Waterloo Records First Listen/ Shakey Graves

Of my recent musical experiences, one was free. I went to my first in-store performance at the new Waterloo Records, planning and taking time off of work to get the chance to hear some of the songs on the new album Fondness, Etc. As social media becomes a dumpster fire, growing bigger by feeding off the never ending fuel source that is our mental instability, it can be hard to remember that good things can come from it. Like free shows! But now that I have a reminder, I find myself filled with the compulsive need to refresh the pages for my favorite spots worrying about missing out.

Whatever, this is supposed to be about a success story, not the ups and downs of mania.

Anxious that I wouldn’t be able to find a parking spot meant that I was on time. Sooo, I ended up chilling in the cafe part of the record store and then chilling in front of the stage for a bit before the set started. I was smart enough to bring a book (The Hole, a piece of weird translated fiction that felt so at home in my physical setting, even if it is about a Japanese woman losing her sense of self within her marriage and the expectations of an idyllic country side life. It was a great contrast and reminder that at least I stayed in the city and did not find myself in a hole in a ground, stuck in a situation of my own impassive making, and as if that is anything different from the life I ended up choosing) and due to its length I was able to knock it out. I found parking, a free show, and had time to read; SUCCESS!

His performance wasn’t bad either. It was a nice contrast to the production at the first show I saw of his. Shakey Graves Day at Mohawk was all about working the sound set up and iconic stage, it included accompanying performing musicians and tv screens with visuals that matched to the songs. Since this was a performance given a day before the release of the record, and was part of a KUTX hosted interview here in town, this was more like a workshop session. You can see in his performance that he was applying the work and theory on how these songs will come together on stage and join his growing catalog. 

Starting off with the interview, he explains a bit of the sound and how he focused on using tape machines to give the vintage feel that he was looking for. Since he is not the only one into it this sound right now, he mentions that the price for a Tascam tape machine may be inflated because they are “pieces of shit,” but with a laughter implying an affection and that they are lovable “pieces of shit” that are worth the price, hassle, and popularity. He shared a personal story about how his grandmother gifted him one when he was younger, and confessed in the follow-up question that first was no longer around and not part of the record (which may have started the whole “pieces of shit” tangent). 

His interview was entertaining for the personal stories that he shared and for including a ghost story. He talked about the history he has around one of the guitars he used for the record, how it was gifted to him with a spirit and ghosts all of its own. There was a journey to repair and now that he has it in playable condition, the road led him to being able to use it on this record. The personals in this story and others shows an openness when discussing how fatherhood has changed him and how in the past he did not pass on the chance of getting fucked up. And with his mom in the audience! Margot Tenenbaum he is not.

He then played a set of about fives songs. Most of which were from the record and filled in with the stories that he will be telling on tour. 

At Waterloo the stage is to the back where there is a fur wall with different color fabric panels in the color scheme of the logo. I bring this up because that fucking wall was killing me with how the panels are not evenly broken up with the blues and whites. If I didn’t have a book, I think staring at the lack of symmetry would have broken my mind beyond repair. 

The stage is platform that is not far off the ground and because of the space, it is intimate. I was three rows back, in a place that probably has five rows if it is a packed set. There were still some tall people in front me, but not all the time so I ended up making uncomfy eye contact with him when he was performing. I am sure the others were digging it, but I was like ewwwww. I hate to be reminded that I am a spectator in a weird social construct with a complete stranger. We are fucking weird primates. 

In spirit of the record it was just him his guitar, kick drum, and a looping machine. He started off with “Time Flies” talking of his family and how this is a cover and written by one of his friends, the musician Franklin Russell Hoier. His third song was “The Boilermaker” and during the performance I could see the concentration and finger work, showing that he is pushing himself. I think most of his fans love the songs of course for its lyrical content, but also because of his skills as a guitar player. He can play with an edge, but even that is one that has an appeal across generations and genres. That is because he can make it twang, for those from the south the listener must concede that the sounds that they are hearing are not unfamiliar in two steppin country.

