Some weeks ago #TEAMw21 were in the middle of preparing an article saying why you should go and see My Darling Clementine at Long Road, railing against their scheduling, a somewhat early start on a Sunday morning. In the end events overtook us and things that once seemed important became inconsequential - the likelihood of there even being a show seemed remote and so the article was shelved. As the festival grew ever nearer it became apparent that there would indeed be a performance, it therefore became an imperative event for #TEAMw21 to attend, even if like Lou on the day we were coughing and spluttering all over the place. It was important for it was a small way of showing our support at a most difficult time and let's not forget a chance to see one of the best bands on the entire bill for an intimate performance.
The early morning Sunday slot unlikely as it is with people nursing their second hangover and uncomfortable nights sleep, has quite often yielded sizeable crowds who have brought out extraordinary performances - today would be no different.
Taking to the stage, My Darling Clementine to all intents and purposes seemed their normal selves Michael Weston King in suit and hat, while Lou Dalgleish sported a bright pink coat, carrying as per norm her handbag which did reveal itself at one point to be carrying a ready supply of tissues. It was to be a set of familiar material, dipping into various areas of the MDC catalogue, affording the chance to see just how seriously they take being a duo and the sheer quality and invention that goes into creating their material, even for a later selection of songs that they did not even write.
Things would open with "Unhappily Ever After", Michael on acoustic guitar, Lou holding her handbag throughout pleading their situation in court, giving a chance to once again marvel at the songs construction. Our intrepid duo would then be joined by long term affiliate Preben Raunsbjerg on electric guitar, with Lou switching handbag for tambourine as they moved on to "No Heart In This Heartbreak".
Michael is a great musicologist, and like the BBC always seeks to inform and entertain,rarely will an encounter with him result in you coming away anything other than with your knowledge enhanced. The well informed crowd, had certainly heard of the song "That's How I Go To Memphis", a few would even have know it's writer Tom T Hill, not knowing either would not have spoiled your enjoyment of "Going Back To Memphis" however it just might have enhanced your appreciation and brushed your ego if you had. The occasional nods to the original in both tune and lyrics without veering into pastiche is extremely clever.
The between song patter would make poke fun at Lou's obvious ailments and keep the mood light before transferring us to Mexico for "King Of The Carnival", with Lou throwing herself wholeheartedly into her vocal, even contributing an authentic stamp and clap at the end. Preben's guitar did much to create that feeling of being down Mexico way.
Lou would move to piano and Michael would don his harmonica for "Eugene". Michael would spend the first verse looking on intently before joining in on the second. The combination of piano, harmonica and guitar was sublime, with Lou finding some impressive big notes considering her condition. The song would end on a delightful tinkle of piano and sweet harmonica.
From "Eugene" it was time to move to Jolene with the Orbison like intro to "Jolene's Story" which would see things from another side to Dolly's. version of events. Once again invoking the spirit of the original, yet taking it into a new direction and making it work as a duet. The high pitched "Jolene's" of the chorus really took their toll with Lou having to stifle the odd cough or two - it did not however stop her hitting a marvelous final extended note.
At this point it was time to pay a birthday tribute to Elvis Costello, 70 that very day and who inspired the last My Darling Clementine project "Country Darkness" for which they were assisted by the maestro Steve Nieve,
A run of four songs would pay tribute to Elvis's collaborative works, starting with "I Felt The Chill" from perhaps his most overlooked album "Secret Profane & Sugarcane". Co written with Loretta Lynn, it arguably works better as a duet, it certainly changes the dynamics hearing it from two sides. It would see Lou move to piano, and was exquisitely performed. Michael would test the assembled audiences knowledge once more with the name Jim Lauderdale, maybe not realising that Jim had performed a sterling set at Long Road the previous year, where in a short section he bizarrely paid tribute to the maker of his shirts who was in the crowd! Jim's Costello collaboration resulted in "I Lost You" from the "National Ransom" album, the MDC version featuring a lovely guitar line from Preben.
Michael would finally win the musical battle of wits by dropping the name Jerry Ragovoy in his introduction to the country blues of "Either Side Of The Same Town", Michael would cup his hands around his microphone on the first chorus. This version really came with the required sense of drama to compete with the original and was probably our favourite song of the set. The closing song of this section would be "The Crooked Line" which would be as a bright and breezy as anyone could be on Sunday, with an especially jaunty guitar line running through it.
The issue of country music lyrics would come up with "No Matter What Tammy Said", where the words of "Stand By Your Man" were rightly pulled up for being wrong. It takes the statement for the fallacy that it is, injects it into a real life situation and then conjures a drama of its own, which is a lot to pack into a song yet My Darling Clementine manage it with some aplomb. With Lou the beaten wife, and Michael the avenging angel who cannot bare to see the suffering, it is perfectly played out on stage with Lou moving across stage to put her arms around Michael as he sings. Once again the effort put in all but ripped Lou's vocal cords apart but that did not stop her throwing in another extended note at the end.
The set would close "The Embers and The Flame" and would draw a rightfully deserved standing ovation - they didn't need to play this show but hopefully in some small way there was some small crumb of comfort to be gained by knowing that there was a lot of love and support out there from their extended country family.
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