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After their gig, Abby was back in her trailer sitting at her keyboard and tracking the video in amazement as it snaked around on social media in multiple countries.
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The evening of the video, the duo played a gig at a nearby venue called White Horse Black Mountain. Inside Abby’s crowded trailer are two 52-inch computer screens side by side - a gleaming, imposing information-command center that is so unexpected, given the environs, that the first time I stepped in, this past spring, I had to wonder if she was really a CIA operative instead of one of the few full-time spoons players on the planet. Had an ethnomusicologist just discovered this “Spoon Lady” playing her arcane instrument in some mountain holler? Or was she a Brooklyn hipster injecting some Li’l Abner-style authenticity into the modern folk scene? And what was Abby’s relationship to Chris? Sister and brother? Mother and son? With this one, attuned viewers could pick up on the broad suggestions of both perseverance and hardship. But almost every video on YouTube, especially those that go viral, offers some fragment of a story for viewers to latch on to. And it’s no more possible to predict which new clip will attract attention than it is to foretell the individual fish that will end up on your hook. There is an endless sea of musical performances on YouTube: precocious kids showing a flash of early talent passionate amateurs belting out cover songs and earnest originals iconic bands captured in some tender, unscripted moment between fan and singer. Abby posted it, and almost immediately it began finding its way to computers and smartphones throughout the world. In reviewing the video, they weren’t thrilled with what they saw, exactly - but then, they never were. As she bats her spoons, they snap at each other like castanets she isn’t controlling the tempo but weaving in and out of the vocal melody. He picks off the opening lines of the traditional song sometimes called “I Know I’ve Been Changed,” but which he has rearranged and called “Angels in Heaven.” Abby, seated on a metal chair, waits through a few instrumental verses, then, with her industrial-style spoons ensnared in a tight fist, she launches a clattering that, to behold it, appears to be as much circus trick as musicianship. Holding his resonator guitar, Chris sits on a suitcase that he uses as a bass drum a foot tambourine is strapped to his other boot. With a white wall behind them hellbent on turning gray and wooden planks as weathered as an ancient pier, the clip could easily be making the case that the two have time-traveled from a 19th-century Appalachian tintype straight into YouTube.
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Abby is in her usual garb, too: camel-colored overalls, barefoot. For Chris, white represents the light of God, black the evil all around. He’s wearing the outfit he wears pretty much every day, unless he’s mowing the yard: black coachman’s hat vest, pants, boots and suspenders, all black a bolo tie and a white dress shirt. In the video, Chris sports a red mustache that twirls upward at the ends like two sea horses on their backs. Listen to this and other great stories from The Washington Post Magazine on the Curio app.