Ned Evett Treehouse Album Review

By: Matt Warnock

A lot of guitarists have found themselves in this situation. Playing in countless cover bands, becoming frustrated with the gig situations and the music that they have to play every night to make ends meet and not feeling that their artistic side is being nurtured enough by their current performing situation. When guitarist and vocalist Ned Evett found himself in this situation he did what many of us have dreamed of doing, he smashed his Strat onstage, but instead of that being the end of the story, it is only the beginning. Evett picked up the broken guitar, removed the frets and set off on a musical journey that has led him to his entertaining and engaging 2012 release Treehouse, which features 14 tracks written by the talented and creative musician.

As a guitarist, Evett possess a unique tone that comes from his “Globro” guitar, a mirrored glass and steel, fretless Dobro that immediately allows the guitarist to stand out from the crowd in terms of tone, timbre and sonic possibilities on the instrument. Tracks such as “Falling in Line” move between familiar and unfamiliar tones and timbres on the instrument, giving the song a nice mix of the expected and unexpected, keeping the listener guessing as to what’s coming next as Evett leads them through the musical and lyrical content of the track. Though sometimes an instrument such as the “Globro” can be kitsch or sound like a gimmick, in the hands of Evett, this unique instrument not only brings a new realm of sound possibilities to the record, but it never sounds out of place or forced, it is a natural extension of the guitarist’s artistic voice.

The songs on Treehouse, which were all written by Evett, move between blues roots influenced tracks to “get up and dance” rockers. Tracks such as “Dead on a Saturday Night” are sure to get even the wallflowers up on the dance floor as the song’s infectious groove and impressive guitar work reach out and grab the audience by the ears, not letting go until the last note fades from the speakers. Other songs features a more subdued, balladeer type feel, such as the slow and emotionally charged “Say Goodbye for Both of Us.” Here, Evett takes a laid-back approach to the track while still maintaining a high level of musical and lyrically interest throughout the song. No matter what tempo, groove or genre Evett finds himself in on the record, one thing remains the same, the high level of musicianship and creativity he brings to each and every song on the album.

Overall, Treehouse is a strong release for Evett that acts as both an introduction to his music for newfound fans, as well as a set of original tracks that will be welcomed by his seasoned listeners. With a unique instrument, a highly-developed and personalized playing style and a voice that sticks in the listener’s head long after the last note has faded into the air, Evett has firmly planted himself as an artist that is here to stay and one that leaves the listener wanting more from both a songwriting and performance standpoint.