The Raleigh News & Observer: Avetts Inspire Devotion

David Menconi, Staff Writer

Usually, by the time the Avett Brothers put out a new album, their more rabid fans already know its songs by heart. The band's typical development process is to battle-test songs at shows before recording. But even the most serious Avett Brothers fans hadn't heard all of their fifth and newest album "Emotionalism" (Ramseur Records) before it was released May 15.

"We've actually held some of these songs back from the show," says Scott Avett, co-leader of the Concord-based band with his brother, Seth. "With technology these days, once you play something live it's out there, if there's anybody there to care."

Where the Avett Brothers are concerned, somebody is always there to care when they play live. Just check YouTube, where searching "Avett Brothers" turns up about 500 performance clips posted by fans.

From their origins as a club act seven years ago, the Avett Brothers have mushroomed into a grass-roots phenomenon. When they played at Raleigh's Schoolkids Records on the day "Emotionalism" was released, fans packed every square inch of the store with scores more people outside trying to get in. Now they're headlining Saturday night at the N.C. Museum of Art's amphitheater, and the last of the 2,700 tickets sold out more than a week ago.

Fans speak out

Avett Brothers fans aren't just avid, they're evangelical and willing to travel. As the Avett Brothers' reputation has grown at festivals like Merlefest, Bonnaroo and Coachella, many of the same faces from back home in North Carolina keep popping up in their crowds all over the country. One big fan is Larry Karnowski, a software developer from Holly Springs.

"At Bonnaroo last year, they were playing one of the small tents and just kept picking up more and more audience," says Karnowski, who also runs the HickoryWind.org music blog. "I finally left at 1 a.m. and there were still 10 or 15 rows of people outside the tent, trying to get in. If you crossed Bill Monroe with the Ramones, their show is like that. Very high-energy and also very personal, from jumping up and down to this very melodic, intimate, introspective sort of thing."

In contrast to the rocked-up string-band music of past albums, the Avetts' more melodic and intimate side rules "Emotionalism." That was one reason they wanted to keep the album somewhat under wraps before the release date, because it's a significant change of direction.

With its choppy strums and dreamy lyrics ("She's fighting with the sky, She thinks she can"), the opening "Die Die Die" could almost pass for college-radio stars Guided By Voices. The brothers' vocal harmonies come close to Lennon-and-McCartney territory on a number of songs, especially "Will You Return?" And "Paranoia in B Major," which the Avetts played on NBC's "Late Night With Conan O'Brien" last month, feels like winsome vaudeville interpreted by Sufjan Stevens.

Call it pop if you want

Call "Emotionalism" a pop record, and the band won't disagree.

"People say we're a bluegrass band and I don't think we ever were one," says bassist Bob Crawford, the non-Avett in the Avett Brothers. "As we've evolved, we've come to something like pop-rock. We've always just done what we do. It's never been, 'Let's try to sound like this.' We've seen where we're heading and maturing to. We're already working on songs for the next album and maybe we'll go even further like this. Or maybe in a different direction. It always seems like we're arriving somewhere without ever quite getting there, until it's time to go elsewhere."

However it's labeled, "Emotionalism" is a solid artistic and commercial accomplishment. It even cracked the main Billboard 200 album sales chart last month. True, it only made it as high as No. 134. But making the charts at all is quite an achievement for the Avetts and their manager/label owner, Dolph Ramseur. In a true act of faith, the Avetts and Ramseur are still operating on the basis of a handshake agreement.

"We've never signed anything with Dolph because we trust each other," Avett says. "He offered to help with some money on a record, [2003's] 'Carolina Jubilee,' which we'd already recorded: 'I'll help you get it pressed and if you like what I do, we'll keep on.' So we have. It says a lot for Dolph as a one-guy operation and the work we've done together. We can be hands-on to a fault. Dolph allows that, and we both need it. We need the room he gives us."

At the same time, "Emotionalism" is the most accessible record the Avett Brothers have ever made. It's also the first time they've used outside producers -- Blue Rags/Donna the Buffalo bassist Bill Reynolds, and Danny Kadar (whose studio credits include Iggy Pop, My Morning Jacket and Chris Whitley).

"We were willing to play ball on this record, taking the advice of people we work with to make it as short and to the point as we can," acknowledges Avett.

Samba?!?

Of course, "Emotionalism" is still 14 tracks and 58 minutes long. And it does have its out-there moments, especially "Pretty Girl From Chile." After a conventionally folksy opening, "Chile" shifts to a samba rhythm and adds an answering-machine message before closing with a crushing electric-guitar raveup. That's a nod to all three members' history in rock bands before the Avett Brothers.

"You know, that's my favorite song on the record because it encompasses the Avett Brothers' circle of life," says Crawford. "The beginning of the song is the way we've been for the past six years. Then there's a bossa samba, which we've never done before, and that hard rockin' element -- which is where we all came from. So it's the present, future and past all in one song. We'll find out what's next."