The last song of the record, was the last song from the record that he played. “No Place to Be” had a story that showed his work and patience. He said that it was his mother’s insistence that he kept it and rolled out those bones to give it structure before renaming and cleaning it up. The last song of the set was a hit from a previous record, “Roll the Bones.” See why I went with the cheesy phrasing that I did? This song is tried and true at this point, so it was a solid performance. His crowd was made up of a group of happy fans, stoked to get his new record the day before, and to get it signed on top of that, so they loved it. 

Don’t get me wrong, so do I. I stayed for the whole set even! I did, however take off as soon as he headed over to start the signing process because my social battery was depleted. I had just enough energy to pick up the used Fatboy Slim record I found and head home to torture my husband with it. As much as I like the music of Shakey Graves, when I like to dance I like it to be awkward and skanky and full of the bass.

Shakey Graves Day 2026

Okay but what if I complain about how this show was not hardcore enough? If seeing Shame at the beginning of the year was a reminder that I am old and not comfortable rocking out with the young fans, then Shakey Graves Day is yet another sign that as I approach my forties I am still clinging onto the Goldilocks mentality. Same conclusion, just a different set up that gets us there.

I like his music, and just like any show that I am leading up to I make it a point to listen to the artist’s discography so I do not come off as a poser. This was my first attempt to see this local but loved musician. I just assumed the sudden pop up date at Mohawk’s was because the artist needed the cash (cause they are starving and all for the craft) but it turns out that in 2012 Austin declared a day in his honor and he takes that as a chance to give back to the community. So this, and his previous shows on the anniversary of that declaration, is just the historical context as to why I look like an ass by jumping to those conclusions.

This year was to benefit HAAM (Health Alliance for Austin Musicians) an important organization that stepped up as a safety net during the pandemic. Although most would like (and I am including myself in this) to imagine Covid as thing of the past in this shitty time line, we all should also acknowledge that it is more important then ever to make sure that all within our community are insured and have the means to use their insurance to take care of their health.

Venue was solid, the weather was better, and the reason for the show is commendable. So what could I even bitch about?

It was sold out and the crowd matched the tone of the music. Rich country roots with a modern sense of urban awareness, the crowd was one that you could imagine is awaiting the second coming of Ann Richards to save this state from its stereotypical conservative ways. They believe in this and other socially aware causes, they can also identify with the lyrical content of Shakey Graves. But more importantly the crowd seemed to match where he may be in life, growing up while his daughter grows up, settling down to give the family thing a try, and sobering up as best as you can given your past and what will be needed of you in the future.

Ugh, isn’t it boring to be reminded that time changes and music takes on new meaning as you move from young adulthood, to adulthood, to old adulthood.

He played a mixture from all his albums, with a hint to new things. His set started out solo, but as he played other songs he called up musicians that would be needed to hambone or blow into a harmonica as an accompaniment. It shows that as a musician he may be writing his songs to what his abilities are, but that his abilities may be varied as he thinks about what else is needed to flesh out the song that he is creating. A guitar here, a kick drum there, and working with others to teach them how you play it - it shows more skill than what may be needed now in the age of AI.

My impression of his music has always been that the stories follow three line of thoughts “I am womanizer looking for the one to save me from myself,” “I booze too hard,” and “they only want you when you are 17 (when you are 21 you’re no fun).” And maybe that isn’t incorrect, since he does tell little tales in between songs to encourage a connection with the audience to a meaning. “Chinatown” is about a friend’s dream apartment that allowed him to crash and dirtbag around while finding himself. Another song is about a girl helping him to settle down, but has new meaning now that he has a two year old daughter (with a cliche realization that one day horn dogs will pull some tired tricks on her).

He talks and flirts with the audience, making them feel that they are in an Austin more idealistic than it really is. You were a rascal, but now you are cool family man (or woman). You have a love worth fucking and swaying with. Cool grown up things of happiness and content.

I hated how loved he is, with so many people there to experience that. They may be able to lose themselves in the crowd but all I could think was, “this is what I get for like a popular artist.” Long lines and being forced to touch elbows with happy couples. Barf, but also good for him for being so appealing and talented. May definitely see again, but here is to hoping no one else shows.