Neko Case and Her Boyfriends @ Off Broadway 8/22

A few months back, David Letterman went on a rampage after seeing a performance by LeAnn Rimes.

“What happened to real country music?” he asked sidekick Paul Shaffer. Letterman then cited all of his favorite country performers who had performed on his show: Emmylou Harris, Johnny Cash, Willie Nelson, Gillian Welch, Rodney Crowell and Dolly Parton.

So when Letterman neglected to mention Neko Case, one might conclude that she had never been booked on the show (by the way, that’s not the case).

Those behind the scenes at the Ed Sullivan Theater should really get on top of that, since Case is one of the best country artists in recent memory.

The Tacoma-based singer has had short stints with a punk-band (Maow) and a roots-rock outfit (the Weasles) before finally pursuing a solo career in traditional country music.

On Wednesday at Off Broadway, Case brought two of her “boyfriends,” including multi-instrumentalist Jon Rauhouse, to help showcase her unforgettable voice and some edgy, angst-ridden songs.

The 19-song set emphasized her new record, the tour-only Canadian Amp, and last year’s sophomore effort, Furnace Room Lullaby.

“If I knew heartbreak was comin’/I would’ve set out running/Cause I just can’t shake the feeling that I’m nothing in your eyes,” she sang during “Set Out Running.” The song is a gorgeous heartbreaker, and is among the best Case has to offer.

She sang the beautiful, end-of-summer lullaby, “Andy,” dropped three new songs from her upcoming record in April,2002 and won the sizable audience over with a poignant version of “Pretty Girls,” from The Gift soundtrack.

The set also included some obvious-yet effective and well executed-covers. Bob Dylan’s “Buckets of Rain” from his seminal Blood On the Tracks record was given a bouncy run-though, while Hank Williams’ “Alone and Forsaken” was played faithfully.

The low-lit atmosphere at Off Broadway was a perfect forum for Case’s songs. As she sang about solitude, heartbreak and dysfunction, the captivated audience hung onto every last word.

The night climaxed with “Make Your Bed,” a poignant song about killing her ex-boyfriend and his new girlfriend.

It’s a slow, country companion to Shellac’s “Prayer to God” with Case vowing to drown the couple in the local river. “I know you can’t swim/But I’ll tuck you in,” promised the singer, as she closed her set of real country music.

Little Milton @ Big Muddy Blues Festival 9/1

As concerts go, blues festivals are strange events.

Each summer, hundreds of them occur throughout the country, with only a few of actually attracting attentive crowds.

As usual, most listeners in attendance on Saturday and Sunday at the Big Muddy Blues Festival on Laclede’s Landing were there to drink some beer and hang out with their friends.

That’s fine, but it does put a bit of a strain on some of the performers who know that only a handful of people have actually come to hear them play.

If drunk enough, the crowd will usually humor the artist with some lighthearted participation, but the music usually has to stand on its own.

At times on Saturday night, blues legend Little Milton Campbell was able to generate a great deal of energy during his 90-minute set, making it somewhat of a success.

He faltered at times, but most of the show was well executed. His old musical partner, St. Louis’ Oliver Sain, joined Milton onstage for the gig, providing some steady, complimentary piano as they tore through a few numbers from this year’s Feel It.

Musically, Milton is one of the most versatile blues artists that one could imagine. He has one of the most killer pop voices of all-time, reminiscent of Otis Redding.

Like B.B King, his guitar phrasing seems like it talks to the audience rather than playing. Adding to that ace combination is Milton’s wonderful songwriting craft that calls to mind the great Memphis soul of Dan Penn, who wrote the achingly beautiful, “Dark End of the Street.”

So when Milton stepped to the front of the stage, clenched his fist and forcefully shouted “Baby you’re a grape/I’m so glad to have you on my vine,” you could feel every word. When stalking onto the stage and taking command of the microphone, Milton was at his very best.

The set came to a bit of a standstill when he sat down and grabbed his guitar, though it was anything but boring.

Milton broke a string two minutes into his first song on guitar, and handled it in impressive fashion.

Faking his way through the extended jam, he proceeded to restring the G in a matter of minutes, before finishing the song. For lack of a better term, it was amazing.

Toward the end, Milton broke out the obligatory “Shake, Rattle, and Roll,” which was a bit misrepresentative.

It is a great song, but the life has been sucked out of it at American blues festivals.

With the important solo material, such novelty really doesn’t belong in Milton’s set.

Milton was basically solid. He’s an accomplished blues figure that is easily forgotten.

In the past, he’s recorded for great labels, like Chess and Stax, and churned out great hits like, “We’re Gonna Make It.” Lately, he’s enjoyed an overwhelming resurgence, with Lucinda Williams, Gov’t Mule and John Sinclair from the MC5 playing on his 1999 effort, Welcome to Little Milton.

Milton dabbles in blues, soul, pop and R&B and has yet to be fully accepted in any of those genres. He may not get the total respect of some of our greats, but he certainly deserves it.