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Reviewed for Wireless Bollinger

Justin Townes Earle’s debut album The Good Life was a great introduction to a songwriter who has lived a chaotic life following in the footsteps of his of namesake’s Steve Earle and Townes Van Zandt. Now comes his sophmore effort which takes the key strengths of the first record and refines them into a beautiful collection of songs.

Midnight At The Movies opens with the title track and a gorgeous stepping melody. It is an early sign that his voice is in much finer form on this record. It is richer and more relaxed with that world weary tone that the best country and folk singers seem to possess. The  laid back honky tonk of ‘What I Mean To You’ follows and with a chorus to die for, or at least sing along to. It invokes a lazy afternoon in a saloon complete with a whistling solo.

Earle’s particular skill is how he can effortlessly shift between country, folk, rock n roll and blues styles. The change of tempo into ‘They Killed John Henry’ is barely noticeable but it is almost pure hillbilly folk with finger picked guitar and a take on the traditional story of John Henry who became a symbol of the working class. In contrast to that is the last track ‘Here We Go Again’ which is a swooning ballad  similar in style to Ryan Adams. The hints of gospel over a spare backing of acoustic guitar and upright bass is a moving finish to the album.

The two songs that form the centrepiece lyrically and musically of Midnight At The Movies are ‘My Mother’s Eyes’ and ‘Can’t Hardly Wait’. The line “I am my father’s son, I’ve never known when to shut up, I ain’t fooling no one” opens ‘My Mothers Eyes’ and it is the most autobiographical Earle has ever been, especially in addressing a topic that the media have often chosen to write about over his music. His father’s battles with addiction and Justin’s own wayward ways have of course been the food for journalists to feed on so perhaps this is his way of dealing with it and moving on. He plainly states that he has had a fractious relationship with his dad, and that both of them are to blame, and in the song he comes to the realisation that he is as much his mother as he his his father and hence become a more balanced person.

‘Can’t Hardly Wait’ is a song that will stick in your mind, one of those annoyingly pleasurable melodies that works its way into your memory cells and decides to stay a while. The vibe of Calexico casts a net over the song with its twinkling banjo and dusty desert shuffle. “Hurry up, hurry up, ain’t you had enough of this” he sings in harmony with a female voice and the logical answer (if one was required) is no, not yet! It is one of the catchiest songs of the year and an example of how Earle can weave a gorgeous melody both vocally and instrumentally.

Earle is a renaissance man in the sense that he has taken and mastered many of the old forms of Americana and performs them exceptionally well. Indie bands increasingly drink from the Americana well yet Justin is able to live within and genuinely use the genres to create new original songs. In lesser hands he would be accused of pastiche and imitation but Midnight At The Movies bypasses any thoughts of an imposter.

Earle’s playing is masterful and ‘Halfway To Jackson’ hits the chugging blues and rock n roll of Elvis and Cash with a fresh, crisp swing. It dances lightly from the speakers and it reaffirms the lasting impression from his live show of a man who knows how to play a guitar. He plays with finesse and clarity and he can maintain both of those abilities at speed.

Midnight At The Movies gives a more rounded insight into who Justin Townes Earle is. It is a clear step up for the maturing songwriter and it paints him not as the wannabe star of a famous musician but as a hopeless romantic, nostalgic poet, exceptional guitarist and acknowledger of mistakes. It is a timeless collection of exquisitely recorded songs that deserve to be recognised for their grace, honesty and beauty.