Davis and Duvekot Duo Light Up Me&Thee with Their Electricity
 by Cliff Garber  ·  20 November 2006

Well, it was about 11:40 p.m. and I was on a beautiful ride home to Lynn under an indigo sky filled with stars and the streetlights were shining like a million jewels. How appropriate a scene after seeing Antje Duvekot and Rachael Davis share the bill tonight, two young talents and fast-rising stars in a world of folkmusic where once Joan Baez, Judy Collins and others filled those youthful shoes. However, I was terribly compromised as to whose CD I should play to accompany me on my journey home, so I kept switching them back and forth at “red lights only” so I could keep my eyes on the road while driving. Finally I’ve arrived home and just had to write this blog about tonight’s show.

What a fabulous and energetic evening of music it was indeed, and what a contrast in artistic styles, as well. Antje, while very extrovert and having wonderful, witty rapport with the audience, seemed at times very shy and demure. Rachael walked out onto the center of the stage, with her accompanists, Dominic on the base and Brett on the guitar, giggling and bouncing, very “out there” from beginning to end. I adored the stage persona and performances by both of these ladies throughout the duration of the show.

Antje came on first, sort of tangled up in her guitar, looking humorously around the stage as she tried to settle in. She quickly removed her two top layers of sweaters down to her sleeveless top and apologized to the audience for “stripping” because it was very warm in the church and so was she, to which they responded with an immediate outbreak of laughter.

As she began to sing, the lights shone beautifully on this porcelain-skinned young artist with her tall, swan-like stature, reminding me of a young Ingrid Bergman. Antje opened with a set of “happy” songs (behind which you’ll understand the humor in just a moment as I shall explain it), “Pearls,” “Go Now,” “Diamond on Your Hand” and “Dandelion.” As she introduced each new song, mostly blue-mood “break-up” songs of past boyfriends and relationships, she would say, “Well if you liked that “happy” song, this one is even happier,” — thusly, the intended sarcasm from me. Her demeanor was gentle, and the animated humor interspersed between songs kept the audience laughing throughout her time onstage. Though she kept apologizing for what she thought wasn’t adequate self-accompaniment on guitar, all who were there with me will agree that she played beautifully.

The rendition of her song “Christian Boy,” a totally current-day political commentary on President Bush, his administration and faux pas, the war in Iraq and other topics, held the audience thoroughly transfixed and they were “all ears”; they followed with loud applause in agreement at its end. “Judas,” is an updated version of the original New Testament story in Antje’s own inimitable style, (which I find surreal, very Salvador Dali-like). I loved it! Two of her most popular songs, “Jerusalem” and “Hold On” closed the first half of the show. After two encores she left the stage with the audience wanting more.

After the break Rachael Davis came bouncing out onto the stage like a baby deer, beaming in a huge dimpled smile and filling the air with hilarious giggles and squeals. In contrast to Antje’s softer demeanor, Rachael to me is a down-home country kind of gal, more of a black and white illustrator with her songwriting. She used the two ties from her short-sleeved raspberry pink blouse as props during her whole performance, threading them through her fingers as she sang and joked with her two instrumentalists and the audience. As Antje, Rachael played skillfully on the guitar, with the addition of banjo (which is old, rare and was her Dad’s) and ukulele.

Rachael settled down quickly, in contrast to her kinetic entrance, and spoke softly and lovingly of her grandmother as she introduced “Lela May,” which was rendered tenderly and exquisitely. Following this was a “wailing,” rhythmic and passionate gospel-style rendering of “Grandma’s Hands,” a personal favorite of mine. She also did a heck of a job, with Dominic and Brett backing her up, belting out “The Cuckoo” and “Shady Grove,” two older traditional tunes. Rachael’s own “Southern Cross” was magnificent, and the closing tune was a very sensual 1940’s stylization of “All of Me.”

When her single set was completed, Rachael called Antje to join her up on the stage. Together they did a rousing, energetic rendition of a song by Queen, “Fat Bottomed Girls”, followed by a beautiful and soulful singing of Curtis Mayfield’s “People Get Ready. . . There’s a Train A’Comin.” That just soothed the souls of everyone in the room.

At the conclusion of the show I had the opportunity to “hang out” for a while and speak at length with both young women. They are humble and modest about their success, and truly dedicated to their art. Their off-stage persona is as “real” and “down-to-earth” as onstage, if not more so.

All in all, it was a terrific, eclectic, energetic and joyful night out with a duo that should perform together more often, and confirmed by an audience that just didn’t want to let them to get off the stage. I personally hope they will be back again next season. Hey Kathy, book ‘em now!

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