Stage Talk with Rick Koster
Where every show has something to say.
On Friday, Dec. 19, the Garde continues the Sinner’s Circle songwriters-in-the-round series with an 8 p.m. show in our cozy Oasis Room. Hosted by original Sinner John Fries, the lineup also includes Sarah Mac, Marc Douglas Berardo and Louise Coombe — each of whom is a veteran composer and charismatic storyteller.
Last week, we spoke with Fries, a virtuoso acoustic and electric guitarist whose performance style and compositions traverse the borders of roots and rock music. He’s also quite familiar with Garde fans, having twice opened on the main stage for Robert Cray.
The Garde: John, let’s say you show up at a Mississippi crossroads at midnight, wanting to barter with the Devil for advanced lessons in country blues guitar. The deal is struck, but you can only choose the ghost of one artist to give you instruction. Which of the following do you select and why: Rev. Gary Davis, Blind Lemon Jefferson, Lightnin’ Hopkins, Robert Johnson, Mississippi John Hurt, Son House, or…?
Fries: A great question, but not a hard one for me. Lightnin’ Hopkins. In a lot of ways, he has less of a country sound, in my opinion, than say a John Hurt — but there’s still some in there. I also LOVE John Hurt, too.
Additionally, one of the things I find fascinating about all of this music made by originators is the absolute magic and perfection of the imperfect. (It’s) an incredibly fine line that few can really master…. except for the greats. It’s always humbling to listen to them and try to learn.
Garde: What was the Devil really like? Kidding. I did broach the country blues scenario, though, because your reputation has been as a versatile roots player whose forays into electric guitar took on a power trio vibrancy while your acoustic side, you applied the distinctive resonator properties of the dobro to a variety of Americana styles. Most recently, in a batch of really good new songs, I hear a strong country blues component in some of your new material.
Fries: Definitely. I mean, I listen to and enjoy all kinds of music, and I’m inspired by a variety of things. As an artist and as a listener, I’m completely schizophrenic. I listen to blues. I listen to soul, I listen to rap music, I listen to electric music… If you look at my Apple playlist, you be like. “Who the hell is this you?,” you know?
But I really love country blues and I always have. There’s something really pure and simple about what those artists were doing, but at the same time there’s a real eloquence and spirit. Right now, there’s a real appeal to me, and I do think you can hear it in the songs I’ve written in the past year. Not just the influence of those original guys, but more contemporary artists like Kelly Joe Phelps and Chris Whitley who felt those connections.
Garde: A lot of us have missed you, so it’s good to see you back. You were musically omnipresent in the region for several years, working with your electric band or in an acoustic solo or duet capacity. Then, suddenly, you sorta disappeared for a decade or so. Can you talk about that?
Fries: There’s a lot behind that. Yeah, I was touring regionally 200 dates a year, mostly my own music, and I had my sailmaking business. Twelve years ago, my wife Heather had our daughter Opal and our son Gus came along two years later, and I played all through.
It was physically exhausting and burning out. The music business was changing, and not in a good way. But, more importantly, to be honest with you, I didn’t want to be a crappy father. I didn’t have my first kid until I was forty, and I thought to myself, “You’ve waited all this time and you’re really lucky, so do NOT screw this up.” So I stepped away from the music.
And then we had Covid and that was between two presidential administrations and what a rollercoaster that was! But it’s been successful and, you know, to have the chance to help provide for my family and do all the things that that dad and husband needs to do? I’m proud of that and I think I needed those experiences.
Garde: And you’re a Sinner again. Talk a bit about this collection of talent you’ll be hosting.
Fries: I mean, it’s funny for me to be the host. I guess I think of myself as a bit shy, but it’s easy to be excited about this group of artists. We’ll bring a wide range of sounds and experiences. Mark is really talented; plays a lot and is very accomplished. Sarah has such an amazing voice. She left the CarLeans and is really doubling down on her own efforts. And I’ve done a few shows with her, and I think she’s great.
I’ve never played with Louise before, but I’ve been listening to and very much enjoying her music. I’m just really looking forward to interacting with all of them in this capacity because it’s a new experience for me and they’re all great artists doing very nice quality work.
Garde: Excellent. Let’s close with this: over the course of your hiatus and through the process of family life, what have you learned about yourself that applies to musical creativity?
Fries: I have a lot more clarity in my life. I truly believe that creativity is a connection to something spiritual that is greater than the artist, okay? Which is why I really don’t believe that the artist has ownership per se of the songs. I think that is kind of missing what’s going on, right?
I feel like when I write, and I’m motivated and open, I have a connection to something that is greater than man. It’s like a conduit. Anyway, that’s my own philosophical thing. From my perspective, it’s not really about me as much as it is being connected to something.
(Laughs) I think it’s a it keeps me humble — and I wasn’t always. I’m not a little kid anymore and I have a very different approach. I have made a lot of mistakes, and I’m fine with that. I’m fine. I mean, it was all stuff I had to learn.