Alanis Morissette album news

Alanis Morissette will release her seventh studio album, Havoc and Bright Lights, on Aug. 28 via Collective Sounds/Sony RED. Produced by Guy Sigsworth and Joe Chiccarelli, it is her first release in four years. First single “Guardian” will be available for purchase on May 15 through iTunes.

 

“This record, as always, is a snapshot of what I currently obsess about, care deeply about, and what strikes me at 4 in the morning in my most introspective moments,” says Morissette.

“It is my emotional, psychological, social and philosophical commentary through song. I can't wait to share it with this fun and funny planet, and to tour, and can't wait to have the lively, engaging and challenging conversations that these songs may invite.”

 

TRACK LISTING:

1) Guardian
2) Woman Down
3) 'Til You
4) Celebrity
5) Empathy
6) Lens
7) Spiral
8) Numb
9) Havoc
10) Win and Win
11) Receive
12) Edge of Evolution

Bonus Q&A with Sara Watkins

Here is more from my recent interview with Sara Watkins... 

Q: You’ve played some "For the Sender" music and book reading shows with San Diego-area singer/songwriter Alex Woodard. What has that been like?

It has been really special, particularly because of the local emphasis on the whole project. All the musicians who worked on it are good friends of mine. We come from such different worlds that the odds of us all collaborating would conceivably never happen. Some, like Jon Foreman, I’ve done lots of stuff with. Never got to do anything with Jordan Pundik of New Found Glory and he’s a great friend. And Jack Tempchin - I didn’t meet him until it was through the project. He’s a really wonderful person to sing and write with. From the musical side, it was really lovely. On a creative side, it was wonderful. [Hearing] the stories of what these people went through, the letters and seeing how it all came together was pretty astounding for all of us musicians. I couldn’t believe that Alex pulled it off.

Q: Last year you did some touring with The Decemberists. What did you take away from that experience?

In Nickel Creek, the band I grew up in, we had really adoring fans [like they do]. We were so spoiled. I saw that same adoration in the Decemberists fans, which was sweet to see...It’s such a great band in terms of pleasing the crowd and not taking themselves too seriously in all the right ways. But still caring about what they do.

Q: How did you decide to use Blake Mills as your new album's producer?

I met Blake at a mutual friend’s house, who was having music gatherings every Sunday night. We played together there and he came down to Largo and we found ourselves onstage together a few times. He’s an asset to any group of musicians. Last fall, I was trying to figure out who I could have produce the record. I had no idea. There were certain directions I wanted to avoid, but didn’t know who the right person was. After a couple months hanging with him, I thought, ‘I should do it with him.’ He’d never produced a record all by himself. He had co-produced some things and is also the kind of musician who probably inadvertently produces things. A lot of times, people will defer to his opinions. This was the first time he’d taken on a project on his own. I was delighted. We had a great time and I’m really excited and pleased with the results.

Q: Did your ongoing Watkins Family Hour shows at Largo play a role in the guest musicians on the album?

Yes. We’ve gotten to know a lot of really great musicians [there]. Taylor Goldsmith is the one I knew least. He and his brother had come down to play our Christmas show. He was just hanging around the studio when we were trying to figure out this harmony part [for a song]. Neither my voice nor Blake’s was right for it. All the sudden, it was like, ‘let’s get Taylor.’ He had just left the studio. We ran out before he pulled away in his car, he came back to sing in like five minutes and left. It was great.

Q: Where do you find inspiration for songs?

It’s beginning to be a bit more broad. A couple songs on this album are not about romantic relationships.

Q: Did the Dan Wilson-penned song on the album come about after you’d guested on his last solo effort?

I’ve known Dan for a little while. We’ve played on a couple different things over the years. That song, Sean recorded with him and he loved. Then I asked Dan if I could record it. I think I pretty much told him I was going to. He’s been very nice about it.

Q: Last year, you did that iPad violin lesson. How was that experience?

I hope it’s been well-received. I haven’t checked on the ratings. It was a totally different thing for them because they are a guitar-focused application. They were trying something different. We tried to make it work with Sean as well so hypothetically a guitar and fiddle player could learn the same songs and play them together. It was challenging. Anytime you’re teaching something in a really detail-oriented way and you have to speak intelligently all day in front of a video camera, it’s kind of wearing. I’m not used to performing in detailed ways, other that trying to play and sing well. All of those are normal qualities for human beings to have; I’m not very good at it.

