By John Nicholson

Shovels & Rope has a brief Philadelphia history. Last year, the two-piece folk powerhouse came to Union Transfer and brought more noise than any acoustic duo I’ve ever seen — than any acoustic duo ever should. It was passion-filled and astounding and I loved every second. And that was only with one album’s worth of material. This time the Charleston, SC transplants graced the UT stage on the heels of their new Dualtone release, Swimmin’ Time.

With a slew of new guitar-heavy folk tunes and an old-soul-new-country opener in tow, the show was bound for glory. And it didn’t take long to get going. Once John Fullbright took the stage, the packed gothic-style Philly venue turned into an intimate Nashville bar. Flannels, boots, Coors Banquets and everything.

The Oklahoma-born singer-songwriter took us through a deliberately paced acoustic set full of songs that resonated like self-aware confessions. Along with double-bassist David Leach, Fullbright flooded the space with howling story-songs like “Satan and St. Paul,” “Fat Man,” and “Happy”. Each one packed with vivid imagery and classic Americana narratives like murder, the road, puppets and lost love. Sterling and husky, his voice was just raspy enough to lend some additional edge to the searing tunes.

Midway through his set, Fullbright moved to the keyboard and started tickling the ivories with some serious soul and thanked Philly for joining him on this blind date. Because, after all, what else is the opening act?

It wasn’t long before Shovels & Rope made their way out onto the sparse Union Transfer stage. A couple guitars, a small three piece drum kit (a mini keyboard stood where a tom usually would) and two microphones. Oh, and a huge, badass black Shovels & Rope backdrop sheet with bone-style font and two two-headed intertwined snakes. One for each.

They kicked off the uproarious set with the driving, industrial-sounding ballad, “Swimmin’ Time”, from the new album. A minor-key tune with one hell of a build-up and an even dirtier crescendo, it set the tone for the rest of the night.

Instrumentally, Cary Anne Hearst started out with the guitar, while Michael Trent kept powerful rhythm at the kit, blew the harmonica and pummeled the keyboard. All at once. Cary would do the same when they’d seamlessly swap every couple songs. The musicianship is staggeringly impressive, especially considering some of us can hardly clap in time.

The entire set played out like a relationship. There were moments of chaos (“Evil”) and loss, followed by scenes of happiness (“Fish Assassin”), sincerity (“Lay Low”), hope (“Save the World”) and triumph (“After the Storm”). But it was more than that. Each song was pervaded with an integral point: the duo thrives on the fact that there’s nothing to hide behind on stage. Not even one another. If Michael’s not on point, Cary Anne can’t pick up the slack. And vice versa. Unlike a traditional band, there’s not enough room within the songs for it to work that way. It’s all part of the Shovels & Rope lure, part of the live excitement. And Union Transfer swung along the whole time, entranced.

Like their roots, Shovels & Rope never abandoned the classics. A string of songs from the band’s first album — “Birmingham”, “O’ Be Joyful”, Shank Hill St.” and “Tickin’ Bomb” — were just as mesmerizing as they were a year ago. They thrashed, burned and wailed through each tune with bravado and guts. At points it was just plain primal, especially when Michael picked up the electric and turned the gain and distortion way up.

Weathered young performers, they never let it get away from them. In fact, the married couple’s voices blended together so naturally that it’s impossible to imagine they ever had solo careers. The vocal display is the tie that strategically binds together the rugged delivery and sweet emotion behind each tune. Michael’s and Cary Anne’s voices complemented one other’s flawlessly, which is remarkable in itself. But, on top of that, both vocalists have the unique ability to enter equally dark and angelic registers when necessary. Always with grit and an enormous heart.

They didn’t even have to play the whole show. If Shovels & Rope only played the final four songs, every single person would’ve walked out completely and utterly satisfied. “Cavalier” — a moving, darkly visceral song full of plot twists, old-timey imagery, and poetic contrasts — defines their sound. Trying to officially identify a genre for themselves though, they couldn’t.

But the two nearly settled on outlaw country and credited the era as major influence. And it’s impossible to disagree. From the attitude to the sound, they’re clear students and believers of that time. That is, students that’ve recently become fully ingrained in and invaluable to the reinvigorated genre. The first single off of Swimmin’ Time, “The Devil is All Around”, is a testament to that notion. It wrapped up the set with a beautiful bow made of stringy pig tendon and snakeskin.

The two encores brought catharsis, love and devotion to the forefront of the performance. During “Mary Ann & One Eyed Dan” Michael played guitar and Cary Anne kept rhythm. It’s a touching, relevant love song about two young blue-collar outcasts who see boundless hope in one another — an escape from a hard, troubled past. As the song progressed Michael’s face got closer and ever-closer to Cary Anne’s. Strumming and hanging in her ear. She smiling. They’d share a mike, but that’s it. Never a kiss. Never so much tension. The instrumental breaks were excruciating, and it was magic.

“Hail, Hail” capped the night off with a rabid ferocity that only an ode to good old fashioned rock and roll can deliver. Michael’s blistering guitar nearly fell apart in his hands, the crowd screamed along to the chanting refrains (hail, hail thirty-three) and, as always, Cary Anne sang her fucking heart out, grinning all the way to the last.

Their intensity on stage is legendary. Coupled with their raw chemistry and natural magnetism, you could say Shovels & Rope is saving Americana.

