Saint Andrew's Hall Detroit, MI
Contact: virginia@strongworldmanagement.com
Web: thewarandtreaty.com
Players: Michael Trotter Jr., vocals, piano; Tanya Trotter, vocals; Max Brown, guitar, band leader; Jonathan “Bam” Homes, drums; Tom Davis, bass; Terrance “Slim” Holmes, Hammond organ; Chris Collier, guitar; Taylor Shuck, banjo, guitar
The War and Treaty blended Saturday night and Sunday morning when the married Americana duo performed at St. Andrew's Hall in Detroit—one of the several places it calls home—on its Plus One tour supporting its new album of the same name.
Michael and Tanya Trotter began performing together in Albion, MI, back in 2014, and Detroit was the first major market to embrace War and Treaty during its independent days; they even recorded a live album at the now-closed suburban club Otus Supply. And even though the couple now resides in Nashville and is a major label success—a three-time Americana Music Honors and Awards recipient now nominated as the Country Music Association Award's Duo of the Year for a third consecutive time—a hometown exuberance drove the 95-minute show that was also being recorded for future release.
It was all about the love coming from and to the stage as the Trotters and their six-member band tore through 15 songs of its passionate blend of soul, rock, country, and gospel. The show drew primarily from the Plus One album but also featuring hot covers of Creedence Clearwater Revival's "Proud Mary" and Zach Bryan's "Hey Driver," on which the War and Treaty are featured. Hard-rocking sweat and gospel fervor combined throughout the night, from stomping renditions of "Tunnel Vision," "Are You Ready to Love Me?," and "Blank Page" to the vintage Memphis flavor of "Five More Minutes."
And "the church of the War and Treaty" was fully sanctified when the Trotters journeyed deep into the crowd during a lengthy take of "Love Like Whiskey,” hugging and high-fiving fans who were so respectful that, at points, Michael had to reach out and draw them into his embrace.
An emotional rendering of "Home"—proceeded by redemptive sermon about his past substance issues and time in the U.S. Army—left Michael choked up and inspired to sing a bit of the spiritual "Swing Low Sweet Chariot," which Tanya answered with "His Eye is on the Sparrow." That set the tone for the night's closing numbers—extended, powerhouse versions of "Down to the River" and "Can I Get an Amen" that left both the performers and audience wrung out but filled with soul-affirming spirit—and proof that home is indeed where the heart is and not necessarily where the bodies reside.
