Adam Weiner released a public statement regarding the release of the latest Low Cut Connie album, Livin in the USA. His declaration is too long to quote here, but I recommend that observers interested in the role of artists during war and hard times check it out. Weiner is angry, energetic and eloquent. So is his music.
Weiner declares the new record to be a protest against prevailing authoritarian social conditions and a party album that reclaims our right to rock. This begs the question: what is the role of a musician when the world turns darker every day? Think this is an overstatement: swipe over to your favorite news source and tell me things don’t seem worse than the last time you looked. Weiner, who had been in the news as one of the first artists to boycott the Kennedy Center after President Trump took it over, and who had a public concert in Pennsylvania canceled because of his political speech, takes politics personally.
Weiner preaches out of private conviction. This album is not propaganda but an expression of emotional truth. In the most strident cuts, such as the title track, “Human Condition”, and “Little Freakers”, he’s blunt. Presumably addressing the nation’s chief executive, he spouts, “This motherfucker / Say it right to his face / Dumb nazi prick / He’s just a walkin disgrace.” Calling the President an MF, a Nazi, and a dick; one cannot be more direct than that. This and the other songs work because one can feel the singer’s passion about policies that separate children from their families, put people in detention camps, and suppress truth & individual creativity.
That’s only part of the picture. Weiner also wants us to get down, get naked, and get funky. He seductively reminds us that it “Can’t Be Wrong” to enjoy more fleshy pleasures. What good is freedom if one doesn’t feel and act free? The singer is ably joined on vocals by Amanda “Rocky” Bullwinkel on this and the other eight tracks. Her enthusiasm does more than shade Weiner’s proclamations. They frequently cause him to turn it up a notch to keep pace.
The rest of the band do their best to keep things moving and grooving. Ace guitarist Will Donnelly plays lead on about half the tracks and makes his presence known through his slithery talents. While in some respects Low Cut Connie is somewhat of a one-person band (Weiner wrote all the words and music), the other players’ contributions make Weiner a better performer. This is important to note.
Apparently, the inspiration for the album began with Weiner doing a more basic version of the song “Livin in the USA”. His earnestness overwhelmed the joy inherent in the music. He was right to turn it into a band number with drums, bass, and guitar to accompany his piano playing. The rock element adds to the urgency of its message of alienation.
This sounds a little Bruce Springsteen-ish (with the E Street Band or without), and the Boss certainly seems influential here, in fact. Weiner name-checks “Born in the USA” in his accompanying declaration. One can easily hear New Jersey rock’s impact on the proceedings, especially “Palpitations” and “Let me Speak to Bobby”. Weiner hails from roughly the same part of the Garden State as Springsteen, so the sound seems as natural as ocean waves and distant dance tunes.
The role of the artist during challenging times is to resist and inspire. Livin in the USA provides a soundtrack to the struggle. It may be ragged at times. There is an off-the-cuffness to the effort that suggests fooling around is more important than keeping strict time. That’s part of its charm and part of the protest against authoritarianism. This ain’t Chuck Berry’s anthem by the same name, although it shows the same love of country even as it decries how much the nation has deteriorated in recent times.