It’s never been about ‘Sunny Came Home’.
Whilst it is arguably her most popular song, she already had me at Steady On, especially ‘Shotgun Down the Avalanche’ and the title track.
Then, for me, came Cover Girl. The irony is not lost on me that an album which has became the soundtrack to a very significant period of my life – and therefore is definitely coming to the desert island – doesn’t contain any songs she’s actually written. Instead, this album highlighted her guitar skills and gave me a better sense of her wonderful vocal interpretation. I already knew she had a great voice, I just heard it more clearly on Cover Girl. The album also contains her version of Jimmy Webb‘s ‘If These Walls Could Speak’ which rips your heart out in a way equalled only by Bonnie Raitt’s version of Richard Thompson’s ‘Dimming of the Day’.
Essentially, whilst I have a number of Colvin’s other albums and I think they are all excellent, it should be understood where my connection with her music comes from.
So last night’s show was a delight. She recreated the vibe I got from the live tracks on Cover Girl, the guitar work was as accomplished as always and the voice was as I expected, although I’m not sure that I know how to describe it. I wouldn’t call it pure or classically folk. It’s strong and has some smoke in it, there’s breathiness (not in an ingenue way) but also some sharpness. And it has the ability to stand forward on its own or fall back and support others’ vocals (which she has done many times) with a chameleon-like richness and warmth. This is a rarer skill than you might think. Anyone can sing a harmony, but not all back-up singers can truly blend. Colvin can.
However she was no-one’s support last night and the stand-out beautiful voice was what we got.
The show wasn’t slick in a polished sense (which can sometimes be distancing). Colvin was a little more – for want of a better word – organic, taking her time over some of the phrases and letting the songs roll as they may. Somehow that was more satisfying. Like she was playing for family in the lounge room. Don’t get me wrong though, this wasn’t amateur hour. You just got the sense (as you do with artists of her ilk) that she’s worked hard to be as good as she is, and if she wants to pause a bit over that section, she will. It wasn’t all the time, but was a nice touch.
Some of the new songs from the latest album All Fall Down were highlights, especially ‘Change is On the Way’, which she wrote with Patti Griffin. Colvin noted this album represented a spreading of her writing collaboration wings, having spent a long time working with the remarkable John Leventhal (Leventhal is a Grammy-award winning producer, musician and co-writer who I first encountered via listening to Mary Chapin Carpenter. He’s worked with a virtual who’s who of my music world and is something of a hero. He’s also married to Roseanne Cash). While Leventhal still has a hand in four songs on the album, some of Colvin’s partners on this new work include Griffin, Jakob Dylan, Bill Frisell and Viktor Krauss (Alison‘s brother and Lyle Lovett‘s bass player).
Aside from songs from the new album, ‘Sunny Came Home’ got a run as you would expect. She also did lovely versions of ‘Shotgun Down the Avalanche’ and ‘Diamond in the Rough’, beautifully retaining their richness of tone despite just being one guitar. Sometimes I find solo acoustic versions of songs I know so well from the albums to be thin and lacking substance when done live, but this wasn’t a problem.
Probably the absolute highlight for me was ‘Killing the Blues’. Written by Rowland ‘Roly’ Salley (Chris Isaak‘s bass player), this was on Cover Girl but was also done wonderfully by Alison Krauss and Robert Plant on their album Raising Sand. The song is another favourite and, since the album version was a live recording, the experience was very much the same. Therefore it was not only familiar but heightened by the fact she was only a matter of feet away. And it wasn’t just me, it was obvious everyone else was feeling it in their own ways and for their own reasons. It was just superb.
Colvin was also very engaged with the crowd. She’s not a comic or a clown, but she has some funny moments, like when she unintentionally unleashed a spate of requests from the floor and gave a Scooby-Doo ‘Ruh-roh!’. It’s just nice to see them show us who they are.
I am ashamed to admit I have no idea what her first encore song was, but it was complex and stunning. I think it really highlighted the singularity of her voice. If anyone can help, that would be greatly appreciated, and I’ll update.
Her finale was another one from Cover Girl. Her take on ‘You’re Gonna Make Me Lonesome When You Go’ which is also a live track on the album. So again, another one done how I expected it to be, and even better when she’s in the room.
That was the perfect ending. I left The Basement still singing it on the street and ultimately gratified to have finally experienced the stunning skill and beauty of a voice that has accompanied me through many life experiences over many years.