I had my inaugural City Winery experience on a cool, but surprisingly dry, Sunday evening in late January. The chain venue, which has successful outposts in New York, Chicago, and Nashville and just opened here in Boston in early December, mixes an urban winery with a full-service restaurant and tantalizing live music.
All 310 seats at their One Canal St location, just steps from the Government Center Garage with sweeping views of the Lenny Zakim Bridge, were adorned with the crisp cloth napkins and sparkling silverware of an establishment still in its infancy. The service, from the management to the wait staff, had the execution of a well-oiled machine fully prepared to report for duty.
In a venue of this size, with grouped seating that decreases in price the further away you sit from the stage, you’re all but guaranteed an exceptional viewing and listening experience. The owners pride themselves on the first-rate acoustics and strict policy that you remain quiet and respectful during the show.
I had no idea when selecting seats at a front row table, I would be so close to the stage you could rest your elbow on the edge. Such proximity to the action does lead to “concert neck,” a term coined by country music journalist Juli Thanki to describe the sourness from extended time with your head in an unnatural position. Thanki likes to say pain is totally worth it, and I have to agree, especially when the live entertainment is Brandy Clark and Angaleena Presley.
I always knew that City Winery had the potential to bring blockbuster shows to Boston, but I didn’t know they would strike gold this quickly. This was Clark’s first headlining show in the city, after multiple supporting gigs with Jennifer Nettles, and the first time I’d ever heard of Presley playing around these parts in any solo capacity.
Clark flawlessly executed a tightly focused set segmented thematically by her clever and blunt perspectives on substance abuse and revenge. Her richly drawn character sketches came alive with minimalist accompaniment that accentuated her wit and candor while highlighting her silky twang.
She began unassumingly with the one-two-punch of “Hold My Hand” and “Love Will Go To Hell” before undertaking the risky move of gifting the audience a new song, “Favorite Lie,” which I thoroughly enjoyed. Clark unveiled the origins of “The Day She Got Divorced,” which came to fruition during a phone call between Clark and Shane McAnally concerning a writing session with Mark D. Sanders and, of all people, Ms. Presley herself. The session ended by mid-afternoon when Sanders asked Presley how she planned to spend the remainder of her day. She quipped, “well, I got divorced this morning.”
The tight segments from which Clark split her set began with substance abuse, which lasted a healthy portion of the evening. She began with “Get High” and turned in excellent readings of “Drinkin,’ Smokin,’ Cheatin,’” “Take A Little Pill” and to my surprise, “Hungover.” She sprinkled in “When I Get to Drinkin’” and “You’re Drunk” to round it out.
The revenge portion of the evening was more slight but no more impactful. She followed “Daughter” with “Stripes” and promptly put every no-good man in his place. Clark gave a shoutout to our local wonder kid, Lori McKenna, and played their single-mom anthem “Three Kids No Husband.” “Big Day In A Small Town” and “Girl Next Door” were highlights earlier in the evening.
Clark purposefully surprised with the encore, beginning with a request by a group of female super fans who had followed her to attend each of the four Northeast stops she played in four days (Clark went from Connecticut to New York back to Connecticut and finally, Boston). They wanted to hear her sing a particular song by her idol, Patty Loveless she had obsessively tried learning on a newly-purchased electric guitar while it was climbing the charts. Her efforts in learning “Blame It On Your Heart” were as unsuccessful as her mastery in singing it were successful. Clark finished with another new song, that I instantly loved, entitled “Apologies” and concluded with “Pray to Jesus.”
Clark’s set was everything one would expect it to be and the accompaniment — Miles Aubrey on Guitar and Vanessa McGowan on Upright Bass — allowed the songs to shine without sacrificing flavor. I found Clark’s song selection, while perfectly executed, to be lacking in diversity, begging for a third course of “what else I can do” songs such as “You Can Come Over,” What’ll Keep Me Out of Heaven” and the one I kept waiting for all night — “Since You’ve Gone to Heaven.” Her ballads are a killer illustration of her artistry and I wish she had expanded her set to show them off.
Presley’s brisk opening set was a whirlwind tour of her four albums. Her candor, never mind her throwback hairstyle and leopard-print top, stole the evening while her southern charm had everyone in the palm of her hand. Her songs, though, spoke for themselves, with the audience in respective stitches with each turn-of-phrase.
She opened with “American Middle Class” and “Dreams Don’t Come True,” a shining example in a long list of songs about the dream of making it in music city. She also admitted to inviting the already-committed Lori McKenna to the show, in advance of playing “Bless Your Heart,” which she called the enthuses of a song McKenna would write.
Presley dedicated “Knocked Up” to her first husband, who she admitted did nothing more than make her a mother, and joked about her upbringing in Beauty, Kentucky. She intertwined her work with Pistol Annies so easily with her solo stuff, I all but forgot “Unhappily Married” and “Lemon Drop” weren’t on her solo releases.
