​Nick Evans Mowery - Midnight Faces

​Nick Evans Mowery

Midnight Faces
self-released; 2024

​By ​Dino DiMuro

Nick Evans Mowery is a songwriter, guitarist, and studio musician living just outside of Music City USA: Nashville, Tennessee. His style is “gritty blues rock with a groove,” and his newest album is titled Midnight Faces.

Starting on guitar at age 12, Mowery learned at the feet of such artists as Steely Dan, Tower of Power, Bob Dylan, Van Halen, Jimi Hendrix, and Eric Clapton. He’s also a Berklee College of Music alumnus, as well as majoring in music/guitar performance at the Ohio State University. His back catalog includes 20 albums and many singles. In addition, his songs have been covered by many other artists, and his music has featured in countless TV shows and movies (he sent a list; trust me, it’s long!). This album was recorded, mixed, and mastered at Tangent Boy Studio in Murfreesboro, Tennessee, using Pro Tools Ultimate.

Mowery wastes no time getting the good times started. “Midnight Faces” ironically reminds me a LOT of the Faces (Rod Stewart’s old band) with its rollicking piano and chunky Ron Wood-style guitar. Mowery’s vocals are pitched lower than Rod’s, but he’s got a classic blues-rock voice, with a touch of David Lee Roth’s swagger. Toward the end, the dueling guitars feature a taste of that Creedence melodicism. “A Guilty Heart That’s Tryin’ to Change” moves into more funky territory à la Little Feat, with all instruments cycling and chugging through wild, irresistible riffs. The bass is a standout with a trebly Rickenbacker tone and swooping runs.

“Carolina Blue” is what I’d call Road Blues, with a jumpy forward momentum elevating its fairly basic structure. Jagged lead guitar insinuations make this a standout. At this point, I’m starting to wonder who the other players are, as the keyboards and drums continue to shine. There’s an interesting ending featuring seagulls and waves. “Shirley Jean” goes back even further for a swing era excursion in that classic Dan Hicks style, including ukuleles, mandolins, and resonator guitar (I’m guessing, but that’s how it sounds!). Actually, by lowering his delivery to almost a whisper, Mowery really does sound a bit like Rod Stewart. Other cool moments include distant harmonica and a string section. A surprising but wonderful changeup.

“Brainworld” features a VERY prominent kick drum beat with slices of jagged guitar chording. Mowery isn’t looking to reinvent the blues wheel, and that’s great, as he takes these classic tropes and dresses them up with his compelling vocals and wild but refined riffage. Lots of vocal “whoop-whooping” in this one! “Let Him See You Smile” begins like the Beatles track “I Got A Feeling,” but quickly morphs into a bittersweet ballad with some of Mowery’s most sincere vocals and heartfelt playing. I love the Dylan-like harmonica break! His chorus call-and-response is so vivid I thought it was my wife calling out from behind me! “Southern Fried Funk” sounds exactly like you’d expect from the title. Not only can you hear chickens clucking from the guitars; you can practically smell the grease from a pan of deep-fried legs and thighs. Mowery sings here with some of Dr. John’s gritty authority.

“Woman Child” manages to sound like both the Animals (“We Gotta Get Out Of This Place”) and the Doors (check that nasty organ!) at the same time. The psychedelic era is evoked with reverb-bathed fuzz guitar. A simple song that’s really a basket of hooks. “Perfect White Square” ends the album (as I’d hoped) with a gentle piano ballad with music like Paul McCartney during the “Let It Be” sessions. This may be my favorite Mowery vocal as he describes the empty space where a photo of his lover once hung, with a dramatic catch in his throat. Pedal or lap steel elevates the song even further. I hate to name-check The Eagles, but there’s also a bit of “Desperado” here, which I admit is not a terrible model.
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Lovers of blues rock will not be blue after hearing this one! Recommended!

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