Review: Hurray for the Riff Raff, Trinity Centre – ‘Gives roots music a damn good shake’

Over the past fifteen years New York’s self-described ‘nature punk’ Alynda Segarra has traded under the name Hurray for the Riff Raff, adventuring around the world, penning curb-side poetry and giving roots music a damn good shake. They land in Bristol, acoustic guitar in hand, backed by an impressive trio and a burning heart full of raw truths.

The set is almost entirely devoted to their fantastic new album, The Past Is Still Alive, and it’s played in order, from start to finish. That means there aren’t too many surprises but it also means the whole set unfolds like the perfect road movie, the most beautifully-plotted novel.

Alibi and Buffalo are the exposition, a bit of scene-setting before the real action. Both are fine slices of countrified rock, Segarra’s voice easing into the night as the sun sets outside, but neither really hint at what’s to come.  Sure, there’s slide guitar, a delicious twang and a ferociously strummed acoustic but Segarra is really just finding their feet.

Hawkmoon is introduced as being “one for all the queers” and, as if by magic, Hurray for the Riff Raff click into place. The country plod is replaced by a John Hughes 80’s teen-flick urgency; huge drums and an even bigger chorus project love and fun in shimmering neon.

Rhododendron has that 80’s sass too and, thrillingly, it almost has the snotty, grimy kick of The Replacements at their poppiest. The slide guitar bounces around like a recently rescued dumpster puppy.

Picasso said one has to “learn the rules like a pro, so that you can break them like an artist” and, just like all the most thrilling artists, Segarra takes the rules and bends them to their own will. Dynamo feels like a straight-up country song but all the clichés are under-cut, stood on their heads as soon as you listen to the words.

Does “she’s a modern bandit/regular dynamo” confuse the bar-chatterers and the man-bun-hipster-beard-sleeve-tattoo blokes? It’s hard to tell (they’ve already been mightily confused by support act Nnamdi and his beatsy vocoder pop) but Segarra couldn’t care less because those who get it, REALLY get it.

Colossus of Roads is wide-screen Lana-rock with added Suzanne Vega acoustic guitar while Snakeplant uncoils with a blue-light clamour: it’s a “nothing can stop me now” anthem. Segarra’s voice just gets better and better as the night goes on, becoming more certain, more full and incredibly expressive.

And then, just as you think you have Hurray for the Riff Raff sussed, Hourglass starts the Lounge Act section of the show. Segarra becomes a velvety crooner backed by twilight drums, a twinkling slink and crunchy glitchy guitars. Then The World Is Dangerous requires we flick on our internal glitter ball. It’s an end-of-night shard of disco heartbreak, Segarra bathing in the devastation.

Sprinkled amongst the tracks from The Past Is Still Alive are a handful of dusty gems from the HFTRR back catalogue. The Body Electric is a slo-mo acoustic punker, all Ani DiFranco ferocity and indie buzz guitar, while Small Town Heroes is simply an alt-classic.

Finally, Pa’lante demands that we “feel something”. It lurches from a gentle start, through huge drums, a choppy Kinks-y waltz and massive crunching guitars. All the time with its fist raised, support for Gaza ringing in the air and a celebratory sense of the epic.

The Past Is Still Alive is, clearly, an incredibly important album to Hurray for the Riff Raff and, tonight, Segarra shakes the country rock template until its teeth rattle.

Main photo: Dave Parmiter

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