Flop Eared Mule A Country Music Death Beast and Worker in the Dylan Industrial Complex | Sydney, Australia | Est. 2004

Well, so that was one amazingly great gig. I've seen a couple of other very special ones this year but there were a few unique aspects to this one. It is very rare that I get the feeling of being in on the ground floor of a future great career, of being there at the beginning and being dazzled at the prospects of an artist in that early creative phase. It was a packed crowd in a small room. I got the impression many were quite unfamiliar with him really so amongst the usual hollering and clapping and yelping were almost shocked groans of pleasure at just how goddamn bloody exhilarating it was. I think a lot of people went on spec and were somewhat stunned. I kept encouraging people to go and telling them the next time he's out here you won't get to see him in a tiny room at a pub for thirty bucks. It'll be double at the Enmore or wherever. Happy to be vindicated! There's a quote on the Bloodshot artist page so I'm not alone: ""I have a feeling that in a few years we'll need backstage passes at the Ryman auditorium to get anywhere near him. He's just THAT good." --Chattanooga Free Press"

He was not accompanied by the mando player featured in most of the other YouTube videos, so it was JTE solo acoustic. He picked and pounded the guitar with great skill and versatility, commanding the joint with his amusing anecdotes and searing old school Opry country voice. Played most of The Good Life (everything except "Who Am I To Say" I think) plus most of the Yuma EP -- six songs recorded before album but released after -- plus covers from TVZ, Blind Blake, Buck Owens, Gram (a stunning "A Song For" in the encore) and others. AND some new songs from the forthcoming (March) Midnight at the Movies including one about Earle, Snr which had a few jaws dropping.

Other reports:
Cat Politics (in-store at Basement Discs in Melbourne)
Moonlight Mile Blog
High Noon Saloon

One thing I loved about The Good Life was that it reached through the alt.country era, the singer-songwriter era, the outlaw era and found roots in 1950s country. A lot of references from the classics come to mind watching Justin, and by classics I don't mean Uncle Tupelo. There's as much if not more Ray Price about the record as Steve Earle or TVZ. Aside from the genuinely top shelf songwriting, his physicality brings an edge of drama even when singing songs of sweet vulnerability. He is all orthogonals. I couldn't decide whether young Johnny Cash or young Raymond Massey was the image I was looking for; that lean and hungry look, that mad, bad and dangerous to know thing.

After the gig he came straight out to sell and sign CDs, we left (already got it and I never know what to say anyway) but there was still a huge line and many photos being taken. I've loved this album since it came out so I'm really happy for him that this tour has been a success. Come back soon.