This Low Cut Connie article was written By Steven Loftin, a GIGsoup contributor. Edited By Jake Willis.
Primarily, Low Cut Connie have been synonymous with one thing: revitalising Rockabilly and bringing a fresh face to something that should have died out a long time ago. On their third outing, ‘Hi Honey’, they have taken what has come to be expected of them, and grown with it. Known for their raucous live show, and with sleazy lyricism, they’ve mildly gone away from this and, as stated in a previous interview, they’ve “…still kept one foot in the gutter…”.
Low Cut Connie consists of frontmen American piano player Adam Weiner and born-and-bred-Brit Dan Finnemore. Together they somehow created an illusion that the 60’s are still alive and kicking, and as sleazy and bluesy as ever.
The Album opens with ‘Who The Hell Is Tina’; at only a minute long it is a bluesy, piano and gospelesque vocal-led ditty, which then folds neatly into the lead single from the record, ‘Shake It Little Tina’. At this point, Low Cut Connie don’t really step away from the dive-bar sound, but rather embrace it, with the classic rockabilly grooves and gang vocals that will have you telling everyone on the street to “shake it…”.
If you aren’t dancing by this point, you certainly will be as the album progresses and Low Cut Connie kick things up a notch. The lyrics get a little more serious at points, not so serious that you find your groove being challenged, but just enough to show that this band is growing in the right direction.
The comparisons to be made with this band are endless, with riffs and grooves fit for The Black Keys, lyrics that wouldn’t be amiss on an Eagles of Death Metal record and the Jerry Lee Lewis piano stylings that make you wonder exactly who Weiner sold his soul to. A range of bluesy topics are covered on the album; from being broke (‘Danny’s Outta Money’), to sorting your life out (‘Dumb Boy’), and even threatening to bite someone because you’re so infatuated (‘Taste So Good’).
This record has everything that you either do or will love about this band. The chords are perfectly aligned to make your soul boogey a little and give you the inclination to jump on the nearest table and thrust your hips. Ending with ‘Both My Knees’, a classic, happy-go-lucky foray that dwindles toward the end and then picks up into a faster paced version of itself before dropping you in a daze of bar smoke and just wanting even more.
‘Hi Honey’ has the ability to take Connie from the dive-bars and catapult them straight into the wider eye of everyone who should, rightly so, be in love with this band.