Lucinda Williams
Pabst Theatre Milwaukee, WI
Mar. 7, 2006
Story by Tony Bonyata Photos by Phil Bonyata
Last Tuesday evening the Southern songstress Lucinda Williams quietly
ambled out on the ornate stage of Milwaukee's grandest dame of venue's The
Pabst Theater with only her acoustic guitar and guitarist Doug Pettibone.
While Williams' full-band performances are well-known for their shotgun
wedding of earthy country, floorboard-loosening juke-joint blues and
high-octane rock & roll, her stripped-down show that night offered her
audience a rare, intimate glimpse into this mesmerizing artist and her
songs.
With the emphasis on Williams' honest and rough-hewn voice her Southern
Gothic tales of lost love, death, hard drinking, despair and, ultimately,
hope took on even deeper meaning. Clad in denim bell-bottoms, pigeon-toed
cowboy boots and shock of sandy grey hair, the singer looked as natural and
welcoming as the first dandelion of Spring. The set was equally spread
between her last three studio albums - 2003's World Without Tears, 2001's
Essence and, arguably, her quintessential effort Car Wheels on a Gravel Road
from 1998. In addition, the Louisiana-bred musician unveiled a handful of
newer numbers that, compositionally, proved every bit as strong as her most
beloved material.
The show opened with the harrowing "Greenville," where Pettibone,
perched atop a stool for the majority of the evening, augmented Williams'
aching vocals and acoustic strumming with rich harmonies and sparse electric
guitar phrasings. "This is a folk show," Williams commented in between
numbers, "It's how I started out playing 35 years ago." She continued,"We're
presenting these songs the way they were originally written," before the duo
launched into a spirited version of "Pineola," a tale of a southern boy who
committed suicide that Williams knew when she was younger.
While Lucinda was definitely the star of this show, Pettibone proved to
be the perfect addition to this simple pairing - adding a poignant lap steel
guitar and honey-sweet harmonies to "Lake Charles," beautiful electric
guitar to the new number "Tears of Joy" and the defiant folk-rocker "Those
Three Days," as well as injecting a Dylan-esque harmonica to the
introspective country balladry of "Blue." Breaking into what she described
as "hip-billy" - a melding of hip-hop vocal delivery on a revved-up
hillbilly rocker - Williams gruffly spat out the lyrics to "Righteously," a
hit from her last studio album World Without Tears. While this proved to be
the one number of the evening where the soul of her voice was void, the
up-tempo rhythm of the number did add a welcome sense of urgency into the
set.
At one point she admitted that she was at last happy and in love, but
also, only half-jokingly, added that she feared that this new sense of
happiness might affect her creativity. Well, the new songs that she and
Pettibone showcased were definitely proof that great art doesn't always have
to come directly from pain and suffering, as witnessed on the uplifting
"Tears of Joy" as well as another fresh number that successfully managed to
channel the spirit of John Lennon.
If this rare stripped-down performance proved anything, it was that
Lucinda Williams is not only one of the best songwriters alive today, but
also one of our greatest performing artists. With her gift of storytelling,
songcraft, stage presence and the voice of a Southern angel, this
uncompromising talent will undoubtedly join the ranks of Patsy Cline and
Loretta Lynn in future tomes of country music heroines. As far as I'm
concerned, however, she's already there... smack dab in the first damn
chapter.
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