The 2012 CMA Nominations: The year that, well, just couldn’t
September 5, 2012Such as they are, here’s the CMA nominees list for 2012 with my comments and Will Win / Should Win picks:
Entertainer of the Year
Jason Aldean
Kenny Chesney
Brad Paisley
Blake Shelton
Taylor Swift
The usual solid, yet unspectacular group. The lack of Carrie Underwood will have all her fans fuming as usual and everyone else will bark at the inclusion of Swift, a two time winner and the incumbent, for her increasing lack of country credibility.
Will Win: Taylor Swift – I’m betting on the safest choice this time around. She’s the most likely to pull off a win, her third. Chesney may’ve had the biggest tour, and Aldean is on fire right now, but Swift has the lock on this category.
Should Win: Luke Bryan, but he wasn’t nominated. As an all around entertainer, he’s so much better than Aldean, the only one who stands to keep the award out of Swift’s hands.
Female Vocalist of the Year
Kelly Clarkson
Miranda Lambert
Martina McBride
Taylor Swift
Carrie Underwood
Kelly Clarkson, really? I adore her but she hasn’t fully embraced a career in country music…yet. But she did score a #21 hit with the country version of “Mr. Know It All” so her nomination is somewhat, albeit very marginally justified. McBride is a snoozer scoring her 14 consecutive nomination and 15th overall as her career takes a downward spiral.
See, this is what happens when all the great female artists of late (Kimberly Perry, Jennifer Nettles, Shawna Thompson) are members of duos and groups.
Will Win: Lambert – she’s at the top of the heap and the countriest of the big 3
Should Win: While I’d love to see this award go to Clarkson, she’s a pop singer who’s done a bang up job covering country songs in concert. That’s it. I’ll say Lambert because of her intuition with Pistol Annies
Male Vocalist of the Year
Jason Aldean
Luke Bryan
Eric Church
Blake Shelton
Keith Urban
Another somewhat standard list until you take into account Urban is here in place of the red hot Dierks Bentley. His exclusion, which comes on the heels of three back-to-back #1 hits is shocking. Urban should’ve joined Brad Paisley and been made to sit this one out this year.
Will Win: Shelton – there’s seemingly no stopping him right now despite one mediocre single after another.
Should Win: Bryan. While I love Church, Bryan is the most exciting male vocalist to come along in years and a personal favorite of mine.
Vocal Group of the Year
The Band Perry
Eli Young Band
Lady Antebellum
Little Big Town
Zac Brown Band
On chart hits alone, all five deserve to be here this time around. It’s nice to see the exclusion of Rascal Flatts as their already bland material has only gotten worse in recent years.
Will Win: Lady Antebellum – is there any reason to bet against them?
Should Win: Little Big Town – Their latest single “Pontoon” isn’t just their biggest single, but its country music’s song of the summer. Zac Brown Band has also yet to score a deserving win, but LBT has been waiting for their time in the spotlight for far too long.
Vocal Duo of the Year
Big & Rich
Love and Theft
Sugarland
The Civil Wars
Thompson Square
Another interesting list. Sugarland shot themselves in the foot with Incredible Machine and thus are the least likely to repeat in this category. Love and Theft just scored their first #1, and Thompson Square have the ACM momentum.
Will Win: Thompson Square – they’ve yet to repeat the monster success of “Are You Gonna Kiss Me or Not” in their last two tries, but they’re far from one hit wonders. Shawna may not be the most flashy female vocalist, but she’s the most akin to the genre’s traditions.
Should Win: The Civil Wars – there isn’t a more ear catching duo in country music right now
New Artist of the Year
Lee Brice
Brantley Gilbert
Hunter Hayes
Love and Theft
Thompson Square
If we ever needed proof country music is in a rut, this is it. No one on this list has proven truly outstanding in anything they’ve done to date, and none have displayed the integrity to correctly push the genre forward.
Will Win: Brice, Gilbert, and Hayes are so even I can’t predict between the three. That may give Thompson Square the edge.
Should Win: Thompson Square – of this group, they’re the best of the bunch
Album of the Year
Luke Bryan, Tailgates and Tanlines
Eric Church, Chief
Miranda Lambert, Four the Record
Dierks Bentley, Home
Lady Antebellum, Own the Night
The significance of this category is huge. For the first time since his MCA debut When I Call Your Name, Vince Gill isn’t nominated. Guitar Slinger was one of the best country records of 2011 and deserved to be on this list. Also missing are George Strait’s Here For A Good Time, despite the fact his last two albums won, and Pistol Annies for their excellent Hell on Heels.
But rest assured, we get Own The Night. The category wouldn’t be complete without it now would it?
Will Win: Own The Night – if its good enough to get a Best Country Album Grammy, than it can’t loose here, right?!
