Carrie Nation & The Speakeasy band review by Alicks Wargood

   If you have been to an Agatha Haag show in the last year or so you may have heard the name of a band mentioned right before their rendition of a song called "Thinkin Bout Lyin'". That name would be "Carrie Nation & The Speakeasy", a Witchita, KS based high octane 'brass grass' band that first caught my attention around 2016 after my not-so-subtle cannonball plunge into folk punk and its variety of culture and styles applied. It was 6 years after they had released their absolute masterpiece (debut) self-titled album. With songs like "Mamma's Little Baby", "Drunkle", "Stop Believing", and "Thinkin Bout Lyin'" I was hooked from the second I heard their conpositions, let alone the very Tom Waits-esk vocal style that I, so openly, adore.

   They have 4 official studio releases all together (that I'm aware of). The aformentioned self-titled album (2010), Hatchetations (2013), Gnosis (2018), and their latest 2024 release Logos. All albums are very consistent yet their growth as songwriters and musicians is abundantly obvious. There are very clear elements of rockabilly, bluegrass, folk, and punk weaved in with a lot of blues and even some Ska influence. With fast paced timing in songs like "Obis (Hatchetations)" and "Gulls Of The Glow (Logos)" to more bluesy lullaby parallel songs like "Got Some Walkin To Do" and "Autumn Wind" (both on self-titled) there's a little something for everyone to enjoy. At times it even seems to have a bit of a metal and hard rock influence, as many folk groups do now a days. 

   August 24th they finished an extensive mid-west tour from their hometown of Witchita to the surrounding northeastern states. It included many legendary mid-west spots such as Tarlton Theatre in Greenbay, WI, The Brass Rail in Ft. Wayne, IN, and High Horse in Louisville, KY. All places that have helped cater to the local, underground, and semi to national act bands for a very long time. 

   The poetic side of Carrie Nation & The Speakeasy is prominent from the first word of their self-titled album to the final word of Logos. They bring rather deep meanings of self reflection, the embracing of anger, the joy of happiness, and even an attempt at waking an absent father. Lyrically Carrie Nation is as thought provoking as any band wearing bigger boots in or out of their respective music scene. 

   The horn sections of Carrie Nation & The Speakeasy are right there at the top of what makes this band so unique. They are not the first OR the last to utilize the instrumentation that they do. However, the have a very nice way of keeping it prominent yet subtle. Where many bands will put the horns at the forefront of the music and (at times) blast you out. Carrie Nation has an almost dreamscape, and at times, haunting approach. 

   My hope is that you (the reader) use this article as a launchpad to blast yourself into their discography and become a fan of a band that you might not have otherwise heard of. Carrie Nation & The Speakeasy is a major influence on me as a musician and a songwriter. It's very rare to find bands that have no filler tracks. These fellas don't have a single one. Every song can get your foot tapping and lock itself into your head. My suggestion for a first track to indulge in is a song I mentioned earlier titled "Drunkle".

   If you enjoy their music take a moment to follow their social media pages and find yourself at one of their shows in the future. 

-Alicks Wargood

Carrie Nation & The Speakeasy is :

Jarrod Starling - Acoustic guitar and drums/washboard
Zachary Starling - Acoustic guitar and drums/washboard
Dallin Bulkley - Standup bass
Garrett Briggeman - 5-string banjo
Josue Estrada - Trumpet
Tyler Grubb - Double solo duties, playing mandolin and trombone 
 
Booking :
redlegproductions@gmail.com

Basic contact :
Search "Carrie Nation & The Speakeasy" on FB

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