Patty Loveless Comes Home on a Roller Coaster
Patty Loveless started off her show at Nashville's Ryman Auditorium Monday night (Nov. 2) by saying that it was good to be home. The Georgia resident did formerly live here in Middle Tennessee but I suspect the remark also had something to do with setting the audience up for a night of rootsy, down-home music. With the stage decorated with throw rugs, vintage lamps and acoustic instruments, she repeatedly referred to it as her living room and treated the crowd with the warm and friendly manner of a hostess being asked to sing for her guests. And they kept asking for about two hours, with Loveless reminding fans that they were "in it for the long-haul." Two hours may not seem that long, but with the emotional roller-coaster she took us on, I don't think a crowd could handle much more.
Loveless sampled tunes from across her 23-year recording career, including "The Night's too Long" (written by Lucinda Williams), "Nothin' but the Wheel" (from Only What I Feel) and "You Don't Seem to Miss Me" (her 1998 CMA-winning duet with George Jones), to more recent interpretations like the beautiful "Crazy Arms" and resolute "Busted." But plenty of attention was given to Mountain Soul II -- a roller-coaster in its own right. When combined with Loveless' evocative voice, songs like Mike Henderson's "Prisoner's Tears" could wilt even the most steadfast optimist into a slobbering mess while Tony Arata's "Handful of Dust" could restore one's faith in true love. The highlight of the night for me, though, was dedicated to coal miners who still risk their lives everyday. Put simply, I've never heard a more desperate and powerful rendition of "You'll Never Leave Harlan Alive." Makes you wonder if hanging out in Patty Loveless' living room is always this emotional. I sure hope she has a garden or something.
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Swilly says:
Love me some Patty Loveless. The princess of country music. Class all the way.
solongsowrong says:
From what I have heard so far from Mountaun Soul II, it is just as good as Mountain Soul I. Keep singing that great music, it is appreciated.
countryiscool says:
I seem to remember a time when Patty was played on Pop Country radio. So she’s putting out stuff that is still commercially successful, just not on pop radio anymore.
solongsowrong says:
Not a statement I fully agree with. The masses have long since stopped listening to her music. The definition of commercial success, is having profit as a primary aim rather than artistic value. If she was still commercially sucesssful, her music would still be played on Commercial Pop radio.
She is however, listed at #10 on the Americana charts, and #13 on the Roots Country charts.
countryiscool says:
I guess I meant still selling records to those listening to Americana, Roots, rather than Pop Country. Should have clarified better.
solongsowrong says:
The former Pop Country success of Patty, is a fine example of why Pop Country is not genre specific, but instead an industry tool designed for making profits. The definition of commercial success, clearly shows why more traditional artists like George Strait and Alan Jackson, can be played in the same format as the music of Taylor Swift and Kenny Chesney. Whether some Country fans want to accept it or not, Swift’s music is played exactly where it belongs.