Lucky Tubb & The Modern Day Troubadours
Gig Seeker Pro

Lucky Tubb & The Modern Day Troubadours

Band Country Americana


This band has not uploaded any videos
This band has not uploaded any videos



"Album Review: Damn The Luck by Juli Thanki"

If your name is Griffey, chances are you’re a ballplayer. Kennedy? You’re a politician. And if your last name is Tubb, well, your legacy lies with country music. In addition to patriarch Ernest, Justin, Billy Lee, (aka X. Lincoln), and Glenn Douglas are a few members of the Tubb clan who’ve worked in the family business. Lucky Tubb is the most recent Tubb to join the industry. Grandnephew to Ernest, Lucky is–to paraphrase the chorus from the album’s title track–“backslidin’ to 1950” with his own modern brand of honky tonk. His star is rapidly on the rise; having opened for artists including Ray Price and Dwight Yoakam, Tubb is currently on tour with Hank Williams III and the Damn Band, which—sad but true—is introducing him to a larger audience than he had playing with Hank Sr.’s old buddy Price.

On sophomore album Damn the Luck, Tubb’s voice bears a resemblance to Ernest’s, however, it may to some degree be an exaggeration of his regular voice. His first album, Generation, features a more on-key Lucky displaying a somewhat wider range, even yodeling (perhaps he had a tonsillectomy in the intervening years a la Uncle Ernest?).

There’s a more overt nod to his lineage than just Lucky’s voice, though. The liner notes mention that his Auntie Rosa “blessed [him]” with over 70 recordings of various Tubb men that he never even knew existed. Of these 70, Lucky chose four that especially spoke to him to cover on Damn the Luck. Three of these were written by his uncle, Glenn Douglas Tubb. Glenn Douglas is quite the prolific songwriter, penning hits for Johnny Cash (“Home of the Blues,” is just one), George and Tammy (“Two Story House”), and a host of others. Not content to stay firmly within the boundaries of “unadulterated” country music, Tubb flirts with rockabilly on the toe-tapping “Annie Don’t Work No More,” written by Ronnie Wade, another relative.

Lucky doesn’t restrict his choice in covers to kinfolk; he also offers up a version of 1966 Mel Tillis’ vicious kiss off “Sweet Mental Revenge.” It’s pretty hard to go wrong with such a well-written song, and Tubb doesn’t disappoint as he matter-of-factly sings ”Well I hope the train from Caribou, Maine/Runs over your sweet love affair/You walk the floor from door to door/And pull out your peroxide hair” while the late Steve England’s pedal steel cries behind him.

The covers are a highlight of the album, but Damn the Luck’s six original tracks aren’t half bad either. Don’t expect any waltzes or tender love songs; the bulk of young Tubb’s work centers around being lovesick to the sounds of the country music pantheon: Bob, Buck, Merle, and “ol’ JC” (Jesus? Close…Johnny Cash) are all referred to in one song or another. At least in those songs, Tubb’s on the right side of the steel bars.

“Huntsville” is based partly on the five years Tubb spent rattling around Texas correctional facilities for possessing fifty-plus pounds of marijuana. Something of a non-love letter, “Huntsville” has Tubb wondering who and what his girl on the outside is doing while he spends his time “Wonderin’ if [he’ll] make it through the night” and fending off the “Mexican wantin’ to make [him] his wife.” Okay, so maybe Lucky Tubb isn’t the next great songwriter, but his songs are simple and catchy, and the fact that he’s backed by an excellent barroom band (his Modern Day Troubadours) makes them even more enjoyable. Of special note is fiddler Natalie Page Monson, who joins a pining Tubb on dancehall duet “Bakersfield” and contributes throaty, sassy backing vocals to juke joint ode “Honky Tonkin’.”

Those looking for Ernest reincarnated may be disappointed with Damn the Luck; he may have both feet planted in the family tradition, but Lucky’s his own man. Fans of solid country music with a strong traditional influence are going to be disappointed too…that the record is only 35 minutes long. -

"Gillian's Blog"

Tuesday, June 23, 2009 at Toad’s Place in New Haven, CT &
Wednesday, June 24, 2009 at the Music Hall of Williamsburg, Brooklyn NYC

WHADDA SHOW! The energy was off the charts! Lucky Tubb and the Modern Day Troubadours were fantastic! It’s a testament of how talented all of these musicians are to be so good so often. Every show since my first Hank III experience at the Knitting Factory in 2005 I say it’s the best show I’ve ever seen. Last tour I got to meet and hang with him, Joe Coleman and Bob Tyrrell on the tour bus. I can’t really see it getting any better than that. This tour brought the heat.

Lucky TubbLucky Tubb is handsome and charming and talented. He did a tag for The Full Metal Racket Show that my friend DJs for and it rocks. His set was tight and his musicians are fantastic. Natalie Page Monson got some pipes! Casey Gill on the Doghouse Bass is one cool guy. JW Wade on Lead Guitar nearly lit that thing on fire! And Eddy Dunlap played Pedal Steele like he was born to do it. They nailed the sets and we loved them for it. Such a great way to start a tour I’ve been anxious for. It’s been a hard ass winter and the dark songs on Damn Right and Rebel Proud pulled me through it.

