With a gift for poetry like Townes Van Zandt, and a penchant for a whimsical, progressive approach to bluegrass, Robbie Fulks releases a stunningly entertaining, brilliantly-balanced, deep, yet instantly-engaging comeback album called Gone Away Backward.
You never know exactly what you’ll get with Robbie. It maybe be something along the lines of swing or rockabilly, or it may be a full album of Michael Jackson covers like his last release Happy. If you’re confused already, that is right where Robbie wants you; intrigued, guessing, and on your toes about what’s coming next, with the long-time Fulks fans following him since the first slew of late 90′s Bloodshot albums fully knowing whatever it is, it is going to be good.
Gone Away Backward will appeal to a wide swath of enlightened music listeners, from the old time, traditional, and bluegrass crowds, to the Americana and NPR upper crust, and to post punk roots fans with its cutting themes and adept acoustic styling. The message of Gone Away Backward as inferred in the title is one of the broken promises of fame, wealth, and the downfall of the city—drawing on the long-standing country yearning for simplicity, but contemporizing it with relevant language and themes. Like Woody Guthrie, Robbie Fulks uses an intelligent sense of perspective to canonize the common man and their eternal struggles.
And maybe most importantly, Gone Away Backward exudes a lot of leadership. This is a bold album, while still being sparse and simple. You can complain about how bad modern country music and Nashville are—and Robbie has done plenty of that in his time—or you can offer a healthy alternative. If you want an example of how traditional country music can still be relevant, fresh, and appealing in 2013, look no further than Robbie Fulks’ Gone Away Backward.