Luke Laird is one of the coolest dudes on earth.
At least that’s the perspective I gleaned from his participation in the CMA Songwriters Series, back for its sophomore outing in Boston, July 31. Laird lacked the I-aim-to-please convention of the other participants, and thus gave the deepest insight into the songs that came from his pen.
Laird peeled his material back to its original form, often exposing the forged purity of country radio. He restored “Hillbilly Bone” to its country-rap beginnings, turning in a far more interesting song than Blake Shelton and Trace Adkins took up the charts in 2009/2010. He also sang the real lyrics to “Pontoon – ” it’s “back this bitch up into the water” not “back this hitch up into the water.”
To an outsider those amendments can seem insignificant; even pointless. But they reveal an authenticity about his writing process; a glimpse into his psyche. Laird is a very provocative writer, an outlander in a world of convention. By night’s end I was longing for the opportunity to jet down to Nashville and spend an afternoon with him.
The whole night was indicative of that feeling, turning songwriters into stars, and Carrie Underwood into their equal, not a celebrity amongst peons. The round robin style contributed to that, lessening any opportunity to upstage anyone else.
The remarkable fact of the evening, far more noteworthy than a sold-out crowd, was the crop of songs sung, some of the blandest in recent memory, ones often filling up “worst songs of the year” lists on country blogs. But for two hours on a Tuesday evening that hardly mattered, as personality far out shined quality.
The affable Bob DiPiero hosted the evening, keeping the proceedings moving along, scolding a group of talking fans, and giving a shout out to the countless others watching via live stream. As a still relevant member of the 90s guard (and one time husband of Pam Tillis), DiPiero should’ve been the avenue for a trip down memory lane, but instead he chose to focus on his more recent, post millennium compositions (“If You Ever Stop Loving Me,” “Gone”).
DiPiero did turn the clock back once, however, singing a song he wrote about the daughter of his friend who showed up at his house in a red convertible. I was thinking he was going to sing the 1997 Collin Raye smash “Little Red Rodeo,” but instead DiPiero took on “Daddy’s Money” his #1 hit for Ricochet from 1996. I was nervous it wouldn’t go down well (who would know that song?), but it was one of the night’s most well-recieved moments.
The showcase, more panel than fluid concert, went down the line, letting each songwriter take turns on something they wrote. The evening had a wonderfully intimate feel in part because everyone was sitting down and also because of the acoustic guitar backing. DiPiero sat on the far left followed by Laird, Underwood, Hillary Lindsey, and Brett James.
The focus on post-2000 material pandered to the largely newer-country-fan crowd, and it showed in their marked excitement for what was being sung. DiPiero revved the crowd with opener “Southern Voice” (his excuse to write a song with the line “Appalachia Cola”), while Laird had everyone singing along to “Take A Back Road,” the gravel-in-my-travel ode to the cultural differences in upbringings between him and his co-writer Rhett Akins.
After the requisite jokes regarding his longer-than-usual hair moved the spotlight off his music, James, a 90s recording star, got the crowd going with a fine version of his Ashley Monroe co-write “The Truth,” Jason Aldean’s career highpoint, as well as fine versions of “Mr. Know It All” and the sing-a-long “When The Sun Goes Down.” James was easily the night’s most annoying participant, whither it was the deep gravel of his vocals (blamed on a cold) or his cocky attitude.
As much as the focus shifted to other well-known compositions, the night belonged to Underwood. This meeting of the CMA Songwriters was meant as a showcase for her material, as much as for everyone else’s.
Underwood opened with “So Small,” her first linkage with Laird, and his first #1 as a songwriter. Throughout the night she also rolled through past hits “Undo It” and “Temporary Home,” all while dressed more causally in pants and a white top, accented with her little-past-shoulder length hair in tight blond curls. She appeared as relaxed as any on stage, an everywoman among her peers.
This ego-less attitude extended to Lindsey who used her spotlight to showcase her connections with Underwood. She spoke lovingly of hoping the recently signed Idol winner would even consider recording one of her songs before launching into “Jesus, Take The Wheel,” the inaugural collaboration between songwriter and singer.
The songs she wrote for, and with Underwood, stole the show. They teamed up twice on Blown Away album cuts – “Do You Think About Me” and “Two Black Cadillacs.” Both proved excellent, and succeeded as pitches to get them released as singles (and in that order). The performance of “Cadillacs,” was a spoiler though, as the stripped down atmosphere is a much better setting for the, as Underwood put it, “sinister” lyrics.
On the opposite end of the spectrum, James took his turn and apologized in advance for, a comical reading of “Cowboy Casanova” that came off like a drunk guy doing grating bar karaoke. It marked the night’s most annoying moment, almost frat like in nature. I’m just not as big a fan of that particular composition as I thought, and after only three years, its proving not to age well.
Of all, Lindsey appeared the most carefree, whimsically seducing the audience with her charisma. Her need to pee turned into a running gag she kept comical, an accentuation of her southern charm and ability to develop a rapport with the audience.
This palpable charm extended to her detours from her connections with Underwood, most notably “American Honey,” her co-write that became a hit for Lady Antebellum. Better than any, the song fits Lindsey’s overall persona like a glove, as she exudes the same innocence projected by the lyrics. Lindsey also sang a new song, one not yet recorded, entitled “Concrete Heart.” If country radio can put aside the frivolous material currently hawking spins, it should be a hit for someone. I look forward to seeing who records it (Underwood, perhaps?).
The night’s musical highlight came with the ridiculously fun “Pontoon,” as Underwood shared an e-mail she wrote to Laird congratulating him on his next #1. Even better were Underwood’s attempts at helping Laird sing it, blanking on half the bridge before turning out the final “motorboatin'” solo, in her soft girly voice. (Excerpts of it can be heard in the viral video “Pontoon Party.”)
But what I greatly appreciated from the whole evening was the atmosphere. I came away wanting to be friends with all on stage, and I couldn’t believe songwriters (non, apart from James, have released albums) could be so entertaining. But more than that, the acoustic setting reeled in Underwood’s wild abandon, and she was able to sing without dancing around distractedly.
That’s a feat in and of itself and it put the focus back on the music, not Underwood the stage performer (which could use major polishing). Without the loud production everyone could be heard and thus the music could be appreciated. It makes such a difference in a concert when everyone on stage can be heard. And kind of surprisingly, the multiple acoustic guitars sounded so full, you didn’t miss the band.
I knew buying tickets, the night had the potential to be a very special gathering, a once in a lifetime opportunity to witness a performer at the peak of their abilities in a very rare setting. I didn’t really know what to expect going in, and I came away having my expectations exceeded.
If you ever have the chance to catch one of these gatherings, seize the opportunity with gusto. They happen country wide during the whole year and offer more satisfaction for country fans, than any major Kenny Chesney or Taylor Swift styled tour. At least they did for me anyway.
The CMA Songwriters Series is just another in a long list of genre only happenings, that make me proud to be a country music fan and reinforce my stance, that I’m musically right where I belong.
The Pappalardo Periodical 