Q: The new album cover has a vintage, sort of late 1960s vibe.

We were looking at a lot of old posters in the studio and I really liked that look. We looked at old Clint Eastwood posters and didn’t end up going in that direction. But who can deny how great those things are.

Q: You and your brother just appeared on the new Lyle Lovett album. Any other studio work coming out soon?

I’m playing and singing on a new Kris Kristofferson record coming out. I’d never met him before. It was a tremendous experience.

 

Interview with Sara Watkins

photo by Aaron Redfield

My interview originally appeared at nctimes.com/entertainment

During "The Foothills," a quick instrumental that opens Sara Watkins' forthcoming album, "Sun Midnight Sun," the feisty fiddle work seems to be Irish-influenced.

The one-time Nickel Creek member wouldn't necessarily label it that way though.

"A lot of the decorations that people associate with Celtic music just happen for me all the time; I always throw 'em in," said Watkins, 30, in a recent phone interview.

The Americana-steeped release, due in stores May 8 on Nonesuch Records, found the North County musician taking more of a low-key approach than for her 2009 self-titled debut.

"It's totally different from my first one, but I wasn't trying to surprise myself. Everything that happened was a natural result from the collaboration with (producer) Blake Mills and myself."

Guest singers Jackson Browne, Fiona Apple, Taylor Goldsmith of Dawes and keyboardist Benmont Tench all previously participated in the Watkins Family Hour, a long-running concert series she does with guitarist/vocalist brother Sean at Largo in Los Angeles.

Those shows have been "absolutely crucial for me, in terms of getting to play with other people, keeping things moving and throwing wrenches in all kinds of works in really great ways. It's a privilege to have that residency every month."

The siblings join former Nickel Creek partner Chris Thile and his band, the Punch Brothers, on the roster of talent appearing at Largo's third annual LA Bluegrass Situation. The series ---- May 3 to 5 at the La Cienega Boulevard venue and May 6 at Coldwater Canyon Park ---- also features musical performances by Steve Martin and the Steep Canyon Rangers, John C. Reilly and Ed Helms.

Despite having written the bulk of new material on two solo albums, Watkins still sometimes doubts her abilities.

"I'm not sure that I'll ever be confident in writing," she said. "Instrumentals are one thing, but with vocals ---- I feel lucky if I can catch one. I can't really beckon them. I'm still at the mercy of whatever the circumstances are that bring me to write a song."

There are plenty of captivating moments among the seven originals and three covers on "Sun." Subtle violin and acoustic guitar shade the gentle "Lock and Key," which revolves around a disintegrating relationship.

Watkins said the "old-timey" tune concerns "somebody I fell out of favor with for no reason," while the folky, campfire singalong vibe of "You and Me" is about "how we're sometimes different people, depending on who we're with. The first record, everything was about romantic coupling, and this one, I was glad I got away from it, ever so slightly."

Elsewhere, "Take Up Your Spade" was inspired by Watkins' concert tour of Scotland a few years ago with "a bunch of ridiculously great musicians and a festival there called Celtic Connections."

"I wanted it to be a congregational song; I didn't want it to be gospel, per se. What I really like is the curtain call of singers on the record. All the individual voices come out in different parts. It's not this mass of indecipherable voices."

Apple appears on a fast, tension-filled take on the Everly Brothers B-side "You're the One I Love." Watkins wanted to sing something with her "for a long time. I asked if she was interested, she was game and it was awesome."

Browne adds harmonies to three tracks, including Willie Nelson's "I'm a Memory," where Watkins' elegant violin work meshes gorgeously with a galloping rhythm.

"Sean showed the song to me, we learned it for the Family Hour and pretty much ripped off (Willie's) version. For the album, we rearranged it a lot."

Then there's "When It Pleases You," a caustic retort to a selfish lover by Dan Wilson (Dixie Chicks, Adele). Watkins spent much of last year touring with the Decemberists and appears on their new live album (she can also be heard on 2012 releases by Lyle Lovett and Kris Kristofferson).

"What I really took away from (the Decemberists) experience was this whole other level of showmanship."

Upcoming tour dates feature Sara and Sean Watkins, plus a bassist.

"We're going to be resourceful onstage, passing the instruments around and creatively pulling off the record onstage."

