They may be from the Boondocks, But Little Big Town have sailed their Pontoon into a rock and roll Tornado.
If their recent show at the South Shore Music Circus proves anything, it’s that the quartet known for simple backwoods arrangements complimenting their airtight harmonies have morphed into a band solely focused on succeeding in the current “country music” landscape.
They made their way to the rounded stage like rock stars filing into a stadium, Kimberly Schlapman’s head of tight blond curls visible a mile away. Karen Fairchild, modeling denim short-shorts, knee high leather boots, and a gold sparkle jacket launched into pulsating set opener “Leave The Light On,” a track from the band’s upcoming Pain Killer due Oct 21. The band and crowd embraced a little “Day Drinking” shortly thereafter, which worked in the environment despite missing the snare drums utilized in award show performances of the track.
The foursome focused most heavily on their work produced by Jay Joyce, a response to the lukewarm reception of their most recent Wayne Kirkpatrick-produced set, 2010’s The Reason Why. Apart from down playing their country credentials, their work with Joyce is far more guitar heavy, which afford them to gave the banjos and mandolins a break for most of the evening.
Pain Killer got a generous showcase, a risk seeing as no one, not even me, has heard the album yet. They played more than half the album and while most of the tracks ran together, I could hear something special in the title track and Schlapman’s vocal showcase on “Save Your Sin.”
Tornado made up the majority of what was left and tracks like “Pavement Ends,” “Front Porch Thing,” and “On Fire Tonight” fit in perfectly with the vibe of the evening. “Pontoon” had the whole crowd singing along and “Your Side of the Bed” was as effective live as on the album. “Sober,” which I expected to be treated more acoustically, was a slight disappointment, but the magic of the track shone through. Fairchild traded her sparkle coat for long leathery fringe to croon “Tornado,” a set highlight.
I did appreciate how they sprinkled in subtle nods to the past ten years, gifting the crowed with “Little White Church” and “A Little More You.” I had completely forgotten about “A Little More You” and was happy when they resurrected it. “Boondocks,” easily the band’s signature song, came towards the end of the evening with a drum heavy beginning that rendered the track almost unrecognizable at first.
At one point Fairchild commented on this being their second ever performance on a revolving stage (they played the Cape Cod Melody Tent the night before) and how they were nervous about letting down the audience with their lack of production.
After introducing their band, the group commented on their history as a band and how 2014 marks twenty-five years together. The women talked about how Fairchild and Jimi Westbrook went to college together and their first meeting with Phillip Sweet. Instead of logically launching into “I’m With The Band,” which they didn’t play, they gave us a couple of tracks that influenced them. First was a stripped down almost bluesy cover of the Oak Ridge Boys classic “Elvira” that got such an inventive take from the band, it took until the chorus before I knew what they were singing. The other track that influenced them was Fleetwood Mac’s “The Chain,” a logical choice seeing as they’re always being compared. In fact, when I was playing Fleetwood Mac’s The Dance live album a while back, I thought it was Little Big Town on opener “The Chain.”
At the encore they turned the spotlight on Lori McKenna, who helped write tracks on their most recent albums. Hailing from Stoughton, MA, McKenna is ours as much as she is a nationally recognized singer/songwriter. She was brought on stage to sing a new song “Humble and Kind.”
Just because the show was steeped far more in rock and roll than what most would consider country music didn’t mean it wasn’t enjoyable or a huge disappointment. Did I long for them to grace us with an acoustic set? Yes, I did. But they are still exceptionally talented and perfectly showcased it during their set. Little Big Town worked the stage brilliantly, a job mostly regulated to Sweet who threw many a guitar pick into the crowd and was, no pun intended, sweet to the audience the whole show. I was thrilled that I finally got to them, and it was an added bonus that it occurred at my favorite music venue, a place I would’ve deemed far too small for them at this point in their careers.
Singer/Songwriter Sara Haze opened the show with a thirty-minute set focused on originals and “Riot,” a song she had cut by Rascal Flatts on their latest album. Haze, who had a guy accompanying her on guitar, was very good although a little too indistinctive. Haze also joined Little Big Town on stage during the encore.