Turns out even the most putrid carcasses can emit flourishes of fragrance. So it is with the rotten genre of adult contemporary pop, which every once in a while produces some truly enjoyable music.
Lyle Lovett last night showed he is one of the best of the bunch, leading his acoustic quartet through two hours of entertaining music and comedy to a full house at Templeton-Blackburn Alumni Memorial Auditorium.
Too often, someone who appeals to the gray-bearded, professorial set comes to Mem Aud and performs mundane, NPR-approved folk rock, lacking any element of surprise or even variety, save for uninventive jabs at the president. But Lovett's musical numbers - and the absentminded banter in between - were captivating enough to remind the more youthful members of the audience why he had a career before marrying Julia Roberts.
Lovett and his band took the stage shortly before 8 p.m. and began without a word, slowly building into an opening ballad that showed the night would be as much about great songwriting as instrumental prowess. Dressed in suits and ties, the group performed songs that were lightly dusted with Texas twang but too metropolitan to be called country.
Soon after the first number, Lovett introduced himself: I'm the guy who sits beside you and reads the newspaper over your shoulder.
The perfect ensemble to flesh out the music joined Lovett and his acoustic guitar. John Hagan carried the low end and embellished the higher registers with exceptional cello playing. James Gilman stood at a percussion set, peppering the songs with rhythm. And Mitch Watkins delivered flawless lead guitar work on his tremolo-tinged telecaster. Throughout the show, the band added color and occasionally traded solos, showing off the players' skills without devolving into monotonous jamming.
But Lovett's magnetic personality was front and center. His set was filled with humor, including quips about Mem Aud's Performing Art Series (Any time you use the word 'art' and apply it to music
you have to be careful) and the locals' peculiar pronunciation habits at the previous night's show in Newark (I enjoy every monosyllabic experience).
Despite his skill as a public speaker, Lovett's music was the draw, and it commanded attention, translating his wit into clever lyrics and dressing them in compelling orchestration.
Perhaps the best example of his raw talent was the most stripped-down performance of the evening. Watkins and Hagan left the stage, leaving Lovett to play through Her First Mistake a tale of flirtatious tug-of-war, with only the slightest backup from Gilman. The song's slightly funky twists and turns climaxed with the closing line, I just keep on running faster chasing the happily I am ever after.
The rest of the night was nearly as impressive, earning Lovett and company a standing ovation they fully deserved. They proved that maturity and vitality can co-exist after all.
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Chris DeVille
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Singer/songwriter Lyle Lovett and his band perform their unclassifiable mix of country, blues, jazz and folk at the Templeton-Blackburn Alumni Memorial Auditorium last night. Lovett made jokes and performed songs to entertain the audience during the two-h
