Lovett thinks getting to play live is its own reward
Lyle Lovett doesn't let himself get tied down to a set list with his concerts. Yes, he has one, but it's hardly set in stone.
To script a show so tightly would rob Lovett of one of his main joys of performing, the flexibility to respond to the audience and play requests or to alter the selection of songs to fit the mood of the evening.
“No two shows are the same in that way,” Lovett says. “I mean, if you're open to the possibility of interacting with the audience, and that really is the fun part for me, that's what makes the shows different from one another, even if you played a similar set. But I always like to allow for requests. The set list really isn't a set deal. It's really just sort of a guide for us, from which we can sort of jump off.”
That Lovett, who performs May 3 at the Carnegie Library Music Hall in Munhall, would take that approach to his concerts makes sense for a guy who certainly hasn't built a career that follows the standard script for success as a music artist.
Lovett was originally promoted to the mainstream country market alongside artists like Steve Earle, k.d. lang and Nanci Griffith — as something of a maverick artist who was still rooted in traditional country music.
That was accurate to a point, and certainly his first two CDs, a 1986 self-titled release and 1988's “Pontiac,” were strongly influenced by traditional country.
But Lovett showed early on he wasn't going to be fenced in, stylistically. And with his third CD, 1989's “Lyle Lovett and His Large Band,” he broke any mold that might have been solidifying around his music. Featuring a backing group that included fiddle, cello, a full horn section and backup singers, Lovett added big-band-styled jazz, soul, blues and rock and roll to his arsenal, without losing country as a foundation of his music.
His albums since then have cut a similarly wide swath stylistically, establishing Lovett as one of the most versatile artists in contemporary music.
“If I had a strategy, my career might have been different,” Lovett says. “To be able to go out and play live with people you enjoy playing with, that really is the joy of being in this sort of business and doing it. It's not what comes of it. It's the getting to do it. That really is its own reward.”
Lovett's latest CD, “Release Me,” continues a thread he started with his 1998 two-CD set, “Step Inside This House,” which featured his versions of songs by writers who have most influenced his music and his songwriting, including Townes Van Zandt, Guy Clark, Walter Hyatt and Steven Fromholz.
He returned to that concept on the 2009 CD, “Natural Forces,” which included covers of songs by many of the same writers featured on “Step Inside This House.”
Now with “Release Me,” Lovett continues the concept , but with a bit different slant. The album documents songs (mainly, covers mixed in with a few originals) that Lovett and the various configurations of his bands have performed live over the years, but never recorded.
“That's what drove this record,” he says. “It was songs that I had been playing live that I wanted to record for the people that have heard them (live).”
But where “Step Inside This House” and “Natural Forces” were focused mainly on country, “Release Me” falls more in the eclectic tradition of an album like “Lyle Lovett and His Large Band.”
It has jazzy Western swing (“Garfield's Blackberry Blossom”), punchy blues (“White Boy Lost in the Blues”), horn-fueled R&B (“Isn't That So”), pure country (the title song), spare acoustic balladry (“Understand You”) and even a Martin Luther hymn (“Keep Us Steadfast”).
Lovett is on tour behind “Release Me,” this time bringing along an acoustic ensemble.
The songs from “Release Me,” Lovett says, all translate well to the acoustic format, and he's enjoying performing new and back catalog songs in this setting.
“It's a different experience, really, standing on stage with fewer people,” Lovett says. “It allows each of the players to expand a little bit and there's just a little more space to move within.
“But in whatever configuration we perform in, my main objective is to feature guys in the band,” he says. “My thought is, at the end of the show, I want the audience to feel as though they've gotten to know everybody on stage. So the songs that we choose are really geared toward that.”
Alan Sculley is a contributing writer for Trib Total Media.
Show commenting policy
TribLive commenting policy
You are solely responsible for your comments and by using TribLive.com you agree to our Terms of Service.
We moderate comments. Our goal is to provide substantive commentary for a general readership. By screening submissions, we provide a space where readers can share intelligent and informed commentary that enhances the quality of our news and information.
While most comments will be posted if they are on-topic and not abusive, moderating decisions are subjective. We will make them as carefully and consistently as we can. Because of the volume of reader comments, we cannot review individual moderation decisions with readers.
We value thoughtful comments representing a range of views that make their point quickly and politely. We make an effort to protect discussions from repeated comments either by the same reader or different readers.
We follow the same standards for taste as the daily newspaper. A few things we won't tolerate: personal attacks, obscenity, vulgarity, profanity (including expletives and letters followed by dashes), commercial promotion, impersonations, incoherence, proselytizing and SHOUTING. Don't include URLs to Web sites.
We do not edit comments. They are either approved or deleted. We reserve the right to edit a comment that is quoted or excerpted in an article. In this case, we may fix spelling and punctuation.
We welcome strong opinions and criticism of our work, but we don't want comments to become bogged down with discussions of our policies and we will moderate accordingly.
We appreciate it when readers and people quoted in articles or blog posts point out errors of fact or emphasis and will investigate all assertions. But these suggestions should be sent via e-mail. To avoid distracting other readers, we won't publish comments that suggest a correction. Instead, corrections will be made in a blog post or in an article.
- Pittsburgh producer revives, re-airs an expanded ‘Motown 25 ’
- Saxophonist Carter proves he’s up to any musical challenge
- PLS Trio seems like more voices on ‘East River’
- Review: Pittsburgh Opera gives new composer a strong production of ‘Sumeida’s Song’
- Pittsburgh Rock ’N Roll Legends Awards honors rock legends, locals
- Ed Sheeran coming to Pittsburgh in May
- PSO’s Honeck coaxes orchestral brilliance in ballet themes
- Sax player finds fulfillment in new home
- Microtonal music festival goes off the beaten scale in Pittsburgh
- Pittsburgh Symphony Orchestra to move in step with ballet music