Show Review

The corporate conglomeration of the music industry has been blamed for a lot over the last several years. From the lack of quality commercial radio stations to the extreme rise in concert ticket prices to the decline of CD sales, it seems as though the business has been reeling in recent times. However, the keen music consumer has been afforded several treats as an offspring of such media consolidation. Satellite radio programming has increased in popularity and has helped springboard the careers of many solid, under appreciated artists. Online radio and music trading posts have also allowed fans of certain “underground” bands the opportunity to share their enthusiasms with a wider audience than may have been previously afforded. Despite what the trade publications and record company suits may tell you, this era is a pretty darn good time to be a music fan. However, every now and then something happens that just makes you wonder.

Last night, I attended the Lucinda Williams show at the North Carolina Museum of Art’s outdoor amphitheatre. Billed as the smaller, more cozy cousin to Raleigh’s corporately owned 20,000 seat Alltel Pavilion Amphitheatre, the venue boasts a small schedule of artists who have found wide audiences without much help from the record companies or mainstream media. (In addition to Lucinda, the venue this summer has scheduled shows from Tift Merritt, Aimee Mann, Steve Earle, and BeauSoleil.) Figuring this would be a chance to see a dynamic live performer in an intimate outdoor setting minus the inconveniences of a large concert environment, my excitement was heightened by the “Sold Out” signs posted at the museum’s main entrances. I have seen Lucinda several prior times at large clubs and she has never failed to impress. Her songs of longing and heartache have always resonated just as strongly in person, anchored by the scorching lead guitar work of Doug Pettibone, and Lucinda’s pitch-perfect vocals and rhythm guitar. I expected nothing less upon entering the venue gates last night. Conversely, it seemed as though mediocrity was the order of the night.

After a 40-minute set of fire and brimstone Old Testament blues from opener Rob Jungklas and his three-man band, the emcee stepped onstage with a few announcements and the proclamation of Lucinda’s impending performance. Nearly an hour later, Lucinda and her band finally made it off the tour bus and onto the stage. Greeted with warm cheers, the band launched into excellent renditions of “Ventura”, “Still I Long For Your Kiss”, and “Drunken Angel”. The crowd was responsive, the band sounded great and the weather was warm and rain free. The only problem seemed to be Lucinda herself. She seemed bored and intent on just going through the motions.

As illustrated by the long delay following Jungklas’ set, the last place Lucinda appeared to want to be was the stage last night. It’s not as though she ignored the crowd, she just blandly acknowledged our presence. Our applause was thanked, the museum’s staff was recognized, and the band was introduced all without a smile or a hint of zeal. From prior experience I know she’s not the most talkative and enthusiastic performer, but last night she appeared as though letting loose would cause the stage to fall down. Now, I have no problems with artists who keep tight-lipped and close to the vest on stage. After all, two of my all time favorites are Bob Dylan and Jay Farrar, performers who are definitely not known for their profundity on a concert stage. However, Lucinda let her lethargy spill into the music. Each song was played delicately as if one missed note would spoil the vibe and rapport of the band. No vocal inflections or additions were added by Lucinda, and Pettibone was not granted the opportunity to grind out any guitar solos. Each performance clocked in at the three to four minute mark and sounded exactly as it did off of the album. The band seemed to be pantomiming the live movements as the recording played in the background. Perhaps some of the straightforwardness was caused by Lucinda’s decision to take the stage at 9:40pm. The venue’s curfew comes at 11:00pm sharp, leaving her a meager hour and twenty minutes to play. For a woman who before has clocked in shows of two and a half hours, this was a huge disappointment.

I am sure that I am one of the only concert goers who went home disappointed last night. From the looks of the crowd everyone seemed to be digging the entire performance. However, this is also the same crowd where a good majority decided to pack up and leave around 10:30 apparently to beat the traffic and get home to bed on a work night. And the same crowd made up of obnoxious couples who felt compelled to slow dance and shag on the side of the stage continually blocking the view of those who were forced to set up their seats in that already obstructed-view area. And the same crowd containing at least the dozen folks I overheard in the drink lines commenting on how they have never even heard of this Lucinda girl, but the art museum just seemed like “such a nice place to spend an outdoor evening.”

True music fans, these people are for sure! And in her defense maybe Lucinda realized that this was the type of audience she would be playing for and decided that it would be a good night to play it safe. In some regards I can sympathize with that. I just hope that she also realizes that there are always people in the crowd who “get it” and want to be moved and inspired at rock shows. Lucinda knows this, as her comment thanking the fans for their support shows. She’s not “jaded” as she said, maybe just a little too content.