Tour dates:

May 3 Los Angeles, CA The Watkins Family Hour at Largo
May 27 Cumberland, MD Delfest
May 31 York, PA Strand-Capitol PAC
June 1 Washington, DC 9:30 Club
June 2 Elmer, NJ Appel Farms Arts and Music Festival
June 3 Hunter Mountain, NY Mountain Jam Festival
June 5 Pittsburgh, PA Three Rivers Arts Festival
June 6 Cincinnati, OH Taft Theatre
June 7 Indianapolis, IN The Vogue
June 10 Athens, GA The Melting Point
June 11 Chattanooga, TN Track 29
June 13 Asheville, NC The Orange Peel

June 14 Carrboro, NC Cat’s Cradle

June 15 Richmond, VA Friday Cheers

June 16 New York, NY City Winery
June 17 Croton on Hudson, NY Clearwater Festival
July 29 Newport, RI Newport Folk Festival

Duran Duran summer tour and live DVD announced

photo by Stephanie Pistel

As a longtime fan and supporter (see my Register quote below), I'm excited about the band's return. Here's the details from the press release...

“…the unexpected breakout band of the year…” - Paper

“…a reminder of their immeasurable influence.” (live review) - Spin.com

“Duran Duran played an impressively solid set that was musically crisp, playfully loose and stocked with a stellar set list. They have provided 30 years of memories, and clearly, the band isn’t ready to stop creating them.” (live review) - Atlanta Journal Constitution

“After three decades together, Duran Duran still causes hysteria…”  (live review) - OC Register

 

Duran Duran will be returning to North America for their summer tour in support of their latest album ALL YOU NEED IS NOW. Original members Simon, John, Roger and Nick are joined by Dom Brown on guitar for the last time Stateside before they begin writing and recording their next studio album. Additional dates to be announced in the coming weeks – check duranduran.com for the most updated tour routing.

 

In celebration of the success of the ‘All You Need Is Now World Tour,’ Duran Duran will release a live DVD, CD and Blu-ray - “A Diamond In The Mind” (Eagle Rock) in July 2012. The performance was filmed and recorded in the MEN Arena in Manchester, England on the band’s 11 date UK arena run in December 2011. The Deluxe edition will include all three formats (the DVD, CD, and Blu-ray discs), plus a 20 page booklet and bonus features. 

 

One of the most celebrated albums of the band’s storied three-decade career, the nine-track digital-only version of ALL YOU NEED IS NOW hit #1 on the iTunes Albums Charts in 15 countries before the release of the 14-track LP earlier last year.

Around the release of ALL YOU NEED IS NOW, produced by Mark Ronson, Duran Duran –garnered some of the best reviews they’ve ever had. 

 

Watch the stunning video for “Girl Panic!” featuring Yasmin LeBon, Cindy Crawford, Naomi Campbell,  Eva Herzigova and Helena Christensen online.

North American Tour Dates:

August 8          Saratoga, CA @ The Mountain Winery

August 9          Saratoga, CA @ The Mountain Winery

August 11        Costa Mesa, CA @ Pacific Amphitheatre – OC Fair

August 12        Tucson, AZ @ Anselmo Valencia Amphitheatre

August 15        Catoosa, OK @ Hard Rock Hotel & Casino

August 17        Memphis, TN @ Memphis Botanical Gardens

August 18        Biloxi, MS @ Hard Rock Casino & Resort

August 19        Atlanta, GA @ Chastain Park Amphitheatre

August 21        Durham, NC @ Durham Performing Arts Center

August 24        Mashantucket, CT @ MGM Grand Theatre at Foxwoods

August 25        Atlantic City, NJ @ Ovation Hall

August 28        Kettering, OH @ Fraze Pavilion for the Performing Arts

August 29        Highland Park, IL @ Ravinia Festival

Check duranduran.com for tour info & duranduranmusic.com for fan club pre-sale info.

Stagecoach Festival 2012 review: Sunday

photo by Robert Kinsler

My review originally appeared at soundcheck.ocregister.com 

Once I returned for the third day of Stagecoach, my first order of business was to catch the reunion of the Unforgiven. Hailing from the Inland Empire, the cowpunk band attained a cult following during the mid-’80s, played Willie Nelson’s early Farm Aid events and put out one major-label record before calling it quits.

