracks. Aside from the overall effect that I just mentioned, the Folklore selections also exceeded my expectations on their live sound. In particular, I was very impressed by the live sound/feel of Outlaw Song, Blessed Persistence, and Flutter. The live performance of the powerful chorus line/music in Outlaw Song added a new effect to this song. I dig it. Single Girl, as you would expect by its nature, will likely become another 16hp crowd favourite in the future (a la "I Gotta Gal" and "Black Lung"). Then again, what Carter Family remake HASN'T become a crowd favourite for any artist! As for Horse Head Fiddle as the closer... interesting effect. It sounded great and was more mesmerizing than the Pink Floyd show I saw in the mid-80's or the Low show last year! All in all, the Folklore material translated just fine in the live setting! Observation 6: For those about to see 16hp... Get ready for DEE with violin bow !!! In addition to bowing his guitar on a few select tracks, he also liked to use the bow as a new stage prop....pointing it, whipping it around, and during one tune (I forgot which) he repeatedly struck himself on the head with hit...with some intensity too. Observation 7: At the end of the performance and encores, DEE brought out ALL of his old "thank you" gestures with the crowd. In addition to the age-old DEE handshake with the crowd, and the blessing, he said the famous words that I've long awaited to hear.... "Thank you for clapping". 
Observation 8: The newly-formed, Denver-based, opening act "Painted Saints" demonstrated why they are mighty fine addition to the Denver music scene. Strings, strings, and more strings! It worked very well. Great sound. Eclectic. Powerful. A very impressive performance for a group of folks who just started playing together in the past month or so. Observation 9: As you may know, the new musicians that have been added to the 16hp line-up include Daniel McMahon on organ/piano and John Rumley on guitars. Although these guys were situated on either corner of the stage (and somewhat "out of the spotlight"), they definitely added a nice component to the sound. John Rumley filled the gap left by Steve Taylor's departure and Daniel McMahon added a new "feel" to the music with the organ backing....along with substituting organ and piano sounds for instruments that were used on previous 16hp recordings (violin, vibes, etc.). In general, a "full" sound resulted. It works! Observation 10: If I've failed to mention this already, they fuckin' rocked!! (How could I possibly write a review without stating this obvious fact?!) By Don - Borg 3069!
from US e-zine Denvermusicscene, 20 August 2002 Most people are fascinated by stories of human suffering, both physical and spiritual. That’s why we slow down to look at car accidents as we pass by them. Somehow the relief that it’s not us in the smashed car overcomes our feeling of sympathy towards the victim and turns it into fascination. Something about the macabre seems to draw us in and make us reflect on our own mortality. Traditional country and folk music has always wrestled with the internal struggle of man and his mortality, be it with the devil, alcohol, or simply himself. David Eugene Edwards, the lead singer and primary songwriter for 16 Horsepower, grew up the son of a preacher in California. Shortly after forming the group they relocated to Denver and became one of the most successful and popular groups to come out of this area in the 1990’s. The popularity of 16 Horsepower is amazing when you consider the style of music that the band favors. Their downbeat and gloomy alt-country music backs up lyrics that focus on sin, prayer, and redemption. Most of the songs are very simple and contain cello, guitar, banjo, and bandoneon (a primitive type of accordion) in varying amounts. On their early records the band would also throw in some fueled-up rockabilly numbers that broke up some of the depressed monotony of their brooding songs. Enough people in Denver still like 16 Horsepower and their menacing sounds after ten-plus years that they nearly sold out the Ogden Theater on this night. The Painted Saints opened the show. They are made up of members of DeVotchKa and several other local bands. I saw DeVotchKa open for Calexico in May and was greatly looking forward to hearing this side project. Painted Saints had similar odd instrumentation, including two stand-up basses (one bowed), fiddle, drums, guitar, and clarinet. They began their set with a slow, Middle Eastern melody on the clarinet that grew into a swirling instrumental number. Strangely enough, the sound of the band seemed like a direct cross between Calexico, DeVotchKa, and Serge Gainsbourg with spaghetti western film score tunes mixed in with lonely desert ballads and gypsy-rock rave-ups. Overall, the music was entertaining, but not varied enough to make the set very attention-getting. After a short break, 16 Horsepower took the stage to a very excited audience ovation. David Eugene Edwards took center stage, sitting comfortably in a chair for the entire performance. Most of their songs involve both a bowed and electric bass setting the low end with organ, guitar, and drums rounding out the normal line-up. The show started with the band playing several of their more upbeat numbers to pull the crowd in quickly. Between tunes there were huge ovations and many people shouting out requests for songs they probably haven’t heard for years. The biggest ovations were saved for when Edwards pulled out the bandonen, which he used for a few songs. The aching wheeze of this instrument added a certain carnivalesque, gothic sound to the bands slower dirges. However, the most important aspect of 16 Horsepower’s music is still Edwards’s voice. It moans ghostly fables, tells of lost loves, and screams out for help in the most dire of situations. Edwards truly has a talent for developing some interesting stories in his lyrics. His words seem to derive from the archive of traditional American folk music, which the band covers quite often on their albums and in concert. Tonight they covered the song “Sinnerman”, which was one of the highlights of the show.
The overwhelming dread and despair implied in 16 Horsepower’s songs can be very powerful in the moment, but over the course of a full show the band can become monotonous. There isn’t intense dynamic in any of its music. Many of the songs seem to mope along until they just run out of steam. Not being really familiar with the group, I was intrigued by some of their song structures. At points you expect a bridge or a chorus to appear, but none ever does. It’s almost as if they dare you to just focus on the mood, the vocals, and the lyrics. If you’re willing to do that, then you should see 16 Horsepower. Personally I like to hear some variance in sounds live. My favorite songs on this night were the upbeat country-punk ones. They included catchy choruses and were very raw sounding. However, these were few and far between. They played a few bluegrass-inspired numbers in the middle of the set that were also very good. Overall, 16 Horsepower is music to listen to alone late at night, not to listen to with a thousand strangers in the Ogden Theater.
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