Over the Rhine 8/27/2003

"Sorry for those of you who came expecting an acoustic show." Those were the words of Karin Bergquist, the lead singer of Cincinnati’s Over the Rhine, as the band ripped into another electric tune off their latest double album Ohio before a packed Duck Room at Blueberry Hill. While most of the audience stood toward the back of the room, no one could mistake the band’s need to be heard, especially on this night, looking fresh only eight shows into their tour that will end sometime in December.

Over the Rhine had played the Duck Room in St. Louis many times before this evening. Sometimes they came as an acoustic duo of Bergquist and her husband/keyboardist/partner-in-crime Linford Detweiler. Other times they have arrived during their annual Midwest Christmas shows to sing a holiday song or two and share some old favorites. They usually visit here once or twice a year… and each show is never the same.

The current Ohio tour, sweeping across the U.S. this fall, seems like it has some goals in mind: to crank up the energy and play what is new, and to have a lot of fun while they re-explore what they have recently created with their current five-piece band.

With bassist Rick Plant, drummer Will Sayles, and fiery multi-instrumentalist Paul Moak on board, Over the Rhine had no problems of achieving and exceeding these goals. Of the three, you have to give the most credit to Moak, who didn’t record on Ohio, but added powerful revelations to the new songs that weren’t sometimes captured on the studio album. Beginning with delicate sitar on the opening song Spinning to efficient lap steel on "Show Me," to thunderous guitar on the closing number "Changes Come," Moak was cheered heavily by the audience after each lengthy feedback-laden solo. The Mississippi native consistently showed his ability to capture the eyes and ears of each audience member. He was something special to behold as he rocked out stage left.

It is refreshing that Bergquist and Detweiler seem more than happy to share the spotlight. But it is also important to note that Bergquist’s ethereal vocals were still very much into the mix, complementing Moak’s energy. Her voice shined on the yearning "Long Lost Brother" and the mid-tempo "Jesus in New Orleans," and ached during "Ohio," the only solo keyboard performance of the night. While alone at the keyboard, Bergquist was emotional, showing her agonizing emotions through vivid facial expressions as she sang about looking back on the land where she still calls home, and acknowledging that some things do come to an end. She seemed as lonesome as the song’s ending, feeling strange in the moment of truth.

Perhaps the only thing lost in the hoopla of Bergquist’s stage presence and Moak’s electricity was absence of Detweiler’s sound that should never go unnoticed. Although he could be seen smiling throughout the night and enjoying the camaraderie being passed along onstage, his organ and keyboards were barely audible for many songs. That being said, Detweiler was never really a disappointment; his genuine love for his music makes up for any sonic problem that could ever occur. Actually, the most endearing moment of the night might have come after "B.P.D." when Bergquist leaned over to Detweiler with a noticeable smile, perhaps thanking him for getting her through this personal song about making messes and not being able to fix them. This time, Bergquist was not on her own.

Another highlight of the show was the sultry "Lifelong Fling" that led into the pounding "Ain’t Got No Sunshine," which again let Moak jam away. The two songs paired together made a nice transition, allowing Bergquist to go from being seductive to bouncing around, happy as a schoolgirl in the matter of minutes. Yes, you had to be there.

Detweiler has written in the liner notes of Ohio that this music was made with an ear to the ground we walk on everyday. We live on this ground, and we will be buried in this dirt. We love the roads that take us far from this place, but those same roads have a way of bringing us back home in the end. If it’s not obvious now, it will be when you hear the records we’re making 20 years from now. If you have seen them live, you already know this to be true. See you at the Duck Room in 20 years.

Setlist:

Spinning/Bothered/Long Lost Brother/Show Me/Jesus In New Orleans/She/Nobody Number One/Lifelong Fling>>Ain't Got No Sunshine/Ohio (Karin solo, playing piano)/B.P.D./All I Need is Everything/World can Wait/When I Go

ENCORE: My Love Is A Fever/Cruel &Pretty/Changes Come

---