Review: Béla Fleck and Abigail Washburn – Béla Fleck and Abigail Washburn
By Tony Cardwell, Contributor
(Rounder Records; 2014)
Rating: 8/10
Key Tracks: “And Am I Born To Die,” “Banjo Banjo,” “Pretty Polly”
Béla Fleck and wife Abigail Washburn have both been releasing acoustic Americana music for quite some time, but their latest self-titled release marks the first time the two have released music together. And boy is it satisfying.
I’ve always had an affinity for folky Appalachian Americana; having followed some of the more popular southern folk groups, I had certain expectations. Béla Fleck and Abigail Washburn shattered them all.
The two basically only use acoustic banjo; this barebones approach is very extremely refreshing. The couple doesn’t go for a “dueling banjos” approach either. The strings are synchronous with each other, creating a relaxing wall of sound just seeping of Appalachian folk.
The in-sync banjo playing really steals the show on Béla Fleck and Abigail Washburn. Both Fleck and Washburn can play the hell out of the banjo and their technical prowess and talent really shines on the instrumental tracks, “New South Africa” and “Banjo Banjo.”
Both tracks are perfect examples of how a hick instrument can be played in a way that makes the whole genre of Americana seem like refined debutantes. The banjo playing on this record is superb. Almost everything about it reminds me of fancy southern 1800s galas and I for one see nothing wrong with that.
As for lyrical content, the duo takes liberties with past Appalachian folk songs, with “Pretty Polly” dating back to the early English colonization. The covering of more classic tracks becomes a given at this point; a large majority of folk artists cover more classic songs. However, Fleck and Washburn transform the olden tune “Pretty Polly” into something completely different. Washburn sings with an air of pretending not to care; yet there is an evident yearning in her voice. She’s telling a story from an outsider’s point of view, the pain making it feel as though she’s narrating the murder of a young girl aptly named Polly.
Beyond “Pretty Polly” and the cover of “Working On The Railroad,” the two bring all new content to the audience. Lyrically the songs are not all that overwhelmingly powerful; the subject matter is all too familiar, yet the way Washburn sings creates an incredible sense of delicacy.
In particular, the track “And Am I Born To Die” exhibits Washburn singing about her fear of death. She sings in such a way that is very reminiscent of eulogy; Washburn expects that she will die but she continues to live on. The song is prophetic and touching; the delicacy and the sadness in her notes carry insurmountable weight. Even her wails of understanding create an immensely overwhelming feeling of sadness.
Béla Fleck and Abigail Washburn is an incredible album, if you’re into this small niche of banjo-only Americana. The album pigeonholes itself into yet another niche by never playing with any upbeat tones; that being said, I found myself enjoying every part of this record.
Even though the songwriting is archaic, “What Are They Doing In Heaven Today?” especially, and the record is very niche, the LP is still a very compelling piece of music. The banjo on the record is incredibly well performed and Washburn’s voice is angelic. If you have ever enjoyed the soundtrack at a Cracker Barrel, give this a listen.