When Dark Dark Dark — hailing from Minneapolis, New York and New Orleans — settled themselves on stage at Union Pool, it seemed right that both the band and the audience were in the company of friends, whether they actually knew each other or not. With featured instruments like the accordion, banjo and cello and an early 20th Century railroad aesthetic, it was clear that these young musicians are of the bohemian order, not to be confused with fauxhemian — the new term recently dubbed by Gawker to replace hipster. These are true bohemians, credentialed by the fact that at least two members have a train hopping history and the music that comes out of them is that of undeniable artists.
Directly outside the small venue in its own separate room away from the PBR and DJ fueled buzzing of the main bar was a packed outdoor patio, adding to the house show feel of the night. During the performances prior to DDD, a crowd gradually filled up the room, not a difficult feat for the speakeasy sized venue. But during Dan Beckman of Uke of Space Corners’ set and before DDD took the stage, stragglers from the patio quickly filed in, maxing out the space capacity. A “sold out” sign was promptly slapped on the entrance door, as much to the latecomers’ dismay.
After the first song was played, front woman Nona Marie Invie adjusted the accordion, while keyboardist/vocalist/clarinetist/banjo player (really), Marshall LaCount explained, “Nona has to tie that thing together — it’s made out of string and wire.” The quick fix was probably due to a DIY way of life, which often produces creative and resourceful musicians.
After the quintet — which also included a trumpet and drums — had something of a jam session toward the end of “Something For Myself,” Marshall jokingly commented “who knew you all would be listening to lounge folk music on a Friday night,” a pretty apt genre classification at the time. Nona confessed confusing a cheer from the crowd for an out of tune vocal, causing her a “momentary heart attack.” Marshall assured, “I think they like you,” and the crowd enthusiastically concurred with whistles and applause and someone said “absolutely beautiful,” referring to the set so far, and that person was right.
Bright Bright Bright, their new EP with songs exuding a new found resiliency could very well be a response to both the band name and their dismal last record, The Snow Magic. Nona’s lyrics, “Don’t pull me in/Let me be” on “Something For Myself,” fend off a former lover and proclaim her independence, in the more subdued vein of Gloria Gaynor’s “I Will Survive.”
“Make Time” is a triumphant seafaring tale carried by foot-tapping, upbeat banjo about a boat made of lightning and diamonds just to prove “the impossible possible.” As the band sang in unison, “The time that you thought you saved is just gone/We’ll make time where there is none,” the theme of hope sailed to land.
Nona’s band mates took a knee and all bowed their heads with their eyes closed in a prayer like pose as she performed the painfully beautiful “Wild Goose Chase,” showcasing her mature voice and quite accomplished keyboarding skills. The lights dimmed to suit the mood of this vagabond ballad.
DDD is part of a special musical community derived from an on the road, neo-beatnik, scraping by existence which lives to make honest and personal folk music, often of the freak variety. Another band included in this group are DDD’s contemporaries, Hurray For the Riff Raff (who DDD trumpeter/accordionist Walt McClements also contributes to), likewise from New Orleans who are starting to build up a powerful presence within and outside this family of musicians. They play for their instruments, which they show great affection for in their performances. Watching Walt, you could see his hands making love to the accordion, and the sound was just as impassioned and moving.
After they played their last song, the crowd all screamed for an encore and one fan sent a request via paper airplane to Nona to which she responded “we’re not prepared to play that” but instead played for us the second part to “Wild Goose Chase,” and we were the first lucky ones to ever hear the song played live. Nona told us “no one’s heard this yet so it’s a special occasion,” and a special occasion indeed it was.
DDD is in the middle of an East Coast/Mid West tour right now that started at SXSW.
The Walkmen have instituted a horn section a number of times and in a number of ways before, but not quite like they have on “Stranded,” off their September slated album, Lisbon. Their horns have been somber (“Red Moon”) or festive (“Louisiana”) but never this grand, and right from the beginning of the song. Assisting to the construction of this lofty start, the percussion steadily crescendos to a halt right before that scratchy, howling voice known all too well as frontman Hamilton Leithauser’s comes in. The earnest instrumental introduction to Leithauser’s flippant opening line: “Throw another dime in me, my friend/And I’ll sing a song I know for thee”— without regard to what jukebox tracks actually cost these days or that the chosen song will be anything but familiar — demonstrates the brilliant composition of this song. 
