Ever since debuting “All The Trouble,” Lee Ann Womack has been busy preparing for the Oct. 27 release of her ninth album, The Lonely, The Lonesome and The Gone. She completed a mini acoustic tour with Patty Griffin and starred as the main attraction at AmericanaFest in Nashville, sponsored by The Americana Music Association. Events included the annual Lee Ann Womack & Friends concert and an intimate conversation and performance at The Country Music Hall of Fame and Museum moderated by Peter Cooper.
Womack also participated in the Build Series in New York City (The interview is on Facebook) and gave a wide-ranging interview with Noisey, a music brand created through Vice with the mission “to document new and exciting music across the globe — from pop’s heavy-hitters to tiny garage bands and everything in between.” Womack vented her frustrations with mainstream Nashville and revealed she had to constantly battle her traditional tendencies with the need to satisfy her major label’s bottom line.
Amongst these performances and interviews, she premiered “Hollywood,” which she also co-wrote with Waylon Payne and Adam Wright. The ethereal ballad finds Womack in familiar territory, as the wife in a disintegrating marriage with a less than forthcoming spouse. Like all her songs, the wife has every clue what’s happening before her eyes, so much so she routinely begs her husband to have a substantive conversation with her, both at the breakfast table:
Morning cup of coffee, not a single word
And if you do say something, it’s only about work
Every time I ask you, you just say we’re good
And in bed, where he admits his anticipation:
We say good night, I love you
We never miss our cue
I ask you if you mean it
You say yes I knew you would
The wife is clearly exhausted from fighting for everything he won’t give her, which Womack brings out in her performance, strong yet breathy. Like any woman who trusts her intuition, the wife only wants one thing out in the open — the truth:
Like the silver screen, its a technicolor dream
We pretend it’s real, but it’s only make-believe
But it’s the killer hook that drives everything home. The wife only doubts herself once, right after he fails to give her the answers she so desperately needs:
Either I’m a fool for askin’
Or you belong in Hollywood
I’ll freely admit it took me a minute when I first heard “Hollywood” to digest the presentation, from the dark production and background singers to Womack’s vocal, which goes in and out from her soprano to her falsetto. But on repeat listenings, I get what’s going on here. This song is so old Hollywood, so Mad Men-esque it’s almost scary. It won’t appeal to everyone, but it eventually finally got me.