Lead singer/guitarist Steve Jones later helped form Hollywood Records; another guitarist, Johnny Hickman, went on to great success in Cracker, but for unknown reasons opted not to participate in this regrouping.

Goldenvoice head honcho Paul Tollett used to book the group when he promoted small IE shows and was key in getting them back together for the first time in 25 years at Stagecoach. I noticed the company’s Bill Fold and Skip Paige turned up to catch a few songs.

Clad almost entirely in black, several members of the sextet even wore black hats and trench coats — just like the old days. Grappling with the usual muddled mix in the Palomino tent, the Unforgiven persevered with trademark gang vocals and blaring guitar riffs. Alan Waddington looked like a kid in a candy store back behind his drum kit.

“Some of us haven’t been on friendly terms over the years, so our rehearsals were like therapy,” noted Jones, early in the loud, rousing set. “All Is Quiet on the Western Front” featured an extended jam; “Roverpack” boasted a duel between the axemen; “They Shoot Horses, Don’t They” had stinging solos, plus Jones’ comments about wisdom coming with age; “Hang ‘Em High” could’ve been on the soundtrack to a classic Western film for more reasons than its title.

Before the strident, anthemic “Days Like These” (a Jones-penned AOR hit for Asia), the raspy-throated frontman related an interesting story about meeting Kris Kristofferson. For the finisher “I Hear the Call,” a flute player and seven young members of the Inand Empire Drum Brigade appeared onstage to give the performance a patriotic, percussive bonanza conclusion.

photo by Robert Kinsler

Fashion statements aplenty – for better and worse – were made over this long weekend at Stagecoach.

Most were of the patriotic or revealing varieties, but then there was the elderly woman I stumbled upon while passing through the Mustang tent. Looking a little like Minnie Pearl, she sported a wide-brimmed, flower-festooned hat and sat next to a bicycle with matching large sunflower attached. I inquired about the origins of both and was told the bright yellow garden plants came courtesy of a man in the nearby kids space, the Half-Pint Hootenanny. Neat.

Aaron Lewis really packed ‘em in at Palomino, and some very excited young ladies stood atop bales of hay to get a better view. The heavily-tattooed Staind frontman unofficially filled the “outlaw country” slot that Mike Ness and Shooter Jennings assumed here previously. 

Given his overlapping fan base, he easily could have done double-duty at Coachella and Stagecoach, though some regular attendees of the former fest might cringe at the thought.

Here, a seated Lewis performed on acoustic guitar, accompanied by a lap and pedal steel player.

Having already made inroads at country radio with last year’s Town Line EP and hit single “Country Boy,” he will follow that with a full-length solo effort, The Road, due in June. I’ve heard the solid collection and there are sure to be more country charting singles in the months ahead.

Hard living and trucker tales populate some of the lyrics, all eliciting hearty cheers from this Indio crowd. Prime examples were “Grandaddy’s Gun” (co-penned by Rhett Akins), where the baritone Lewis sang “a gun’s like a woman / It’s all in how you hold her,” and “State Lines,” in which the line about “carrying contraband” met with equal approval.

There was a massive singalong during Staind’s big hit “Outside,” while the latest single “Endless Summer” contained a carefree, almost Kenny Chesney vibe and “Lessons Learned” found Lewis intoning “appreciate the little things life provides for you.” Well-put.

Across the way in the Mustang tent, a sparse crowd witnessed acclaimed bluegrass band the Grascals. Specializing in the high lonesome sound Ricky Skaggs helped popularize, they performed with dextrous ease. Besides “You Can Mark It Down,” they served up a sweet take on Merle Haggard’s “Today I Started Loving You Again” and a Hank Williams Jr. medley comprised of “Born to Boogie” and “All My Rowdy Friends Are Coming Over Tonight.” Now that was unexpected.

Staking out my closest vantage point to the Mane Stage all weekend for Martina McBride (not that I’m a big fan, it was mostly due to timing and circumstances), I spotted security guys emerging from the reserved seating section with a naked female blow-up doll, which they promptly deflated while chuckling about it amongst themselves.

McBride turned in a terrific performance that ranged from sultry grooves (“Wrong Baby Wrong Baby Wrong”) and family-centric themes (“Teenage Daughters”) to warm, poignant ballads (“I’m Gonna Love You Through It,” “Marry Me”). She even did some harmonica blasts. What a voice.

