Kuumbwa Presented Concerts
Independently Produced Concerts / Rental Calendar
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Friday, September 29, 2017 @ 7:30 PM
Elizabeth Cook didn’t quite know what she was doing. But she knew there were songs, and they had to get out. Six even years since her critically acclaimed Welder, as well as much personal tumult, there were songs that needed to be born.
“If anything, (Exodus) is a pledge of allegiance for the bad girls and the Homecoming Queens who got caught in a scandal. It’s a bill of rights, and a testimony for those good girls who got away with more than they should have.
“I’m slow, and getting slower,” laughs the lanky blond, unapologetically. “I’m taking my time, really drilling down. There were nine versions of ‘Methadone Blues.’ I’ve never done that before. I love that entrenchment and dedication – and I wasn’t going to do any less than what needed to be done.”
From Dexter Green’s (also the album’s producer) opening electric guitar, equal parts foreboding and fraught, “Exodus of Venus” hurls a churlish witness to erotic upheaval and the drives that subsume our best notions. “Exodus” is an exhortation of sexual surrender that pushes past the brink of reason.
For fans of the Florida-born’n’raised Cook, a Grand Ole Opry regular, SiriusXM Outlaw Country hostess and David Letterman favorite, Exodus of Venus will be something of a shock. If she maintains the tang of her drawl, what emerges – beyond Cook’s always vibrant and vivid sense of detail – is a song cycle soaked in turpentine, musk and honey.
From the sweltering tumble of B-3 on the funky, shuffling “Methadone Blues” to the elegiac dignity of “Tabitha Tuder’s Mama” and the Velvet Underground on fire bristle of “Brokedown in London on the M25,” Cook’s shouldering a deeper passion for the state of living today – and the crashing into the wall reality we all go through. If in the past Cook relied on wit and a certain dogpatch charm, Venus commands a raw knuckled truth that’s even more searing.
“There hasn’t been a lot to laugh about,” confesses the effervescent songwriter who once penned “It Takes Balls To Be A Woman” with equal parts Dolly Parton pluck and Loretta Lynn brio. “Things have been heavy and dark, and I feel really different. I aspire to be more than clever or dark or poignant, but to be honest. I want that to supersede everything.
“Emotionally, mentally, physically – it’s all been tested,” she continues, “and it set me up straight. It was hard, but it’s a good thing. Really hard lessons in resilience… All of it is in the record.”
That resilience rises like steam from the narcotic “Dyin’,” as Cook professes her by any means necessary strength, “Gonna be a diamond, gonna make hay/ If you don’t like it, gonna do it anyway/ Gonna put on the pistols, gonna cause a scene/ Gonna goddamn save the queen…” Flowing from there to the attenuated starkly haunted “Evacuation,” a slow build of defiance that eschews the easy for holding onto one’s roots – and casting a parallel with New Orleans’ own spirit that mines a deep desire to live, die and celebrate where one’s essence lies.
Doors at 7:00 pm