Logjam Presents is pleased to welcome Charley Crockett for a live in concert performance at the Wilma on Sunday, April 17, 2022.
Tickets go on sale Friday, January 21, 2022 at 10:00AM at the Top Hat, online or by phone at 1 (800) 514-3849. All tickets are general admission standing room only. All ages are welcome.
Additional ticketing and venue information can be found here.
The album cover you’re looking at might lead you to conclude Charley Crockett is on one hell of a roll. You wouldn’t be wrong. Ten records in six years is some kind of prolific. The latest, a double LP, suggests the artist has some songs worth paying attention to. It’s clear that he’s invested as much time in the studio, recording storytelling songs, and making storytelling videos, as he has barnstorming around the United States and Europe playing live shows.
Not bad for a thirty-seven-year-old late bloomer.
Charley Crockett has been a fairly remarkable artist to follow. He’s got a sound. He’s got something to say. He has a look. And there’s a gauzy veil of mystery surrounding him suggesting he knows more than he’s letting on.
All those records in such a short amount of time have come with a “No Two Alike” guarantee, particularly the last three releases: the darkly prescient Welcome to Hard Times; the semi-autobiographical, hard-core country-roots of The Valley; and 10 for Slim, his tribute of songs by the obscure and wholly authentic Texas honky-tonk maestro James Hand.
And still, despite his penchant for pearl snaps and western hats, Charley Crockett has managed to elude being pigeon-holed. Call him neo country-western if you’d like. It’s true that few contemporaries present themselves as part of a lineage harkening back to Hank Williams and George Jones like Charley does, and even fewer can pull it off convincingly.
Call him a bluesman, if you prefer. One of Charley’s first recorded songs “Trinity River,” about that “dirty river” in North Texas, is the perfect bookend to “Trinity River Blues,” the first 78 issued by Oak Cliff blues guitar giant T-Bone Walker 92 years ago. Charley knows where genuine music comes from and doesn’t hesitate to mine each vein he digs up.
His voice is one-of-a-kind. His distinctive, plaintive vocals crack unapologetically with emotion, and he phrases his lines around the beat like a jazz singer, while he expounds upon personal relationships and the world beyond.
So, who is Charley Crockett?
Which one are you talking about?
The Lil’ G.L.’s Blue Bonanza Charley, or the Lil’ G.L.’s Honky Tonk Jubilee Charley? Or the Homeric “Jamestown Ferry” Charley? Is that new artist who graced the stage of the Grand Ole Opry the same cat who played the Newport Folk Festival?
Best just to call Charley his own man.
However one may strain to describe such an enigmatic figure and his equally enigmatic music, it’s pretty obvious Charley transcends stereotype. Whatever you might think he is or isn’t, he’ll change your mind with his next song. That’s part of the fun riding shotgun with Charley Crockett. You know he’s a skilled driver familiar with all the roads. You just don’t know exactly which one he’s taking, or where he’s taking you, only that the journey will be a pleasurable one.
Now comes Charley’s tenth album in his six-year career. In the Crockett tradition, it is as ambitious and ground-breaking as each piece of recorded music he’s put out so far. And it’s not just an album. It’s a double LP of Charley Crockett originals, each song going the distance to further define this singer-songwriter-performer-artist who came out of the proverbial nowhere.
Nowhere in Charley Crockett’s case would be San Benito, the largely Hispanic farming community in the Rio Grande Valley of extreme south Texas, his birthplace. He grew up poor in a trailer surrounded by cane fields and citrus groves, raised by a single mom. Fortunately for him, music was in the thick, humid Gulf air, because the Valley has a serious musical streak running through it. There’s a museum in San Benito honoring the father of conjunto accordion, Narciso Martinez. The likeness of Tex-Mex superstar and hometown hero Freddy Fender (nee Baldemar Huerta) graces the municipal water tower. Nearby Los Fresnos was hometown of Simon Vega, who served in the Army with Elvis Presley and built the Little Graceland shrine in tribute to his GI buddy.
That Valley was a perfect petri dish for a little kid with wide eyes and good ears. He could be anyone he wanted to be in this remote part of the world. When his family moved to Dallas, city life was not so kind to the kid who looked and talked different. This was where he learned the hard way how impoverished his family really was. His escape was going to live with his uncle in New Orleans, where as a teenager he developed skills free-styling and rapping, and first began performing in the streets. That led to busking on the streets of New York once he was out on his own.
He hustled hard to survive, living a transient life, taking whatever he needed, whenever he needed it, and hoping he wouldn’t get caught. He sold weed to get by, at one point working the harvest in clandestine marijuana fields in the northwest. Twice, he was convicted of a felony crime. Music provided the way out.
At thirty-two, he got serious. Even then, he chose the more difficult path, releasing his records on independent labels and inventing and reinventing his persona with carefully crafted, well-produced music videos. That top ten hit record may still elude him, but he’s built quite a fan base on his own, all his own, touring as relentlessly as he makes records, investing considerable time and money in companion videos that cumulatively add up to close to 50 million views online.
Charley has endured the collapse of the recording industry, no money, petty crime, societal ennui, the Covid-19 pandemic, open heart surgery, one-night stands, long distance rides in a van, loud truck stops and diners serving stale lukewarm coffee to get to where he is now.
His reward – and yours – is this collection of Charley Crockett originals.
Sad, uplifting, hard, and sweet, complex and delicate all at once, his songs are like life its ownself, just like the songs’ creator: like nothing you’ve heard or seen before, a genuine Texas original.