Kenny Rogers was such a heavy draw at Palomino that he could have – and should have – been on the Mane Stage like Alabama before him on Friday night. Why not have made time for him, say, right before Sheryl Crow?

Lately, the country legend has had a prominent live and television profile while helping promote old pal Lionel Richie’s chart-topping country covers collection Tuskegee; they do the Richie-penned “Lady,” which Rogers reached No. 1 with in the early ’80s. This year marks the Gambler’s 50th year as a recording artist, and at 73, he remains in admirable vocal form, the only real trouble during his set coming amid an attempt on John Hiatt’s “Have a Little Faith in Me.”

The Stagecoach audience gave Rogers a hero’s welcome, and though I’ve seen his comedic concert schtick in recent years, it continues to be funny. Backed by a slick seven-piece band, the singer’s claim of providing “hit after hit” wasn’t technically true, but there were enough pop and country staples (“Lucille,” “Lady,” “Coward of the County”) to satisfy even the most casual fans, as well as Big Lebowski lovers who delighted in hearing his old First Edition psych-pop classic “Just Dropped In (To See What Condition My Condition Was In).”

Those who have attended a Rogers gig in recent years saw a set that was pretty much the same. Yet audible sighs from several ladies in my vicinity could be heard at the start of a ballad medley, and the singalongs were among the loudest I’d heard at the festival. People in front got to be part of the proceedings after Rogers handed them tambourines for the closer, “Islands in the Stream.”

It was another memorable live turn, one of several from this past weekend. But I’d still give my top nod to the Mavericks, whose display of musicianship Saturday evening was top-notch.

Setlist: Kenny Rogers at Stagecoach Day 3, April 29, 2012 
Love or Something Like It / It’s a Beautiful Life / If You Want to Find Love / Medley: Through the Years > You Decorated My Life > She Believes in Me / Ruby, Don’t Take Your Love to Town / The Greatest / Coward of the County / Daytime Friends / Buy Me a Rose / Just Dropped In (To See What Condition My Condition Was In) / Love the World Away / ‘Ol Red / We’ve Got Tonight / Have a Little Faith in Me / The Gambler / Lucille / Lady / Islands in the Stream

Stagecoach Festival 2012 review: Saturday

photo by Robert Kinsler

My review originally appeared at soundcheck.ocregister.com 

I arrived here early for Day 2 of Stagecoach, providing ample time to watch people with chairs line up strategically in hopes of securing a prime spot at the Mane Stage once gates opened.

While they scrambled, I leisurely headed out to the Palomino tent, where many of the best acts are scheduled, and immediately found a bale of hay to sit down on.

The stage is adorned with wagon wheels and animal skulls — definitely a cool touch. For the first performance of the afternoon, onetime Nickel Creek singer/fiddler Sara Watkins held court in the shade, with support from a bassist and her brother Sean (both pictured above) on backing vocals and guitar.

They debuted several charming new songs from Sara’s upcoming album Sun Midnight Sun.

Standouts included the sprightly “You and Me” … “Lock and Key,” characterized by subtle violin shadings and intricate acoustic guitar picking … a tension-filled, Dan Wilson-penned “When It Pleases You,” with Sara banging on a lone drum … and an upbeat, strummy take on Willie Nelson’s “I’m a Memory.”

After noting that she used to constantly listen to her mother’s old cassette of Linda Ronstadt’s Greatest Hits as a child, Sara sang a sweet version of the Stone Ponys’ “Different Drum.” It got a very enthusiastic response from the moderate- sized crowd. 

Overall, a breath of fresh air.

More great sibling harmony continued at the same spot with the very entertaining McEuen Sessions. Led by John McEuen, masterful string player and founding member of the Nitty Gritty Dirt Band, the trio features his two sons on guitars and vocals. Their solid album release together, For All the Good, came out a few weeks ago.

Quite the entertainer, John told plenty of humorous career anecdotes throughout the set while spotlighting dexterous folk- and bluegrass-accented tunes like “Hills of Sylmar” (I enjoyed the lyrics about the Ronald Reagan freeway), “Grand Design,” the title track and a smooth version of Dan Fogelberg’s “Leader of the Band.”

But the highlights were a winsome medley of “Sunny Side of Life” and the old Dirt Band hit “Will the Circle Be Unbroken,” plus Prince’s “Kiss” done bluegrass-style, complete with Jonathan’s high falsetto.

