Review: Charley Crockett @ the Gov

Immediately charismatic, his neat presentation was underlined by a raw talent and unparalleled vocal ability.

Words & Images by Michael Lockhart

Texas Cowboy Charley Crockett’s debut Adelaide appearance at The Gov on Thursday, February 8, was a whirlwind rodeo of classic Americana, country balladeering, starched collared shirts and good time boogie.

ARIA-nominated Gumbaynggirr artist Emma Donovan opened the gig, her soulful Gospel-tinged sermon jubilant and proud. Performing a number of her grandfather’s songs and stories, the singer beamed positivity, evident especially on ‘Miracle Man’ and ‘In the Sweet By and By’. Both tracks were standouts and highly evocative of delta blues on the Bayou Americana, met with an Aboriginal mode of melody.

Backed by his band The Blue Drifters -- a uniformed 5-piece of double bass, trumpet, pedal steel slide multi-instrumentalists --, Crockett’s piercing gaze met the eyes of the city’s sharpest dressed cowboys and girls, peering above his highly strung guitars that were wielded like a rifle on a ranch, ready to fire a back-to-back melee of luscious, nostalgic country.

Immediately charismatic, his neat presentation was underlined by a raw talent and unparalleled vocal ability. Tracks from his records ‘The Man From Waco’, ‘Welcome to Hard Times’ and upcoming release ‘$10 Cowboy’ featured heavily, alongside classic renditions of artists like Link Wray, T-Bone Walker and Buck Owens, all performed in Crockett’s signature smooth country drawl and knowing grin.

Crockett’s penmanship -- a contemporary narrative of love lost, hard times on the beaten road and a painted portrait of modern country life in America -- is cleverly disguised as classic American country, channelling a youthful Johnny Cash swagger and a respectful tip of the hat to Willie Nelson (himself a collaborator with Crockett).

The Texas native conducted himself with a respectable composure during elating renditions of ‘The Man From Waco’, and ‘Cowboy Candy’, whilst his audience looked on in awe.

The gig atmosphere was decidedly vintage, reminiscent of a barnstorming town hall revue and felt like one too, with a tobacco smoke-like haze engulfing the curved stage. This sensation elevated incrementally with Crockett getting looser throughout his show, especially once moving onto the electric guitar halfway through the set.

A carefully planned structure to the performance kept you on your toes, at times literally, with few pauses for respite. Even during Crockett’s instrument changes, The Blue Drifters played on like a faithful dance hall jukebox.

With just five concerts remaining on Crockett’s second-ever visit to Australia, this may be your last chance to catch one of the brightest lights in country, if not all music before they reach the stratosphere. Simply an event you do not want to miss.