The Hotdamns

...And Justice For Y'all

Record Review by Alex Pudlin

In the often cryptic world of songwriting, a straightforward song can feel like a refreshing glass of juice. Virginia’s The Hotdamns, as purveyors of the literary trappings of Country music, know a thing or two about concise tunes. On their second EP, …And Justice for Y’all, the songs each contain stories or at the very least a central character with a point of view. When utilized to good effect, such as on album opener “Yes I Do but Not With You,” the crisp lyrics pull you right in. David Hughes’ tome about a man’s drunken insistence on independence from his woman is relatable to women and men alike. The hoedown stomp of the music adds to the songs’ comical look at man’s stubborn nature. However, when the subject matter is more serious, the songs come off as precious at best and downright corny at worst. Just look at “Grandaddy.” Songs about Grandads are great and all, but it’s damn near impossible to take Hallmark lyrics like “the pain in your hips cause the pain my heart” seriously enough to appreciate the song’s well-intentioned sentiments. At least the mandolin strumming and fiddle work are inspired.

Likewise, “This Here Heart” and “Hit and Run” parallel each other in their simplicity, with the protagonist bearing some of the responsibility for her misfortunes in the former and absolving herself of all blame in the latter. Perhaps not coincidentally, all the aforementioned tracks feature a heavy dose of singer Danielle Ahart. When left without the balance of David Hughes’ baritone, Ahart’s earnest tone and lyrics make a somewhat hokey combination. On tracks where Hughes and Ahart share the vocal duties or at least feature more prominently into each other’s songs, the effortless harmonies provide a counterpoint to the more banal lyrics. On “Gina Lynn,” Ahart’s support of Hughes’ lovesick entreaties adds dimension to the sound. It also helps that the strong structure features a creepy breakdown with tremoloing mandolins and an appropriate dose of empty space, before transitioning into a half-tempo stomp to close out the song.

The more The Hotdamns rely on their instrumental layers, the better the result. They are all excellent musicians, with Kelsey Miller’s Robbie Robertson-influenced guitar work taking the cake. For an EP, there’s enough quality sounds and vocal tones here to overcome most of the lyrical shortcomings, and present The Hotdamns as a viable alternative to the Toby Keiths of the country world.