• Over The Rhine
• 7:00pm Seating / 9:00pm Show

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ABOUT OVER THE RHINE

After more than 15 years making music, it’s obvious Ohio duo Over The Rhine is in it for the long haul, and for keeps. Their commitment is underscored by their latest, The Trumpet Child, and its opening track, “I Don’t Wanna Waste Your Time,” a manifesto of sorts for the artists recently named to Paste magazine’s list of 100 Best Living Songwriters. Look no further than the lyrics to this track for what animates Linford Detweiler and Karin Bergquist, the married couple at the heart of Over The Rhine: “I hope this night puts down deep roots / I hope we plant a seed / ‘Cause I don’t wanna waste your time / With music you don’t need.”

Over The Rhine may not be a household name, but to call the act’s followers “fanatical” would understate the point, and they’re not shy about converting the curious. Why? For starters, there’s Bergquist’s torchy, devil-may-care voice, brimming with Midwestern soul, unafraid to lay bare every emotional resonance. And again, there’s the life-and-death commitment dripping from her every word. “I’m either into it or I’m not, because there’s no faking it with me,” Bergquist notes. “Life’s way too short for that.”

Detweiler and Bergquist’s evocative, earthy songwriting and impassioned delivery is at its finest in The Trumpet Child. The new record is a collaboration with ultra-talented Nashville producer/arranger Brad Jones (Matthew Sweet, Josh Rouse, Ron Sexsmith, Richard Julian, et. al) and celebrates American music in the most richly imaginative ways.

“We love a good song, period,” Detweiler notes. “ It could be an old country tune Patsy Cline is singing on an old jukebox in one of our favorite Kentucky dives; it could be Lightnin’ Hopkins grumbling over a timeless blues riff; it could be Sachmo, the dignity of his voice and the joy in his horn; it could be Tom Waits kicking up the dust on the hardwood floor of a grange hall at some imaginary revival meeting—it can be all over the map musically—but what ultimately keeps us interested is the mystery of the song itself.”

Over The Rhine began in 1990 as a more conventional four-piece rock band, albeit one far more in tune with the nuances of songcraft than its three-chord, grunge-era contemporaries. “I was continuing my education, considering my masters degree, when this tall, lanky fella approached me about singing lead for some rock band in Cincinnati,” recalls the classically trained Bergquist. “I didn’t just jump at the chance. I lunged.”

Adopting the name of the gritty neighborhood Over-The-Rhine, where the foursome found fertile soil, the group quickly became a local sensation and graduated from sold-out weekend club dates to opening tours for Adrian Belew and Bob Dylan. Two lavishly packaged independent records later, the young group signed to IRS, which re-released second record Patience with its original artwork, a first for the label (and a tribute to the vision and attention to detail which has always marked the band).

Seeking artistic autonomy, the band returned to independence for Good Dog Bad Dog, a collection of glorified demos and home recordings that nonetheless eventually outsold the band’s three previous IRS releases combined and knit the band tightly to its fanbase, which, by then, had come to hang on the group’s every move. (A collection of recordings—live, and otherwise—offered exclusively to fans bears witness to the band’s ardent, enduring cult.)

The next few years found the band pared to its core duo of Detweiler and Bergquist, as the two locked arms with likeminded fellow travelers Cowboy Junkies, touring as “honorary members” of the group, and released their Virgin/Backporch debut, Films For Radio. Next came Over The Rhine’s magnum opus, the double album Ohio, “a deeply moving, maddening, and redemptive work of art, and necessary, ambitious pop,” as All Music Guide’s Thom Jurek put it in a 4.5-star review. The intimate, living-room record Drunkard’s Prayer followed—recorded, literally, in the duo’s Cincinnati living room—as the sound continued to expand beyond rock to encompass elements of country and jazz, punctuated by Drunkard’s Prayer’s final track, a moody, late-night reading of “My Funny Valentine.”

In terms of The Trumpet Child’s themes, Detweiler says, “On this project, I think we returned to the quintessential stuff that’s always interested us in our writing: spirituality, sexuality, living vividly, challenging the status quo and subtly taking power away from those who have too much and transferring it to people who have too little.”