Hamtramck Korner Bar, Hamtramck, MI
November 3, 2017
There was certainly a lot of love in the room as assembled fans and friends gathered to celebrate the release of Detroit area singer-songwriter Carmel Liburdi’s new CD Insomnia Slumber Party. Liburdi is a gifted lyricist and songsmith who knows how to connect with her audience. She writes tunes that are personal and somewhat confessional, with a broad appeal that most folks can relate to. Affairs of the heart, religion and self-reflection are some of the prime topics of her songs delivered with a sense of irony and whimsical introspection.
The place was packed and, after some introductory pleasantries, she jumped right into the title track to her latest release “Insomnia Slumber Party.” Armed with her trusty acoustic guitar, Liburdi dove into the folky, laid-back rhythms with ease. It’s a small tale—perhaps a personal account—of two people who find themselves fatefully together at the end of the night after the other partygoers disperse. She appeared to have the crowd dialed in from the get-go and followed that up with a wry and lighthearted tune called “This Song is About You.” The tune had a ragtime Tin Pan Alley vibe where she puts a cad in his place with the line “You dirty cowboy riding atop your trusty steed; I need you now, boy, but it’s a want more than a need.” Talk about turning the tables!
“Umbrella Tattoo” contains vivid imagery and a dream-like rapid stream of conscious lyrical delivery. As she refers in her own song, it’s like “grunge pop punk played on acoustic.” “Sewerstar” is kind of progressive in its structure and how it takes several twists and turns in mood and tempo. Liburdi whips out her ukulele for the cute and somewhat surreal tale “The Vine.” She cleverly observes various fruits and vegetables within a garden and gives them all human qualities, not unlike Simon and Garfunkel’s classic social observation “At the Zoo.” This woman can write about pretty much anything and give its characters purpose and integrity. Toward the end of this tune Liburdi also played “mouth trumpet” and brought the house down. “Zoe” followed and was another catchy piece, with a light rock and boogie edge.
The last two songs in her set really played to the emancipated woman. In “Not for Consumption,” she pulled no punches singing the line (after defending her position in an encounter with someone) “I’m here in the now. I don’t know why and I don’t know how.” “Genuine Creep” closed the main part of the show and was probably one of the more poignant songs of the night. Love is confusing sometimes as she sings, “I’ve shown I can love even if I can’t love you.” And then in the next breath she emotes, “When you think I’ve moved on and I came back to you. That’s just what I do.”
She concluded with an encore from an earlier release called “Ice Cream in Heaven.” It was a clever little number where she called up acoustic bassist Gwen McPhee and percussionists Mike Land and Phil Warren to help her out. Actually, at a few select points earlier in the performance, Liburdi received a little help from those friends as well.
Carmel Liburdi is a unique and singular talent. She can, essentially, carry her own as a solo performer and is totally authentic and believable. Aside from her obvious songwriting prowess, perhaps that is her biggest asset.