As usual, Hank did not disappoint. I’m used to being front row and to the side of Joe Buck (if you don’t know who he is learn. now) but he’s no longer playing with Hank III (le sigh). So I planted myself front & center for both shows and it was quite a ride. At Toad’s place they had this asinine chest-high metal gate in front of the stage. Our ribs hit that thing so much from being moshed upon they hurt for days after. Aaah show scars. Gary came out and sang a new song with Hank called The Rebel Within. Then Lucky Tubb came back out to sing Family Tradition with Hank III. For those of you who don’t know their story, Lucky is the great nephew of the country legend Ernest Tubb, who had Hank Williams Sr on his Midnight Jamboree shows. Seeing the new generation sing a Hank Jr. song was fanboy cool. -

"Post Rock: Hank III Live Last Night"

By Juli Thanki

In 1949, country music legends Ernest Tubb and Hank Williams toured together, bringing honky tonk to the masses. Sixty years later, their kinfolk are stepping up to fill some pretty big cowboy boots.

Shelton Hank Williams III could be his grandfather's doppelganger if it weren't for his ponytail, foul mouth, and tattoos. Williams and The Damn Band played 90 minutes of frenetic country and "hellbilly" music such as "Crazed Country Rebel" and "Pills I Took" before literally letting his hair down, swapping acoustic guitar for electric, and beginning a second lengthy set accompanied by his hardcore metal band, Assjack.

This combination of disparate genres drew a crowd, in Williams' words, composed of "the kids in black, the grandmas, the rednecks, and the bikers;" though a fair percentage of the crowd left after the country set, there was a surprisingly large cowboy hat and Pantera shirt-wearing demographic that appreciated Williams in both his country and metal incarnations.

(Read the rest of the review after the jump.)

The stellar opening act was Lucky Tubb, whose relation to great-uncle Ernest can be heard the second he opens his mouth. He and four piece backing band The Modern Day Troubadours alternated classic-sounding originals with covers from the family songbook including "Walking the Floor Over You" and "Used Up Love" (the latter's composer, uncle Glenn Douglas Tubb, penned several songs for Johnny Cash for over two decades).

The two joined forces for a pair of songs much to the delight of the crowd: Lucky Tubb original "Damn the Luck" and a cover of Hank Williams Jr.'s "Family Tradition." The current slick and superficial Nashville crowd may turn their noses up at these men, Williams, Tubb, and the thriving hellbilly movement have little use for them either. As III sang, "Not everybody likes us/But we drive some folks wild." - The Washington Post


Generations, 2004
Damn The Luck, 2008

Honky Tonkin
Damn the Luck
Used up Love



LUCKY TUBB AND THE MODERN DAY TROUBADOURS “If Ernest Tubb is the King of Honky Tonk music, then Lucky Tubb is surely the Prince” Choosing to carry out the legacy of his great-uncle, Lucky’s style is reminiscent to the raw and original country style of the earliest Nashville artists. Before music row forgot their heritage. Lucky Tubbs album “Generations” was recorded in January of 2003, after a devastating Christmas Eve house fire burned away all of his belongings. Through generous donations, he was able to re-establish equipment and love from the music community. He carried on. Never breaking stride and never retreating, Lucky has moved up the ranks of the Texas music scene. Starting out playing coffee shops for tips with only a snare drummer, to opening for country music cornerstones such as ET’s old pal Ray Price and country superstar Dwight Yoakum. Lucky wears his life experiences like a well-tailored suit with the sleeves ripped off. In the early days, despite poor management, heavy drinking, and quick temper (alongside many acclaimed honky-tonkers and country legends), he has grown to realize the responsibilities bestowed to him through heritage. Bottom line, Lucky Tubb is the real deal. People will always like good honky-tonk music, and will for generations to come.

review of DAMN the LUCK from Lone Star Music:
Damn the Luck, the new CD release by Lucky Tubb & The Modern Day Troubadours evokes images of smoke-filled honky tonks, fallen angels, gun–toting rounders, hard drinkin’ backsliders and hopelessly scarred romantics. This CD is as honest and real as a hot plate of biscuits and gravy. The melodies, the production and the instrumentation on these eleven songs could have easily fit in on an old Wurlitzer juke box, in any Texas beer joint, honky tank, or roadhouse, during the early to mid 50’s, when Ernest (Tubb) had us waltzing across Texas (another Tubb, Talmedge , actually wrote “waltz across Texas”)
Lucky Tubb has taken it upon himself to preserve his family’s musical heritage and does so with reverence and pride. The songs here shine like sequins on a vintage Nudie suit (early Porter and pre-Gram), with Lucky staking vocal claim to the sound created by his elders. This is really a Tubb “family” album. Lucky’s Uncle Douglas wrote three of the eleven songs on the album (written between 1952 and 1956), and another relative (Ronnie Wade) gets the star treatment with a song from 1957, Lucky himself penned six songs on the CD and they sound as genuine and heartfelt as those written over 50 years ago.
So, put that damned gun down and just listen. The Modern Day Troubadours play with Freshness and urgency. Moaning steel guitar, lonesome mandolin, and sad sweeping fiddle lines (maybe even a burning hot lick or two from an old fender Telecaster) and are all seamlessly woven into the production. Lucky and the band wrap around the lyrics and melodies like calloused hands on an ice cold longneck. No clutter, no overplaying, no excess and no grandstanding can be heard. The sound here is a black and white photograph that you can still see (and hear) with your eyes closed. The tunes are timeless and sound familiar, yet new, coming off as fresh and flavorful as southern fried chicken. These troublesome songs of love lost, heartache, and heartbreak go down best in a shot glass full of bonded whiskey. Thank goodness that we occasionally get exposed to “insurgent” country CD’s like this. It’s music that is rough cut, and bootleg-distilled full of tears of yesterday’s broken hearts, and held together by the authority of a loaded glove compartment pistol. Lucky seems to have his finger firmly on the trigger. Buy him a drink. He’s got a long story to tell.
R. Simeon Franks
Lone Star Music Magazine, December/ January 2009