By John Nicholson

Shovels & Rope has a brief Philadelphia history. Last year, the two-piece folk powerhouse came to Union Transfer and brought more noise than any acoustic duo I’ve ever seen — than any acoustic duo ever should. It was passion-filled and astounding and I loved every second. And that was only with one album’s worth of material. This time the Charleston, SC transplants graced the UT stage on the heels of their new Dualtone release, Swimmin’ Time.

With a slew of new guitar-heavy folk tunes and an old-soul-new-country opener in tow, the show was bound for glory. And it didn’t take long to get going. Once John Fullbright took the stage, the packed gothic-style Philly venue turned into an intimate Nashville bar. Flannels, boots, Coors Banquets and everything.

The Oklahoma-born singer-songwriter took us through a deliberately paced acoustic set full of songs that resonated like self-aware confessions. Along with double-bassist David Leach, Fullbright flooded the space with howling story-songs like “Satan and St. Paul,” “Fat Man,” and “Happy”. Each one packed with vivid imagery and classic Americana narratives like murder, the road, puppets and lost love. Sterling and husky, his voice was just raspy enough to lend some additional edge to the searing tunes.

Midway through his set, Fullbright moved to the keyboard and started tickling the ivories with some serious soul and thanked Philly for joining him on this blind date. Because, after all, what else is the opening act?

It wasn’t long before Shovels & Rope made their way out onto the sparse Union Transfer stage. A couple guitars, a small three piece drum kit (a mini keyboard stood where a tom usually would) and two microphones. Oh, and a huge, badass black Shovels & Rope backdrop sheet with bone-style font and two two-headed intertwined snakes. One for each.

They kicked off the uproarious set with the driving, industrial-sounding ballad, “Swimmin’ Time”, from the new album. A minor-key tune with one hell of a build-up and an even dirtier crescendo, it set the tone for the rest of the night.

Instrumentally, Cary Anne Hearst started out with the guitar, while Michael Trent kept powerful rhythm at the kit, blew the harmonica and pummeled the keyboard. All at once. Cary would do the same when they’d seamlessly swap every couple songs. The musicianship is staggeringly impressive, especially considering some of us can hardly clap in time.

The entire set played out like a relationship. There were moments of chaos (“Evil”) and loss, followed by scenes of happiness (“Fish Assassin”), sincerity (“Lay Low”), hope (“Save the World”) and triumph (“After the Storm”). But it was more than that. Each song was pervaded with an integral point: the duo thrives on the fact that there’s nothing to hide behind on stage. Not even one another. If Michael’s not on point, Cary Anne can’t pick up the slack. And vice versa. Unlike a traditional band, there’s not enough room within the songs for it to work that way. It’s all part of the Shovels & Rope lure, part of the live excitement. And Union Transfer swung along the whole time, entranced.

Like their roots, Shovels & Rope never abandoned the classics. A string of songs from the band’s first album — “Birmingham”, “O’ Be Joyful”, Shank Hill St.” and “Tickin’ Bomb” — were just as mesmerizing as they were a year ago. They thrashed, burned and wailed through each tune with bravado and guts. At points it was just plain primal, especially when Michael picked up the electric and turned the gain and distortion way up.

Weathered young performers, they never let it get away from them. In fact, the married couple’s voices blended together so naturally that it’s impossible to imagine they ever had solo careers. The vocal display is the tie that strategically binds together the rugged delivery and sweet emotion behind each tune. Michael’s and Cary Anne’s voices complemented one other’s flawlessly, which is remarkable in itself. But, on top of that, both vocalists have the unique ability to enter equally dark and angelic registers when necessary. Always with grit and an enormous heart.

They didn’t even have to play the whole show. If Shovels & Rope only played the final four songs, every single person would’ve walked out completely and utterly satisfied. “Cavalier” — a moving, darkly visceral song full of plot twists, old-timey imagery, and poetic contrasts — defines their sound. Trying to officially identify a genre for themselves though, they couldn’t.

But the two nearly settled on outlaw country and credited the era as major influence. And it’s impossible to disagree. From the attitude to the sound, they’re clear students and believers of that time. That is, students that’ve recently become fully ingrained in and invaluable to the reinvigorated genre. The first single off of Swimmin’ Time, “The Devil is All Around”, is a testament to that notion. It wrapped up the set with a beautiful bow made of stringy pig tendon and snakeskin.

The two encores brought catharsis, love and devotion to the forefront of the performance. During “Mary Ann & One Eyed Dan” Michael played guitar and Cary Anne kept rhythm. It’s a touching, relevant love song about two young blue-collar outcasts who see boundless hope in one another — an escape from a hard, troubled past. As the song progressed Michael’s face got closer and ever-closer to Cary Anne’s. Strumming and hanging in her ear. She smiling. They’d share a mike, but that’s it. Never a kiss. Never so much tension. The instrumental breaks were excruciating, and it was magic.

“Hail, Hail” capped the night off with a rabid ferocity that only an ode to good old fashioned rock and roll can deliver. Michael’s blistering guitar nearly fell apart in his hands, the crowd screamed along to the chanting refrains (hail, hail thirty-three) and, as always, Cary Anne sang her fucking heart out, grinning all the way to the last.

Their intensity on stage is legendary. Coupled with their raw chemistry and natural magnetism, you could say Shovels & Rope is saving Americana.