Show Review: The Resonant Rogues and Steam Machine at Icehouse
A lively and engaging pair of acts delivered old-time music with fresh perspectives.
The Resonant Rogues & Steam Machine at Icehouse, Minneapolis. Photo credit: Tom Smouse, 2022.
My anticipation was high when I headed to Icehouse in Minneapolis in late June. I'd encountered each of the two bands once before, so I knew I was in for an energetic, entertaining night of reimagined old-time Americana music from two captivating acts.
The Resonant Rogues. Photo credit: Tom Smouse, 2022.
First up that night was The Resonant Rogues. The North Carolina-based married duo (made up of Keith Smith and mononymous Sparrow) hasn’t toured the Midwest since well before the pandemic lockdown, but as luck would have it, this was my second time in a week seeing them, the first having been at Blue Ox Music Festival in Eau Claire, Wisconsin. Their charming afternoon set at the small Backwoods Stage—grounded by Sparrow’s one-of-a-kind voice (the word “resonant” keeps coming to mind when I try to describe her unique vocals; you’ve just got to hear her for yourself)—made me eager to see them again.
It’s always interesting to see how partners interact on stage. Some have very similar energies and share the spotlight equally. Some have a demonstrative, even performative affection, while others’ chemistry is understated. With the Rogues, Sparrow is all smiles and full of patter about their lives and marriage. She beams warmly at her husband frequently while they play. Keith is more reserved, his wardrobe understated, facial expressions more neutral, smiles rarer. But when he sings a love song, he subtly transforms. His demeanor softens, his voice is suffused with depth of emotion. It’s a slight but moving shift in his stage presence that clearly demonstrates the pair’s connection.
The Resonant Rogues perform mostly originals that sound like they could come from another era—they’re right at home with the occasional cover of a traditional song—but if you listen closely, their lyrics are unlike anything you’d have heard in the early twentieth century. For instance, even when their songs yearn for a simple life in the country, as in the recent single “Ridgelines,” their expression of these old-fashioned feelings is strikingly modern: “How would you spend your lifetime if all expectations fade? / If no one would see it, what would you make?”
I’m not terribly familiar with their catalog, but in searching the jotted-down lyrics for some of the songs that grabbed me during their performance, I often couldn’t find anything that seemed to match. Besides just being amazing in general, a compelling reason to see them live is that they seem to be performing quite a few as-yet-unreleased songs lately.
Another reason? The covers sprinkled into their set are sometimes surprising departures from the dark but wholesome Appalachian sound of their originals—a French jazz tune, for example, or a Balkan folk number with audience participation encouraged. Keith’s prodigious guitar playing is often accompanied by Sparrow’s solid banjo skills, but she also provides skillful, evocative accordion for several of their songs.
AJ Srubas of Steam Machine. Photo credit: Tom Smouse, 2022.
The second act of the night at Icehouse (it didn’t feel like there was an opener and headliner at this show, just two equal attractions) was Steam Machine. Although I’ve only seen this particular band one other time, individually I’ve seen the members dozens of times.
Lead singer/fiddler AJ Srubas is in the bands Back Up & Push, the Robinson Roundup and Hello Heartache, and has played for local country acts Cole Diamond and Jeffrey Robert Larson, which just scratches the surface of his contributions to the Twin Cities music scene. Banjo player David Robinson plays mandolin for the High 48s and banjo for Back Up & Push, and is frontman for the Robinson Roundup and York & Robinson. Guitarist Rina Rossi plays bass for Hello Heartache and Back Up & Push. And bassist Rich Casey is mainly known for his work in the High 48s but has also taken part in a number of other local music projects.
Simply put, Steam Machine is a supergroup, one with intertwined musical relationships that create a chemistry so much more profound than four disparate musicians coming together. Seeing Srubas at the helm is exciting, not only because I’ve seen him play a supporting role at so many shows and love hearing his voice take lead vocals, but because the group’s sound is subtly more fiddle-forward than a lot of other local old-time acts.
The band largely plays classic and traditional old-time songs, such as “Fifty Miles of Elbow Room” and “The Girl I Love Don’t Pay Me No Mind,” both of which were first recorded in the 1930s. They offer small bits of background on the songs, or insights on what they’re doing in them (such as calling out a song that’s particularly exhausting to play on fiddle—after Srubas completely nails it and makes it look easy), but for the most part they let their playing speak for itself.
Steam Machine’s renditions seem faithful and classic, so it’s hard to explain how their playing feels bright and fresh. Whereas sometimes the music of artists steeped in tradition can feel static or even ponderous, Steam Machine brings a levity and energy to their performances. You can step back and be impressed by their artistry, but you might instead wind up just swept away in enjoyment because they make it seem effortless and look like they’re having so much fun.
At the end of the night, The Resonant Rogues joined Steam Machine for a group encore. This kind of collaboration is what makes me treasure live music so much. An old-time string band plus accordion? North Carolina meets Minnesota? That exact moment may never be recreated again, and I’m so grateful I was there to witness it.
Steam Machine Tour Schedule & Album + Merch Links:
The Resonant Rogues Tour Schedule & Album + Merch Links:
All Photos by Tom Smouse, 2022.
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 T.A. Berkeley!
Tom Smouse. Photo credit: Chris Taylor.
Tom Smouse is an innovative collaborator with 20 years of experience in the Minnesota music industry. As a professional photographer, podcaster, and music journalist, sharing stories from the community remains his core passion. When not at a show you can find him at a record store.
