This Little Underground is Orlando Weekly's music column providing perspective, live reviews and news on the city's music scene. Read the latest column here.
Orlando’s alt-country scene
isn’t what it used to be, or at least its profile isn’t. Although not at the pitch or concentration as in the mid to late aughts, the talent, however, is still out there. That fact there is something the Nashville South
series is trying to spotlight. With a little luck and a lot of good curating, maybe this showcase can help bring that scene back to prominence.
A concept of Modern Music Movement,
the organizer behind the Acoustic Soundcheck
series at the Imperial
(a recent 2014 Undie Award winner
for best acoustic night), Nashville South just returned for its third run (Jan. 10, The Social). Besides expanding its horizon slightly to embrace the indie-pop of auspicious local band Sabals
(also a 2014 Undie winner
as one of the best young acts), the showcase mostly stuck to its twangy premise.
songwriter sound traced the sensitive stretches of the back roads, Stephen Rock’s
dramatic flair conjured its usual Southern gothic hex and Beemo’s
string band aesthetic mined the soft-core side of young folk.
But of all the roots-minded acts, Slim Walker & His Orchestra
stood up best to an irritatingly loud-talking audience.
Instead of what the term “country-rock” usually implies, this group is a rather specific blend of country
and early rock & roll
that sounds like the house band for a cowboy kegger.
It’s a fun, romping intersection, and the boys have crystallized considerably since I last saw them.
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