My relationship with bluegrass music is ever changing. Initially, the term bluegrass brings to mind such stereotypic imagery that it kind of leaves a bad taste in your mouth; pretty much put every southern stereotype in a blender, hit frappe, and you have what most everyone thinks bluegrass is. I was initially put off by the connotations, though age and experience have shown me the diversity of the genre. While there may be a place for every type of artist in the genre (or any genre, of course), bluegrass is more than the chewing tobacco, knee slapping banjos, and bib overalls that my area portrays it as being.
Case in point: Nickel Creek. The now defunct Grammy winning trio doesn’t look like what you would assume a bluegrass trio would look like, which added to the element of surprise when they first came out onto the scene in the early 2000s. Three cute teenagers who can play as well as adults? Well, those three teenagers grew into three adults who made the record of a lifetime in 2007’s Why Should the Fire Die?. Anthony features one of the few leads for the only female in the group, Sara Watkins, who is able to elevate whatever material she’s given, Anthony being no exception. Though the song is a slender 2:02, it has more of an impact than some songs twice its length. A bittersweet tale of learning to accept a rejection, it’s easygoing, sing-song demeanor disguises the grit of the material. Based on the James Joyce story of the same name, Eveline is a darker listen, which is the style in which the group shines the most. Whereas Anthony was stark and even close to sounding incomplete, Eveline packs a ton of layers (especially the stunning harmonies) into its frame. It’s not necessarily a loud or overproduced listen, however; it’s the type of listen that gives you something different each time, i.e. a different instrument stands out or a lyrical phrase gets even more depth than it already has. Helena takes the opposite perspective of Anthony; instead of focusing on the pursuer, we find a regretfully pursued narrator who doesn’t understand the effect his actions have had on the heroine. It’s one of the listens most close to being pop/rock (the inclusion of the drums toward the end brings this out), but it’s a definite Nickel Creek listen (those harmonies are unmistakably country) and probably the most lyrical song on the record. With two very distinctive halves to the song (the sullen first and defiant second), it’s a truly interesting listen, even in a psychological way.
Lyrically, the most noticeable trend of the record is the emergence of dark humor, a trait that the typically reserved trio didn’t fully utilize until this album. Somebody More Like You takes the more subtle approach to cutting someone down to size, sounding like a pretty decent midtempo with an optimistic message. The lyrical barbs sneak in and kind of put the rest of the song in another light. They’re not exactly breaking off some Don Rickles-esque insult comedy, but it’s a cleverly bitter song that is more complex than meets the eye. Best of Luck is one of the songs on here that’s an actual duet between two of the vocalists, as opposed to being one person singing lead and the other doing harmonies. It puts me in mind of a moodier, slightly overproduced Sheryl Crow/Dixie Chicks offering, extremely melodious with hints of sunshine peaking through the cracks. The vocal interaction may be a plus, but the song would have worked with only one singer, as it’s catchy, wildly insightful, and just out and out a strong listen. Doubting Thomas will resonate with anyone currently going through or recovering from the quarter life crisis. Have I wasted my youth? What’s coming up for me? Will I be able to grow? All of these and more are answered in the surprisingly vulnerable lyricism, interpreted wisely by Thile. He may get most of the shine from Nickel Creek but not undeservedly so, as his vocals are typically subdued yet expressive. The calm-after-the-storm production is delicate and the musicianship is put on the backburner for a meditative experience.
Instrumentals are another area where Nickel Creek typically produce positive results and Why Should the Fire Die? introduces three more to their small but impressive catalog. Grammy nominated Scotch & Chocolate shows both sides to their musicianship. You get the luxurious, elegant part to the group and the blistering, intricate part to savor, neither side overshadowing the other just as no member outshines the others here. Sometimes it kind of feels like Chris Thile and his back-up singers in terms of lead vocal distribution, but they’re on an equal playing field here and Thile’s furious mandolin is no more important than Sara’s lush fiddle or Sean Watkins’s soft guitar. Stumptown is more of an agreeable, good natured listen that had single potential if vocals would have been added. Nonetheless, it’s a solid yet unspectacular instrumental that feels very cohesive. Of the instrumentals, it’s the one with the most blended sound; this toe tapper sounds more what you’d think bluegrass would sound like but don’t think of it as being derivative or bland. It’s bluegrass from their perspective, which inherently makes it intriguing. First and Last Waltz almost qualifies as an interlude, clocking in at less than 2:00. The instrumentals are spaced evenly throughout the album, so it wouldn’t be surprising if each was meant as an interlude/transition piece between parts of the record. Waltz is distinctive and haunting, mystically produced and tenderly played. It wafts and wanders, as the tempo slows down and the thoughtful creeps in.
Sadly, Nickel Creek broke up in 2007 after many years playing together, but they certainly left on a high note with Why Should the Fire Die?. Moody, brilliantly played, and cohesive, the album shows off everything that worked for the trio. After a disappointing sophomore effort that was slightly too pop-influenced to really stick to your ribs, Fire eschews bright, shiny hooks and easy to hum melodies for thoughtful (and sometimes sarcastic) lyricism and gritty melodies. It may not be the most accessible album to be released, but it transcends the genre label and is simply a strong record. The group may not be getting back together anytime soon, but this last waltz was everything a fan could have wanted and more.
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