The one and only Reverend Peyton and his ‘Big Damn Band’ find a delicious balance.
Bands like Mumford and Sons, The Avett Brothers, the North Mississippi All Stars, the Black Keys and even Kings of Leon (before they got too arena-ish) have all tried to create nostalgic moods using simple instruments and sounds that elicit thoughts of front porches, campfires, and sitting on tree stumps playing your ass off while the jug with three xxx’s is passed around.
But the key is to not only evoke the vibe of the front porch, but to try and carry it forward and bring the feel of this exceptional indigenous music to the modern day, while putting a personal spin on it. That’s Reverend “Joshua” Peyton‘s aim to a tee. He wants people who hear his Big Damn Band to get not only a shining glimmer of the past, but also a big flash pot of the present.
There isn’t really another act out there like Peyton’s Big Damn Band. They’re a rousing, unabashed, highly-animated trio that delivers a unique mix of blues, ragtime, folk, country and do-it-yourself, punk-fueled rock. Led by Peyton’s large, carnivalesque, bearded look, astounding finger style guitar playing and extremely unique vocals, the Big Damn Band is rounded out by Peyton’s wife, Breezy, with her gloved thimbled hands pickin’ on a mean washboard, and drummer Ben “Bird Dog” Russell, who augments his small drum kit with a five gallon plastic bucket fitted with drum hardware. They would feel at home on the album cover of The Doors’ “Strange Days” for sure.
But rest assured, you have never seen anything like the Big Damn Band before. And after a dozen or so year run exhaustively playing over 250 dates a year and churning out more than half a dozen records, it may all have finally come together with their latest country blues fueled romp, “So Delicious.” Peyton’s intended delivery of retro meets the modern day with a twist all their own has finally jelled just the way the Reverend was hoping it would.
“I’m really proud of (the new record), I felt like when it was done, I was just like, you know, if people don’t like this, I think they just don’t like me,” said Peyton, 34, during a break out on the road. “That’s all there is to it, I just don’t what else I can do. This is the most me of any record we’ve ever done, I’m just really proud of the songs, I’m proud of what it’s about, I’m proud of the innovation on the finger style, I’m proud of the way the band sings the background vocals, I’m proud of it all, just top to bottom. At this point during a record I’m usually kinda like ehh, wish we’d done this, wish we’d done that. I really just don’t have anything like that with this record. I just feel like we finally did one just like we should. I also feel like there’s a little bit of somethin’ for everybody on this record, that’s somethin’ I’m kinda proud of too, ya know.”
And that’s key to Peyton, that he and his band don’t come off like a retread act, but combine the charms of the old with the dynamics of the new and appeal to a bit wider audience. “My whole goal whenever I do anything is timelessness. I don’t want it to sound necessarily like there was an era. I want it like maybe you could have come out of any decade. That’s my goal, is to make timeless music. Make it feel timeless.”
Peyton is a finger style player, a rare breed of guitarist that uses the technique of playing the guitar by plucking the strings with the fingertips, fingernails, or picks attached to fingers, as opposed to flatpicking or picking individual notes with a single pick. He has worked hard to perfect the style and has reached a point where he is proud of what he’s able to do, and sometimes, even who he is able to fool.
“The guitar playing might not sound overly difficult, but it is,” the good-humored Peyton told me. “It’s alot harder than it sounds. It’s one of those things where I’ve never heard anybody else finger pick in quite that same way before. It’s all one guitar, the whole record. i Tunes editors, they gave the record five stars, but they talked about the interweaving guitars. And it made me laugh, because there is no interweaving guitars, it’s one guitar. I love that. I was able to literally trick music reviewers into thinking that it was two guitars, or maybe three! To me that’s part of the idea, is to take finger style to places that people can’t believe. But also write songs that are accessible, that aren’t just songs for musicians to listen to and go, oh man, this guy’s cool. Listen to him play guitar. I want to make songs that are accessible, that you don’t have to be a music nerd to be into it.”
After playing guitar as young boy, Peyton’s hands betrayed him in his late teens, and his guitar playing future looked like it was in real jeopardy. “I was lost for a while, almost two years, I didn’t know what I was gonna do. It was cysts that grew on my tendons. Why, we don’t know. Both hands. And on my left hand which was the worst, they were almost miscroscopic and they caused all this scar tissue to grow. And once they were cut away, man, I was fine. It was all after I’d been playing guitar for years. I started giving lessons when I was 13, and this happened when I was 18. But I met Breezy one week after my hand surgery. Things were looking up.”
Peyton has a stable of heroes that he has modeled his unique sound after that reads like a who’s who of country blues. But for him, it always comes back to not letting yourself get mired in reproducing the same ol’ music. It’s cool to pay homage, but it’s critical to put your own exciting and individual, contemporary spin on it.
“When we say country blues, they don’t know what that is,” Peyton continued. “It means rural blues, really, it starts with people like Charlie Patton, John Hurt, Furry Lewis and Fred McDowell, Bukka White. But over the years, I don’t want to just be like a museum piece throwback to that. I’m never one to be that. I want to be next in line. I work really hard to take the concept, those styles, the finger style country blues guitar, and really try to take it to places it has never been, with new melodies, new fresh stuff, not just the same old regurgitated stuff.”
And as for Peyton’s very distinctive, idiosyncratic vocals, well, just play the song below and you’ll see what I mean. And it leads this wonderfully energized, fun loving band right down the path the Reverend wants them to go.
“I just sorta sing from real deep in my gut. It’s wild, that’s just the voice I got. I think some people they think that’s it’s like affected or something. It’s the just the voice that I got. I was told one time by someone who was trained and they said that I actually sing in a similar way to an opera singer. A beat down like an operatic singer does. And I think some musicians as they get older, they get tired, or they get burned out. I feel like I’m just gettin’ warmed up, you know. I’m figuring myself out.”https://www.youtube.com/watch?v=–x4QYPQaHI
Reverend Peyton’s Big Damn Band performs Saturday May 2nd at The Hamilton, 600 14th St NW, Washington, DC 20005. For tickets, click here.
Steve Houk writes about local and national music luminaries for WashingtonLife.com and his own blog at midliferocker.wordpress.com. He is also lead singer for the successful Northern Virginia classic rock cover band Second Wind plus other local rock ensembles.