Logjam Presents:

The Devil Makes Three

Scott H. Biram

The Wilma

Missoula, MT
7:00pm (door) 8:00pm (show)
$27.50 - $35 (Adv.)
Add to Calendar 11/15/2017 20:00 11/15/2017 11:30 pm America/Boise The Devil Makes Three

Logjam Presents is proud to welcome The Devil Makes Three back to The Wilma with Scott H. Biram on November 15, 2017. Event Info: Devil Makes Three at The Wilma Tickets go on sale Friday, August 18 and will be available at The Top Hat, online or by phone at (877) 987-6487. Reserved premium balcony seating, reserved standard balcony seating, and… Continue Reading

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The Devil Makes Three

Logjam Presents is proud to welcome The Devil Makes Three back to The Wilma with Scott H. Biram on November 15, 2017.

Event Info: Devil Makes Three at The Wilma

Tickets go on sale Friday, August 18 and will be available at The Top Hatonline or by phone at (877) 987-6487. Reserved premium balcony seating, reserved standard balcony seating, and general admission standing room only floor tickets are available. All ages are welcome.

Additional ticketing and venue information can be found here.

About The Devil Makes Three

“There’s a road that goes out of every town. All you’ve got to do is get on it,” Pete Bernhard says.

The guitarist/singer and his cohorts in the raw and raucous trio The Devil Makes Three have found their way onto that road numerous times since they first left their picaresque rural hometown of Brattleboro, Vermont. Back then, they had no idea it would lead them to such auspicious destinations as the Newport Folk and Austin City Limits Festivals, Bonnaroo and Lollapalooza, and on tours with Willie Nelson, Emmylou Harris and Rodney Crowell and Trampled By Turtles. Along the way, they drew numerous accolades from a growing fan base and press alike.

TDM3’s travels and travails serve as inspiration for their fourth album and their New West Records debut, I’m a Stranger Here, produced by Buddy Miller and recorded at Dan Auerbach’s (Black Keys) Easy Eye Sound in Nashville.

With upright bassist Lucia Turino and guitarist Cooper McBean, Bernhard crafted a dozen tunes, part road songs, part heartbreak songs and part barnburners. While most bands are propelled from behind by a drummer, TDM3 builds exuberant rhythms from the inside out, wrapping finger-picked strings and upsurging harmonies around chugging acoustic guitar and bass, plying an ever-growing audience onto its feet to jump, shake and waltz.

TDM3’s sound is garage-y ragtime, punkified blues, old n’ new timey without settling upon a particular era, inspired as much by mountain music as by Preservation Hall jazz. “We bend genres pretty hard,” Bernhard says.

The combination could only have happened via the circuitous route each of them took to forming the band. As kids in Vermont, “all raised by sort of hippie parents” who exposed them to folk, blues and jugbands, Bernhard says, they blazed a path to nearby Boston, Massachusetts in search of punk rock shows. They found venerable venues like The Rat and The Middle East, drawn to east coast bands like the Dropkick Murphys and Aus-Rotten.

“It would be like 6 bucks for 13 bands, everyone playing for 20 minutes,” Bernhard says. “I had so much fun going to shows like that. The energy coming off the stage makes a circle with the crowd and comes back. We were really attracted to that energy.”

Bernhard and McBean, a multi-instrumentalist who plays banjo, musical saw and bass, forged a particular bond. Unlike most of their mutual friends, they both liked to play acoustic music, with McBean showing Bernhard the wonders of Hank Williams and Bob Wills & the Texas Playboys. They kept in touch after high school, when nearly everyone in their clique relocated to the west coast like the characters in Delbert McClinton’s song “Two More Bottles of Wine.”

“It was a mass exodus of kids who went out to start bands and be creative, searching for the unknown, dreaming of something different,” Bernhard says. “We wanted to get away from where we were from, as many kids do, and California was the farthest we could get.” Eventually they landed in sunny Santa Cruz, California, where TDM3 took shape in 2001. Their early gigs were house concerts, then small bars, punk shows, bigger rock clubs and theaters and festivals, all the while defying genre and delighting whomever turned up to listen.

Turino learned bass to join the band, but her unremitting sense of rhythm comes naturally from being raised by parents who were dance teachers, and from her own dance background. Attacking the strings of her upright, she understands how to infuse songs with the force it takes to get a crowd moving.

