Nicole Atkins’ Mondo Amore CD is a churning, caustic tempest in a teacup. Atkins’ songs rarely stray from the mid-tempo rock setting, but there are two very strong traits that elevate this record far north of mediocrity. One is Atkins’ voice. Working within the relatively thin constraints of her vocal timbre, Atkins nonetheless has tremendous range. The other thing that sets this record apart is the unusually engaging arrangements of the songs. These two strengths are intertwined throughout the record as it is Atkins’ compelling and personable voice that frequently leads the charge when a song makes an unexpected turn. There is nothing operatic or show-bizzy at all about Atkins’ vocals. Sly humor and punch drunk convictions illuminate her lyrics and she puts it all across with a gritty, down to earth style. Musically, this is reminiscent of 70s hard rock, with guitars and drums heavy in a mix that also features piano and an array of swirly strings and vintage keyboard sounds.
The disc opens with “Vultures” where we find Atkins alternating between ominous panther purring the creepy quiet verses and the measured caterwauling of the song’s catchy chorus. “You Come To Me” is another track that illustrates the full spectrum of Atkins and her band in full flight. Early in the record resides the lone ballad on the disc, the ghostly “Motel Plaster”. I suggest you catch your breath there while you can because the rest of the record is a lusty and shamelessly enjoyable bruiser. Enter at your own risk: Press ‘play’ and almost immediately you’re like a rag doll in a clothes dryer. You will get roughed up a little along the way and you might even emerge a little more ragged than you were at the outset. But good rock n roll should be a physical experience and oddly cleansing at the same time. One of the stronger cuts on the album, “My Baby Don’t Lie” features Atkins’ bluesy wail and homicidal lyrics that place her squarely in the Blues tradition of woman-done-wrong-now-seeking-revenge. With its foundation of acoustic guitars, harmonica, a pulsating drum beat that’ll make you stomp your feet, and Atkins’ blue note howl, the song is a direct descendant of Led Zeppelin III. They haven’t made rock records this good for over three decades. With its brilliant blend of soaring vocals and theatrical rock, this record could almost pass for a lost Heart album from the 70s. But even that is selling it short as the soul and heft of Atkins’ craft are far better than even that comparison could ever insinuate.
Nicole Atkins and the Black Sea will perform two sets at this year’s Bonnaroo Festival. Both shows take place on Sunday afternoon with the first of the two scheduled for 1:30pm on the Other Tent stage. A short time later they will appear on the much smaller Sonic Stage for a half-hour set to commence at 4:30pm. The larger stage will be the perfect setting for Atkins and crew to give full voice to their most bombastic tendencies. But the Sonic Stage is a much more intimate setting. Despite the mid-afternoon in mid-June setting of an open-air stage set up under the blazing hot Tennessee sun, the Sonic Stage is quite small and it is here that fans have the opportunity to get much closer to the stage. In that regard, it provides the closest thing to small club setting as you are likely to find at Bonnaroo.
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