Rodney Crowell describes himself as “the songwriter’s songwriter” and reckons there’s every chance that your favourite country song came from his pen. It’s certainly true that most of the songs in his mammoth set were at least half-familiar. The music was pretty much continuous, Crowell occasionally pausing to tell the tale behind a song, but never breaking step to announce a title – there was probably no need as a majority of the sell-out audience seemed long-term devotees.
Crowell’s songs are mostly autobiographical, the words regular speech with a poetic twist. When he told of being in a freezing New York City with his daughter, meeting a poor, barely clothed old man and offering him his coat, we were as surprised as he was by the old man’s reaction: his troubles were the result of his choices, so thanks, but no thanks. The evocative song that followed was typical of Crowell’s philosophical endurance. So, too, were a number of songs reflecting with almost cheerful resilience on the passing of time towards death of which Still Learning How to Fly was especially memorable.
Crowell explored the familiar themes of death, love and betrayal, of course, never hesitating to put himself in the wrong, but things were by no means all so serious, with a burst of early Elvis on one number (terrific boogie piano) and a rollicking cajun feel to several numbers.
Accompanying Crowell’s adept guitar and lived in voice were two superb musicians. Catherine Marx, a regular with Reba McEntyre’s band, encompassed most styles of music on the piano, chording softly and bursting out into jazz-influenced solos. Resident fiddle player at the Grand Ole Opry Eamon McLoughlin brought all the exuberance of country fiddling, but was equally effective playing down and dirty – and was just as accomplished when he switched to mandolin from time to time.
All in all it was a remarkable set, Crowell’s lived in voice perfect for such lived in songs, the instrumental music wonderful and no let up for something like an hour and three quarters.
Before that Kezia Gill had played a 45-minute set. It might seem odd teaming a young Nottingham-born singer with a 75-year-old Nashville veteran, but it proved an excellent choice. Kezia not only cropped up briefly in Rodney Crowell’s set bearing a powerful part in a duet, but her approach to song-writing was oddly similar to his in her evident sincerity and willingness to delve into her own life story. This showed especially in her memories of her late father whom she commemorated in Local Man a Star.
Reviewed on 6th May 2025. On tour.
The Reviews Hub Star Rating
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9