And the songs on I’m a Stranger Here tell the rest of the story, with the music often joyously juxtaposed against lyric darkness…the rootless nature of being in a touring band, traveling from town to town with little sense of community, represented by a devil-like character (“Stranger”)…thorny transitions into adulthood…struggling with relationships (“Worse or Better”), watching friends succumb to addiction (“Mr. Midnight”), coming to terms with mortality (“Dead Body Moving”), nostalgic notions of childhood (“Spinning Like a Top”). Bernhard even considers the destruction of changing weather patterns, inspired in part by Hurricane Katrina as well as a flood that wreaked havoc in Brattleboro (“Forty Days,” a gospel rave-up recorded with the Preservation Hall Jazz Band).

Bernhard wrote more than 20 songs for the album and turned them over to producer Buddy Miller, who gravitated toward the darker material but insured that the recording was lit up by the band’s innate ebullience. It was Miller’s idea to record at Easy Eye rather than his renowned home studio. “Easy Eye is like Sun Records,” Bernhard says. “There’s one live tracking room filled with amazing gear, and that defines the kind of record you’re going to make. That was exactly the record we wanted to make, and we knew Buddy was the one who could capture us playing together like we do.”

For a band that made its bones with dynamic performances, recording an album is almost like coaxing lightning into a bottle, but Miller and TDM3 succeed on I’m a Stranger Here. Now they’re continuing the journey that began when they found their way to the road that led them out of Vermont. “I can’t wait to get onstage, I love it,” Bernhard says. “Playing music for a living is a blessing and a curse, but for us there’s no other option.”

Scott H. Biram

With the heart of a genuine Texas bluesman, the head (banging) of a Zappa and Lemmy disciple, and boots resting in the dust outside of town at sunrise, Scott H. Biram journeys through the harrowing human condition like no one else.

A walk on the Biram side straddles the chasm between sin and redemption and The Bad Testament lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love, blues and deep, dark Americana.

Scott H. Biram conjured the words and music for The Bad Testament during mad alchemical sessions at his homemade studio in Austin, TX.  Through stacks of amps, spools of cable, and a prodigious collection of microphones, he spread his technical wings wide, while never losing the immediacy honed from a life on the road.

He added a drum kit and rustic vocal duet to his skill set (which already includes all guitars, bass, keyboards, vocals, and percussion on the album). And strip away the one-man band eccentricity, SHB is out-writing any meeting taker on Music Row. The man writes on a razor’s edge of aggression and deftness, thoroughly contemporary but steeped in the backwaters, back porches and back alleys of our collective musical heritage.

Many in the one-man band field find their groove and stay in it, but stay in a groove too long and it becomes a rut. SHB has the groove, but never falls into a rut.  On “Set Me Free” and “Red Wine” the wandering country soul of Jimmie Rodgers and the laid-back cool of Merle Haggard ride well with SHB’s distorted punk; it’s the 2-sided jukebox hit at the honky-tonk behind the looking glass of CBGB’s.

“Righteous Ways” and “Still Around,” mellower, but no less determined, sound right out of the Folkways canon. Speaking to eternities and charlatans, Biram’s freewheelin’ with an edgy take on the Newport Folk vibe. With its surprisingly melancholy organ and in the back of the pocket tattered soul, “Crippled & Crazy,” recalls The Band.  The haunting harmonica-soaked ballad “Long Old Time” is a chilling taste of existential desolation, “It’s gonna be a long old time/ before I pay for the crime that I done.” This is one lost highwayman.

Fear not, though, Biram is still The Dirty Old One Man Band. His brand of unvarnished and unhinged aggro-roots remains as exciting as ever. “Trainwrecker” blasts down the two-laner with the breathless fervor of a redneck metal “(I’m Not Your) Stepping Stone.”  Try NOT singing along in the best Nordic Doom Metal voice we all carry around buried within our darker selves. He’s downright blunt on the R-rated Boomhauer TX rant “Swift Driftin’”: “It takes a real piece of shit to be a real piece of shit/ You should really just be headed on your way.”

Yet the stark acoustic guitar country blues is updated and self-aware – a profane reboot of personal heroes Leadbelly and Mississippi Fred McDowell.  The instrumental “Hit the River” is a throw the devil horns slide guitar boogie right in that sweet Biram groove. And. It. Will. Not. Let. Go.  It’s short, not-so-sweet, and leaves you panting for more.

Scott H Biram is THE one-man band.  The master of the realm. Why? Because even though he’s one man, he ain’t one thing.