Good Sounds Come in Small Packages

Renee McCullough, Jim Robeson and Jason Byrd blend blues and country into heartfelt songs.

    

 

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Renee McCullough is a tiny lady, with pale blond hair and sleepy eyes.

And then she starts to sing, a soft, sweet voice with the faintest hint of something suggesting a slight Southern accent, undertones of Stevie Nicks and Jewel.

When she and her backing band, featuring Grammy winner Jim Robeson on bass and Jason Byrd on acoustic and electric guitar, it was something to see.

Playing a set of originals and covers, all with a bluesy-country vibe, McCullough and the guys have an understanding—she's the front, they're the supporters, but it's clear all are comfortable in their roles. And McCullough is a gracious leader, stepping aside every few songs to let Byrd and Robeson share the spotlight.

McCullough opened their second set with a John Prine song, "Paradise," she demonstrated that she can play as well as she sings, rocking side to side with her acoustic guitar. Bassist Robeson complimented her plaintive singing with a gentle harmony, tender but not timid, while playing his backless electric bass.

Stepping away from the microphone for a glass of white whine, Robeson and Byrd played a handful of songs, including a cover of Roy Orbison's "Dream Baby." Robeson has a great velvety blues voice that can carry just enough twang to do the man with the omnipresent black sunglasses justice, and Byrd, trading his acoustic guitar for an electric one, used just enough echo to make his guitar sound like he was playing with a slide, adding depth without being too showy.

Byrd then took over the microphone, singing a cover of Reba McEntire's "How Blue," tuning his guitar by ear and singing with a voice not as deep as Robeson's but still clear, refined and sharp.

At this point McCullough rejoined her backers, picked up her guitar and launched, with a giggle, into another song.

This is an ensemble that is comfortable playing together, regardless who is singing lead. Robeson's bass is steady without too much syncopation, providing a rock-solid foundation on which McCullough can layer her vocals with Byrd's skilled guitar.

It was at this point it appeared something was missing--- there was no percussion, no drummer to keep time. Robeson and Byrd didn't need it. Both men were focused on their parts, not even tapping their toes, but kept their songs in perfect time. Impressive to say the least.

When she is standing in front of them, McCullough is clearly the star. But she is gracious, commenting between songs on the talent of the men accompanying her. This is a strong trio.

She's got a big voice singing another original song, "Pink Room," from her 2009 debut album, "Cool Me." Eyes closed, swaying back and forth, she's remembering something.

Here again she takes a break, leaving the microphone to Byrd, who launches into an original song of his own. He is wistful here, a slight smile that comes and goes, sounding a little like Ryan Adams, lyrical and poetic but not sappy. At the end of the song, Byrd apologizes for having to read the lyrics off some paper on the floor, this is a new song and he's still bringing it to life.

McCullough is as bubbly off stage as she is on. Sitting in a booth between sets, she's enthusiastic about playing and is quick to say she opened for Jack Ingram at the Birchmere in Alexandria. She's also very proud to be the recipient of a few awards from the Washington Area Music Association, including a few awards for her song "Baltimore."

"I'm doing more festivals now, playing some wineries, but I come back and play here about once a month," she says, adding that the owners of Cowboy Café are "my friends, my family."

More information on Renee McCullough, along with samples from her "Cool Me" CD, is available at www.ReneeMcCullough.com.