Music Review: Boots & Needles
The self-titled debut EP from this charming Minnesota duo is like a candy sampler, with tantalizing tastes of what’s to come.
Boots & Needles. Photo by Dani Werner, 2021.
It was about two months ago, early November, when I first encountered the music of Boots & Needles. I was attending the first night of a weekly residency by local throwback country act Cole Diamond at Mortimer’s Bar in Minneapolis. I was very familiar with him and had seen the other opening act, classic honky-tonk Americana rocker Becky Kapell, so I knew I was in for a good time, but the act sandwiched between them was a bit of a mystery.
From the moment I saw them set up I was intrigued. Clad in a vest emblazoned with punk rock band names, sneakers, jeans and baseball cap—and a magnificent full beard—drummer Dallas Cornell struck a visual contrast with guitar and ukulele player Lauren Asheim, who gave off more of a rockabilly vibe with her eyelet dress, cowboy boots and bangs.
Cornell has a very unique setup, just a foot drum and a smaller one, and he plays standing, often with brushes. Asheim mainly sings lead but they occasionally trade off and harmonize. Their sound wasn’t quite like anything I’d ever heard, and their mix of originals with twists on traditional songs—as well as their obvious chemistry, quirky aesthetic and sense of fun—captivated me immediately.
Less than a month later, I saw Boots & Needles had released a self-titled EP which—as far as I can tell—is so far only available via their website. Anyone bucking the merciless machine of Spotify, iTunes and YouTube, even temporarily, has my attention even more.
Boots & Needles. Photo by Dani Werner, 2021.
At their show I’d gotten an old-time country vibe from them—possibly influenced by them being on the same stage as Cole Diamond and Becky Kapell. But listening to their record, I realized that their arrangements and vocal delivery also have a strong folk sound—both the traditional stuff from Europe and the 1960s end of the folk revival. Asheim’s vocals remind me of Judy Collins, and the rhythm on the first song—the classic murder ballad “Henry Lee” most famously covered by Nick Cave—speaks more to its Scottish roots than to country music.
Their version of that traditional song (originally called “Young Hunting” in the 18th century and reimagined in the early 20th) is appropriately dark and atmospheric to match the lyrics about a woman who kills the man who rebuffs her advances: “with a little pen-knife held in her hand / She plugged him through and through / And the wind it did howl and and the wind it did blow …”
The next song is a complete turnaround, opening with a cheery ukulele and gently brushed drums. “Take Me to Graceland” is a cute, fanciful original about forgoing Heaven and instead taking over the closest thing to heaven on earth, for Elvis fans anyway: “We’ll sit on that green shag carpet and play / Drive a different Cadillac every day / I’ll climb the fireplace and swing from the drapes / I’ll wear the sequined jumpsuits, you wear the capes.”
The ukulele sticks around for the next track, but subdued and minor-key, for a complete reimagining of the Carter Family classic “I’m Thinking Tonight of My Blue Eyes.” Cornell lays down an easy, loping rhythm that gives Asheim plenty of room to play with her trilling soprano voice.
The drums kick up to a gallop—accompanied by a bouncy upright bass—for the final song, an original called “Milwaukee Here I Come.” The melody has an almost gospel air, reminding me of “This Little Light of Mine.” Following the tradition of June and Johnny, Porter and Dolly, the couple trade humorous lines in a kind of reverse version of “Jackson,” in which they banter about leaving the big city (in this case Nashville) and returning home to Wisconsin.
At four songs and 14 minutes, Boots & Needles feels like a teaser for more to come. Judging from their Instagram, Boots & Needles has only been in existence since January—about as long as this site—so coming out with a release so quickly is truly impressive. I’m thoroughly charmed by both their live performance and EP, and I can’t wait to see what they come up with next!
Carol Roth. Photo credit: Dan Lee.
Carol Roth is a full-time marketing copywriter and the main music journalist and social media publicist for Adventures in Americana. In addition to studying the guitar and songwriting, Carol’s additional creative side hustle is writing self-proclaimed “trashy” novels under the pseudonym @taberkeley!