Vincent Neil Emerson is a torchbearer of the Texas songwriter tradition. He channels the straightforward truth-telling and resonance of his songwriting heroes in Townes Van Zandt, Guy Clark, and Steve Earle into something fresh and distinctly his own. Where his 2019 debut Fried Chicken and Evil Women proved himself as one of the most reverent students of country and western musical traditions, his follow-up LP, the masterful Rodney Crowell-produced Vincent Neil Emerson, which is out June 25 via La Honda Records/Thirty Tigers, is a brave step forward that solidifies his place as one of music’s most compelling and emotionally clarifying storytellers. His songs are cathartic and bluntly honest, never mincing words or dancing around uncomfortable truths.
Raised in Van Zandt County in East Texas by a single mother of Choctaw-Apache descent, Emerson’s world changed when he first heard Townes Van Zandt’s music. “To hear a guy from Fort Worth say those kinds of things and make those songs was pretty eye opening,” the now 29-year-old songwriter says. “I had never heard songwriting like that before.” He’s spent the better part of the past decade honing his songwriting and performance chops playing bars, honky-tonks, and BBQs joint across the Fort Worth area. His first album Fried Chicken and Evil Women, which he wrote in his mid-twenties and came out on La Honda Records, the label he cofounded that now includes a roster of Colter Wall, Local Honeys, and Riddy Arman, is a snapshot of his growth as a songwriter and stage-tested charm with songs like “Willie Nelson’s Wall” and “25 and Wastin’ Time” expertly combining humor and tragedy.
These marathon gigs and the undeniable songs on his debut introduced Emerson to Canadian songwriter Colter Wall, who quickly became a close friend and took him on tour. With Wall’s audience and sold-out theater shows on runs with Charley Crockett, Turnpike Troubadours, and many others, Emerson found his niche. “It took a guy from Canada bringing me on tour for people to actually start paying attention,” says Emerson. “Before that it was a grind like anything else just trying to make a living.” Crockett is another staunch early supporter of Emerson’s and covered Fried Chicken highlight “7 Come 11” on his 2019 LP The Valley.
Like every working musician, 2020 pulled the rug out from under Emerson. With the pandemic shuttering live music and cancelling promising tours, he processed the upheaval the only way he knew how: by writing his ass off. “At the beginning of quarantine, I was really frustrated with everything else going on,” says Emerson. “Everything was falling apart around me, and I didn’t know what to do.” He took to his writing shed and came up with the single “High On Getting By,” a gorgeous
song full of self-reflection and resilience: the most autobiographical thing he’s ever written. He sings, “I got my first child on the way / And the bills are all unpaid / I should have finished high school / Got a job and learned to save / But the words keep on fallin’ / And the highway keeps on callin’ / To my pen.”
That song proved to be a turning point for Emerson. “After I wrote it, the floodgates opened up for me in my songwriting and emotionally,” he says. “Songwriting has always been a therapeutic thing for me. So, I just started writing more from the heart.” Allowing himself to be open and reveal some of the most intimate details of his life was a scary yet freeing prospect for Emerson, especially on the raw and devastating “Learnin’ To Drown,” which addresses his father’s suicide. “I’ve been trying to write a song about my father’s passing for a while,” he says. “I was just having a hard time processing that emotionally. Before I was always trying to find a way to kind of dance around it and not really give too much away. But there’s no beating around the bush here.” He sings, “Well there ain’t much that lasts too long / All the rights that I took wrong / All the lefts that still ain’t gone / They will be here / Here in my sad bastard song.”
Elsewhere, on “The Ballad of the Choctaw-Apache,” he sings of how in the 1960s the Choctaw-Apache tribe of Sabine Parish was forced to sell “180,000 acres of ancestral land” to the government, uprooting them from their home. Emerson pulls no punches in his narration of the historic injustice, channeling the essence of traditional folk songs. He sings, “Well you take away their home / And you claim what you don’t own/ Well I guess it’s just the American way.” Emerson explains the track: “This happened not too long ago and it affected my grandparents and my family directly. I’ve always strayed away from trying to write political songs, but this is more about human rights. For those people who were stripped of their land like that, it’s still tough.”
His intense and productive writing sessions produced 10 finished songs over the course of just a couple of months, a body of work so personal that he knew he would have to name the final product Vincent Neil Emerson. These demos caught the attention of Texas country icon Rodney Crowell, who signed on to produce and record the LP. “Rodney is a hero of mine,” says Emerson. “He wanted to make something that serves the songs, as opposed to making a record trying to put focus on production or the playing. It was an honor to work with him.” Crowell had similar high praise for Emerson: “If he grows on the public the way he’s grown on me, it’s possible young Vincent will plant the flag of his [songwriting] forebears firmly in the consciousness of a whole new generation.” At the studio, Emerson tracked the songs with a crack team of session players. “Because of them, we were able to get those songs in one take,” he says.
You can hear that no-frills approach on the barnstorming “High on the Mountain,”
a bluegrass tune that highlights Emerson’s versatility as a performer and depth as a lyricist. On first listen, the track opens with upbeat fiddles and blistering guitar feels, but Emerson’s voice achingly sings of heartbreak, loss, and irrevocable change: “I pulled into Austin / ‘Cause Fort Worth ain’t the same.” Opener “Texas Moon” grapples with home after so many days away on tour: “I been missin’
home / But I just can’t ever stay / Well it don’t feel like ramblin’ / ‘Til ya take it day by day.” Emerson is never overly sentimental and across this album, he makes a point to just say how he feels in the most straightforward and real way he can.
“I think I’ve always gravitated towards artists that are honest about what they’re doing.” says Emerson. “It’s the most important thing because people have a chance to connect to a little more if you’re telling the truth.”