Dwight at Indian Ranch – June 23, 2013
Ever since the release of 3 Pears last fall and his double sell-out at the Ryman this spring, there’s been a buzz surrounding Dwight Yoakam. Like his seven-year stretch between studio albums of original material, he doesn’t tour with great frequency, so I jumped at the chance to see him live when my godparents scored tickets to a show in our area.
It was a typical day in late June. The mercury was creeping towards 90 degrees with threats of afternoon hail as we made our way to The Country Music Capital of New England (Indian Ranch) in Webster, MA – an hour and a half long drive from our home south of Boston.
Although I’d never been to the venue before, I wasn’t a stranger to the cheap ticket prices (they’ve gone up with the times), nondescript location, and traditional mid-afternoon starting time (all shows are Sundays at 2 p.m.). The venue, essentially a hillbilly campground, was a pleasant surprise – boarded by a picturesque lake – and the bleacher style seating not as uncomfortable as one would assume.
The atmosphere – a crowd of people (many my age or younger) who were all kinds of kinds – was the perfect backdrop for the two and a half hour show. Yoakam, dressed in a Canadian Tuxedo and his signature brown cowboy hat, looked like something from a bygone era while his band mates, dressed in shimmering suit jackets recalled a retro Vegas lounge act primed to croon do-wop anthems. Yoakam has always been an individualist, so this display of eccentricity wasn’t too startling.
He opened with the rousing “Take Hold of My Hand” before going back to 1987 with “Please, Please Baby.” I fully expected the fourteen cuts on 3 Pears to dominate the proceedings, but Yoakam did a wonderful job of mixing new and old giving the enthusiastic crowed a satisfying overview of his career. Fully in keeping with his mantra, Yoakam didn’t play it safe throughout his set and I was stunned at how many of the left of center songs I actually knew.
If you were only familiar with Yoakam’s radio hits, then there were plenty of moments throughout the show that would’ve gone over your head. I was surprised when he dug out three songs, all title tracks of his records, that weren’t singles – 1990’s “If There Was A Way,” 1993’s “This Time,” and 2005’s “Blame The Vain.” He also brought out a single few know, but one I played a lot on my radio show in college, “Close Up The Honky Tonks” from his Dwight Sings Buck album.
Yoakam kept the Buck Owens theme alive throughout his set, even pausing “Turn It Up, Turn It On, Turn Me Loose” just after the line ‘While We’re Dancing to an Old Buck Owens Song’ to bring out a full rendition of “Act Naturally,” before finishing his 1990 hit. Their “Streets of Bakersfield” was done by Yoakam solo, a nice touch, as you can’t replace Owens on the iconic single.
He didn’t converse with the audience too much during his set as he let the music do the talking. Yoakam rolled through most of his trademark songs – from debut single “Honky Tonk Man” and early hits “Guitars Cadillacs” and “Little Sister” to 90s hits “It Only Hurts When I Cry” and “A Thousand Miles From Nowhere.” He tweaked “Ain’t That Lonely Yet” into a slightly slower honky-tonk ballad, and I enjoyed this arrangement a little more than the hit recording. Easily the most fun (and my favorite) moment of the show was “Little Ways” because Yoakam had the crowed in the palm of his hand with each “You. Got. Your. Little Ways” at the start of every chorus. He closed with “Fast As You,” which was just as fun as when it came out twenty years ago.
There actually weren’t that many new songs in his set – Yoakam only sang four of the tracks from 3 Pears. The esoteric Roger Miller-like “Waterfalls” was my favorite of these moments and a definite crowd pleaser (the couple in front of us even had a toy giraffe in honor of the song). I’m always at a loss for what’s popular, and I misjudged that one.
Sadly, his cover of “Dim Lights, Thick Smoke” proved an unofficial theme of the show. As much as I enjoyed the concert (and Yoakam is a great entertainer) the band was too loud and created a melding of sound that equaled noise more than music. Yoakam’s voice is still in fine shape, but it sounded like it was in a vacuum when he’d step up to the microphone. I chalked it up to another chance to utilize the reverb that somewhat overshadowed 3 Pears but it could’ve been the acoustics at the venue.
It didn’t ruin the show, but did damper my enjoyment a bit. Luckily, though, the noise factor didn’t affect “Always Late (With Your Kisses)” as I could still make out the band crooning “always late” throughout the song. The noise factor did make “Ring of Fire” unbearable, but his rockish treatment of the Johnny Cash classic always seemed a bit much anyways. Being a big Yoakam fan I also would’ve liked to hear him stretch his set even further – I was dying to hear him play “Nothing,” “Pocket of a Clown,” and “Thinking About Leaving” – but that’s just me being selfish.
Thankfully Yoakam’s charm shone throughout his set and had me glued to the stage despite the abundance of people watching, an always enjoyable hobby. He may be pushing into his late 50s, but Yoakam still has the swagger of men half his age. His trademark footwork hasn’t succumbed to time nor does he look ridiculous bringing out the same moves that had fans swooning more than thirty years ago. If you ever get a chance to hear Yoakam live I’d highly recommend it, his show is a thoroughly enjoyable experience from one of the best artists to come around in the modern era and a moment you’ll never forget.