The clink of longneck beer bottles punctuates the murmur of a crowd huddled around the dance floor in anticipation. An electric energy courses through the room as Aaron McDonnell slings his Gibson guitar over his neck and his amp buzzes to life. As the first notes ring out, two-steppers are already in motion, skirts twirling and boots scuffing. This is The White Horse in East Austin on any old night of the week.
“It’s wild and hot and people are spinning around,” McDonnell says. “It feels like you’re in a dream state almost, like you’ve entered a new plane of existence.”
Iconic clubs are more than just venues—they’re sanctuaries for musical communion. And great live albums document moments in time when such hallowed grounds brim with urgency. Take, for example, John Coltrane’s Live at the Village Vanguard, B.B. King’s Live at the Regal, or James Brown’s Live at the Apollo. Beyond showcasing renowned artists in their prime, these records paint a portrait of the jazz scene of Greenwich Village, the blues of South Chicago, and the soul music of Harlem.
Aaron McDonnell and the Neon Eagles’ latest album, Live at The White Horse, follows that tradition by channeling the bustling energy of Austin’s classic country scene. “We didn’t do any overdubs or any fancy editing,” McDonnell says. “It’s the raw tracks.”
Austin has been a honky-tonk town for half a century or more, but the recent renaissance of the culture owes much to the opening of The White Horse in December 2011. Now, the East Austin bar packs the house every night thanks to stacked lineups, and it has found itself at the epicenter of a broader national movement. Wide-eyed tourists deboard planes and make a beeline to two-step at the esteemed establishment, which has landed write-ups in major outlets like the New York Times.
“Two-stepping has always been a thing here, but over the past two to three years especially, it’s really gained popularity,” McDonnel says. “It’s something that people are gravitating towards, not just here, but in other cities that we play: Portland, Oregon, L.A., or New York.”
Ask any two-stepper in Austin, and they’ll tell you: Aaron McDonnell’s music is perfect for dancing, and the reasons shine on the musician’s new record. Above all else, the songs move with cadence that simultaneously demands smooth swaying and quick spinning. The steady snap of the snare and wavering pedal steel notes provide an upbeat rhythm that avoids feeling too hurried. Just like a honky-tonk bathed in the glow of neon, McDonnell’s sound evokes both the thrill of twirling around the dance floor as well as languid evenings spent lost in the moment. Going nowhere fast never felt so good.
“If we’ve created some magic tempo for two-stepping, then we’ve stumbled into that,” the musician says with deference. “I wasn’t trying to find BPMs that were going to be perfect for that, but we’ve always kept that in mind when we’re writing and recording—that we want it to be danceable.”
Ultimately, the album teems with the same rawness as the revered digs in which it was created—and McDonnell will fittingly celebrate the album’s release with a show at The White Horse on Thursday, Sept. 18. Austinites have an opportunity to experience a phenomenon that’s not only central to the city’s identity but also is inspiring music communities across the nation. The fact that you can pick up a vinyl record that documents the moment is just the gravy on top.
“I wanted to champion The White Horse, champion the scene,” McDonnell says of his latest work. “And it’s definitely a thank you to the dancers.”
Great Job Bryan C. Parker & the Team @ Austin Monthly Magazine Source link for sharing this story.
