Energetic and electrifying clawhammer banjo, bass, percussive dance, storytelling songs both old and new, with nuanced, emotive vocals. An intimate yet robust evening of old-time and blues inspired folk music, hilarious anecdotes, and virtuosic dance performances anchored by Keith’s Body Music and Evie’s step dancing.
“(An) arrestingly fun show…bursting with talent…The crowd clearly loved the energy from the performance, as every song, dance solo, and mid-number banjo breakdown was following by vigorous clapping and hollers.” – Smile Politely
“You don’t often hear words like “traditional,” and “authentic” paired with “innovative” and “unique,” but Evie Ladin & Keith Terry have brought them together brilliantly in the self-titled, debut album of the Evie Ladin Band, and the result is truly a high point in new old-time music.” –FOLKWORKS
“Her rich and smoky voice resembles Natalie Merchant’s, and her songs are as fetching as Nancy Griffith’s…they’re all catchy, with mature lyrics and skilled phrasing.” –OLD-TIME HERALD
The polyrhythmic heat of Evie Ladins clawhammer banjo, resonant voice, real stories and rhythmic dance have been heard from A Prairie Home Companion to Celtic Connections, Lincoln Center to Hardly Strictly Bluegrass.Known as a driving force behind San Francisco’sStairwell Sisters, Evies second solo release Evie Ladin Band (2012) debuted at #12 on the Folk-DJ Chart and won the IMA Vox Pop Award for Americana Album of the Year.
Keith Terry is a renowned percussionist/rhythm dancer and the founder of the International Body Music Festival.A pioneer in contemporary Body Music, Keith is the Artistic Director of Crosspulse, producing large-scale intercultural collaborations, educational outreach and more.
“Using any surface for it’s rhythmic possibilities, Terry claps his hands, rubs his palms, finger-pops, stamps his feet, brushes his soles, slaps his butt and belly, pops his cheek, whomps his chest, skips and slides, sings and babbles and coughs, building his music out of a surprisingly varied register of sounds and clever rhythmic variations.” –VILLAGE VOICE
“Ladin’s voice is a revelation. Clear, strong, delicate and emotive all at the same time…her exemplary examples of adult love songs deal with complicated subject matter, yet never lose their swing or get bogged down by maudlin sentimentality. In fact, the music is gorgeous.”–NO DEPRESSION
EVIE LADIN/EVIL DIANE adds Erik Pearson to the duo, making a trio of remarkably talented and quirky interpreters who tease out gorgeous beds of new trad music. Erik Pearson (guitar, banjo) is a musician’s musician, and plays with the Crooked Jades and Mushroom. In live performance, Evie Ladin/Evil Diane is a demonstrative, delightfully gorgeous storm.
EVIE’s in-depth HISTORY
This is a girl who grew up falling asleep on a pile of coats in the corner of the music party or square dance; her childhood home in Northern New Jersey had an open door to folk musicians playing anywhere near. This is a girl who ran barefoot through muddy festivals, soaking up traditional American music and dance in the rhythm of her step, in her sleep, as the backbone of life.
This is also a girl, a teenager in inner-city Baltimore, with the pulsing roll of early hip hop high school cafeteria, a girl drawn to Africa as a place where music and dance are social communication, the way she grew up. In Nigeria she showed people her clogging and body percussion, and it opened doors to myriad creative collaborations. Years later, she is synthesizing these deep, sometimes disparate influences into her own music – grounded in tradition, emboldened by experience, flying freeform in the modern world.
This becomes obvious in the first moment of the album. I Love My Honey, exhilarates the listener with soaring harmonies above a mesmerizing trance-inducing banjo, all of it anchored by a funky half-time rhythm on the cajn (wooden percussion box). Evie got the song off a recording of fiddler Santford Kelly released by The Field Recorders Collective. In Kellys original, he strums his fiddle, pizzicato style, inspiring Evies approach. His whoops and hollers in the name of love were the selling point, and Evie gives it all shes got.
I have a very strong old-timey aesthetic, I know what good stringband music sounds like, but I also listen to a lot of world music, old and new country, indie rock, soul music scenes that often dont overlap that much. I like a lot of interesting new treatments of Americana and traditional music; well-played, well-phrased music is just good. In making the album, the music that was old-time had to be real old-time, but I also needed to let songs stretch toward a pop aesthetic, a more contemporary aesthetic. The mix of the two can be very exciting.