Music News & Reviews

Kim Richey at Natasha's offers an antidote to Derby Eve hype

Kim Richey's visits to Lexington date to shows at Lynagh's Music Club in the mid-'90s.
Kim Richey's visits to Lexington date to shows at Lynagh's Music Club in the mid-'90s.

Kim Richey, Jason Tyler Burton

9 p.m. May 4 at Natasha's Bistro & Bar, 112 Esplanade. $15. (859) 259-2754.

Do you have plans for something a little less confrontational, a little less boisterous for Derby Eve? If so, here is the show for you.

Performing at Natasha's on Friday night will be Kim Richey, a strikingly literate and honestly emotive Americana singer-songwriter. The Grammy- nominated, Ohio-bred Richey, who was a schoolteacher before devoting her working life to music, has forged a Lexington fan base for some time.

Her first local appearances date to the days of the defunct Lynagh's Music Club and coincided with the release of her self-titled debut album in 1995. Since then, she has recorded with Ryan Adams and Shawn Colvin; her songs have been cut by Trisha Yearwood and Maura O'Connell; and her music has been featured on TV, in episodes of Dawson's Creek and Buffy the Vampire Slayer.

Along the way, Richey's recordings have shed numerous stylistic skins. Her debut album fell somewhere between radio-friendly commercial country and an alt-country movement that was gaining momentum during the mid-'90s.

Since then, some albums took a more pointed pop path (1996's Bitter Sweet) while others became massive critical hits (1999's Glimmer). Richey's newest work is 2010's Wreck Your Wheels. It's a sleeker, introspective work that is the best recorded example to date of her wonderfully descriptive singing, which at times recalls another popular pal with whom Richey has clocked recording studio time: Mary Chapin Carpenter.

The title track to Wreck Your Wheels is especially reminiscent of Carpenter's warm, settled introspection. But the song possesses a beat and edge that give it a very distinctive rhythmic stamp.

Other highlights on Wreck Your Wheels include the dark, loose blues groove that percolates in Circus; the plaintive waltz that dances about in 99 Floors; the hushed shuffle that enhances the everyday but worldly imagery of Keys; and the record's most country-conscious work, Leaving.

Not up for the glitz of a formal Derby Eve party or the ear-crunching charge of Friday's Staind/Godsmack smackdown at Rupp Arena? Then Richey's reserved country meditations should prove a comfortable and inviting fit.

The Old 97s, Sam Roberts Band, The County Line

8 p.m. May 4 at Headliners Music Hall, 1386 Lexington Rd., Louisville.$18. (502) 584-8088.

So you have decided that you simply have to be in Louisville on Friday night regardless of whether you're headed to the Derby on Saturday. If so, the city's primo Derby Eve bash comes to us courtesy of some longtime Texas pals.

About the time Richey made her first Lynagh's appearances, one could also catch some of the first regional shows by the Dallas brigade known as The Old 97s. Steeped in the immediacy of cowpunk but versed in multiple generations of pop, the band was a barroom delight, with singer Rhett Miller performing like a cross between Buddy Holly and David Byrne.

Since then, there have been flashes of crossover popularity and a parallel solo career by Miller. But on a series of albums for the New West label, the most recent being the fine The Grand Theatre: Volume Two, The Old 97s' vast pop vocabulary and the electric immediacy that comes to a head during live shows continue to thrive.

Longtime fans need to check out the media page of the band's Web site (, though. It offers a free download of a 1996 concert record at Cicero's in St. Louis that showcases exactly what made these Dallas pop upstarts so much fun to begin with.

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