Should Win: Chief – The Church album is the best of this list and the most original commercial country album of 2011. Four The Record was good, but nowhere near the caliber of Chief.
Song of the Year (Award goes to songwriters)
“Even if It Breaks Your Heart” – written by Will Hoge and Eric Paslay
“God Gave Me You” – written by Dave Barnes
“Home” – written by Dierks Bentley and Jon Randall Stewart
“Over You” – written by Miranda Lambert and Blake Shelton
“Springsteen” – written by Eric Church, Jeff Hyde and Ryan Tyndell
Another boring list. The exclusion of “So You Don’t Have To Love Me Anymore” is a travesty, and George Strait should’ve been honored for his songwriting contributions to Here For A Good Time. But the inclusion of “Springsteen” is all that matters to me.
Will Win: “Over You” – I can already see Lambert and Shelton accepting this together and I’m very happy about it
Should Win: “Springsteen” – its the best song of this bunch hands down
Single of the Year (Award goes to artist and producer)
Jason Aldean, “Dirt Road Anthem”
Blake Shelton, “God Gave Me You”
Dierks Bentley, “Home”
Little Big Town, “Pontoon”
Eric Church, “Springsteen”
Aren’t the nominations for Aldean’s awful rap over? Shelton, meanwhile, has been nominated for one of his grossest productions ever. Bentley’s patriotic anthem is wonderful, and Church’s ode is his best single yet.
Will Win: I’m leading towards, “Home” but could also see “Springsteen” sneak in a win. But as far as singles of the year go, “Pontoon” is about as big as it gets
Should Win: “Pontoon” – sure its frivolous, but unlike the Aldean hit its harmless fun, and LBT deserve anything the CMA decide to throw their way
Musical Event of the Year
“Dixie Highway,” Alan Jackson and Zac Brown Band
“Feel Like a Rock Star,” Kenny Chesney and Tim McGraw
“Roll Me Up and Smoke Me When I Die,” Willie Nelson featuring Snoop Dogg, Kris Kristofferson and Jamey Johnson
“Safe and Sound,” Taylor Swift featuring the Civil Wars
“Stuck on You,” Lionel Richie and Darius Rucker
The most thought out and interesting list, by a wide margin. The Jackson duet is his most exciting song from Thirty Miles West, the Swift duet is the most compelling single of her career, and the Nelson song is an hilarious classic in the making. The reworking of Richie’s classic suits him and Rucker well while the only clunker is the awful excuse for Chesney and McGraw to sing together on stage this past summer.
Will Win: “Feel Like A Rockstar” – the CMA can’t resist when two genre superstars team up
Should Win: “Safe and Sound” – putting Swift aside, its the most compelling track and another reason why The Civil Wars are currently the genre’s best duo.
Music Video of the Year
Eric Church, “Springsteen”
Kenny Chesney, “Come Over”
Miranda Lambert, “Over You”
Little Big Town, “Pontoon”
Toby Keith, “Red Solo Cup”
Of these, Church has the best video, followed by LBT. What’s so remarkable about the whole “Pontoon” thing is LBT haven’t caved into any pressure to act like 20 year olds. They’re being completely themselves all the while making millions.
Of the others, The Keith video is stupid fun, Chesney is all sex and no substance, and Lambert is as boring and depressing as the song.
Will Win: “Red Solo Cup” – as stupid as the song, but captures it perfectly
Should Win: “Pontoon” – lets have fun with this one, and this video is pure fun in the sun. But if Church only ones award, it’ll likely be this one
Musician of the Year
Sam Bush
Paul Franklin
Dann Huff
Brent Mason
Mac McAnally
The award I know the least about, but all talented musicians. Can’t go wrong with any of them.
Will Win: Mac McAnally – too strong to bet against
Should Win: Sam Bush – for some variety
Tags:Alan Jackson, Big & Rich, Blake Shelton, Brad Paisley, Brantley Gilbert, Brent Mason, Carrie Underwood, Dan Huff, Dan Wilson, Darius Rucker, Dave Barnes, Dierks Bentley, Eric Church, Eric Paslay, George Strait, Hunter Hayes, Jamey Johnson, Jason Aldean, Jeff Hyde, Jon Randall Stewart, Keith Urban, Kelly Clarkson, Kenny Chesney, Kris Kristofferson, Lady Antebellum, Lee Brice, Lionel Richie, Little Big Town, Love & Theft, Luke Bryan, Mac McAnally, Martina McBride, Miranda Lambert, Paul Franklin, Pistol Annies, Ryan Tyndell, Sam Bush, Snoop Dogg, Sugarland, Taylor Swift, The Band Perry, The Civil Wars, The Eli Young Band, Thompson Square, Tim McGraw, Toby Keith, Vince Gill, Will Hoge, Willie Nelson, Zac Brown Band
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