When a band is genuinely having a good time onstage, the feeling quickly transfers to the audience as well. That was definitely the case Saturday night during the Mavericks' (pictured, below) first public concert in nine years, a jewel of a Stagecoach booking that also served as the initial stop on the band’s North American reunion tour.

From the ’90s through to the early 2000s, the highly eclectic group amassed both a platinum- and gold-selling album; several Grammy, ACM and CMA awards; and placed more than a dozen singles on the country charts. Yet the quartet – lead vocalist and guitarist Raul Malo, lead guitarist and backing vocalist Eddie Perez, bassist Robert Reynolds and drummer Paul Deakin – should have gone on to much bigger success.

photo by Robert Kinsler

With any luck, their new studio album, due this fall on Valory Music Co. (home to Reba, Jewel and others), will be met with open arms.

If the handful of fresh songs debuted in Indio – notably the captivating single “Born to Be Blue” – are any indication of what the remainder holds, that won’t be a problem.

Despite a middling mix on the Palomino stage that found them blaring at arena-level volume, the expanded lineup of horns, an accordionist and keyboards still created a glorious sound for a medium-sized yet enthusiastic crowd of faithful devotees.

Both Deakin and Malo were all smiles, and the latter’s robust voice was a godsend on old favorites like “Pretend,” “There Goes My Heart,” “What a Crying Shame,” a subtly gorgeous take on Roy Orbison’s “Blue Bayou” and the wonderful main set-closer, “Dance the Night Away.” (Couples could frequently be seen doing exactly that.)

Perez’s chiming electric work and Deakin’s inspired style brought everything to a whole new level. The Mavericks encored with a fun, extended version of their biggest single, the Tex Mex-leaning “All You Ever Do Is Bring Me Down.” This was the best thing I’ve seen at Stagecoach so far; wonder if anything can top it.

Out on the Mane Stage shortly before the Mavericks’ turn across the field, Luke Bryan kept the festival’s party atmosphere alive with good-time tunes that went over especially well among the overly inebriated. Loud cheers were heard after the hunky Georgia native boasted he still had a hangover after watching Jason Aldean and Alabama from the reserved seating section on Friday.

Emerging to the sound of a storm, Bryan and his band opened with his No. 1 country single “Rain Is a Good Thing” and asked people if they were ready to “get frisky.” The gregarious singer gave an exuberant delivery on other major hits, including “Country Man,” the chunky rock of guitar-driven “Someone Else Calling You Baby” and the metal-tinged hunting track “Drinkin’ Beer & Wastin’ Bullets.”

Trying to avoid having brew spilled on me as a gaggle of women in American flag-festooned bikinis hoisted their drinks in the air, I spotted one with a red Solo cup photo actually attached to her outfit. She must be a big Toby Keith fan, or was simply getting super drunk.

Earlier in the afternoon, celebrated singer, songwriter and actor J.D. Souther, whose tunes have been covered by countless musicians over the past 40 years (most notably the Eagles and Linda Ronstadt), turned in a relaxed set inside the Palomino.

The music vet was accompanied by a bassist playing an upright and a keyboardist on a black grand piano.

His often hilarious between-song banter encompassed preferred song topics (“sex, death and political history”); a visit to one of Levon Helm‘s Barn Rambles in Woodstock shortly before the Band drummer died about 10 days ago; going on a long vacation but returning to find that a song placement on a Dixie Chicks album had sold millions (“they suddenly became my new favorite band”); and a recent acting gig where he had to grow his hair (“I was supposed to be a hoodlum redneck”).

The music? A mixed bag. Many selections were done in the jazzy, adult contemporary vein of his 2008 comeback effort If the World Was You and last year’s Natural History, for which the fragile-voiced Souther re-imagined songs spanning his entire career.

A feisty “House of Pride” bore the closest resemblance to anything remotely related to country music. The quiet “I’ll Take Care of You” (the Dixie Chicks did it on Wide Open Spaces) got a good crowd response, as did Souther’s self-described “New Orleans version” of “Heartache Tonight,” plus another Eagles classic (“Best of My Love,” so old “my nieces think it’s a folk song”) and his own Orbison-styled hit from 1979, “You’re Only Lonely.”

Stagecoach Festival 2012 review: Friday

My review originally ran on soundcheck.ocregister.com

After spending last weekend at Coachella, walking back inside the Empire Polo Field for this year’s Stagecoach festival mid-afternoon Friday was sort of like déjà vu. Then again, maybe not; there are plenty of distinct differences.

Although the attendance level was capped at a lower level (about 55,000) than its rock- and dance-skewing cousin (which packs in at least 20,000 more), the sprawling layout – with a large reserved-seating section jutting out from the primary Mane Stage and seemingly endless rows of people on blankets and lawn chairs behind it – made everything seem much larger.

Only a handful of acts performed on Day 1, so it was a more relaxed atmosphere. I headed over to one of the food court areas, but the BBQ food vendors were doing minimal business; one worker used a megaphone to try to entice people to partake in his supposedly delightful brisket. The beer garden was a different story – lines were long. As gals in skimpy bikinis looked on, shirtless guys in various types of cowboys hats sat at picnic tables, spat tobacco and argued good-naturedly about moves in the latest NFL draft.

The Half Pint Hootenanny kids space had some little tykes trying out crafts and playing games (a female Scoutmaster and a boy were engaged in a floor version of checkers) while a performer sang simple, innocent tunes. Today, country veteran Johnny Lee’s daughter is appearing there with Dallas TV star Charlene Tilton.

By evening, Alabama surfaced for a rare Southern California appearance. One of the most successful and lauded bands in country music history, they went on a farewell tour early last decade but reunited a few years later for sporadic benefit shows down south. More recently, Alabama put out a pair of inspirational albums and guested on tracks by Friday’s headliner Jason Aldean and Sunday’s closer Brad Paisley.

In Indio, the core trio of singer/guitarist Randy Owen, guitarist/fiddler Jeff Cook and bassist Teddy Gentry were joined by five auxiliary musicians. Together they made a full-bodied sound and still managed to reach the classic harmonies of yore, although at times their sound came across wavering and muted, hampered by persistent winds.

During the ’70s and ’80s, Alabama scored dozens of No.1 country singles and a handful of pop chart crossovers. For those who grew up in those decades, the music is probably ingrained in their minds, whether they realize it or not. But the crowd in my vicinity were more concerned with chatting than actually listening to the music – another difference from Coachella.

Owen said they came more than 2,000 miles to party with everyone and launched the set with “If You’re Gonna Play in Texas (You Gotta Have a Fiddler).” Steve Peffer’s spirited honky-tonk piano led off “Tennessee River,” which quickly increased in tempo via Cook’s feisty fiddle work. Many young people suddenly paid attention when Peffer did some barrelhouse playing on a fine medley of “Dixieland Delight/Will the Circle Be Unbroken.”

Before “Song of the South,” Owen related an anecdote about old family squabbles over the best vehicles; when he mentioned Chevy pickups, there were loud cheers. Then, before “High Cotton,” the singer pointed out how he once picked that material, and was indeed wearing it.

Longtime enthusiasts were treated to one rousing hit after another: “Love in the First Degree,” the warmly romantic “Feels So Right,” mildly rocking “She & I,” “The Closer You Get.” Owen had no problem on the sustained vocal note in the Allman Brothers-esque “My Home’s in Alabama.” 

Finally they closed with the stomping hoedown of “Mountain Music,” where the steadily increasing tempo and Cook’s fine fiddle work were handled with ease.

Headliner Aldean turned in a consistently rocking country set that found more favor with younger members in the audience. Booming drums and blaring guitars were at the crux of “Johnny Cash,” and the first major singalong came with “Big Green Tractor.” A glitch in clear projections on the big screens, however, made things difficult for those watching from afar.

“My favorite band in the world just played,” said Aldean, referencing Alabama.

“Crazy Town” received an enthusiastic response, as some impromptu line dancing broke out around me. If not for a little pedal steel in selected songs, it would be easy to mistake the singer/guitarist’s music for that of a regular rock band’s. His big hit duet with Kelly Clarkson, “Don’t You Wanna Stay,” featured the female star on a video screen to accompany him, though those who weren’t paying close attention could have mistaken her for actually being there in person. It went down a storm.

Aldean’s “My Kinda Party” could be an unofficial anthem for Stagecoach, while his main set was capped with the booming drums of the thunderous “She’s Country.” He returned for encores with “Dirt Road Anthem” and a few more before calling it a night. All told, his meat ‘n’ potatoes sound was played and sung proficiently, finishing off a solid sampler before a complete country music lineup today.