For my birthday this year, Pete got me a ticket to see George
Strait on his farewell tour. I say “a” ticket because at $90 a pop we couldn’t
afford two. So, I attended the show at Rupp Arena with nearly 22,000 other
fans, although technically I was there by myself.
Now I know that artists have a tendency to do “farewell
tours” and go into retirement, only to come back years later (I’m looking
at YOU, Garth Brooks) but I wanted to see George. I had my reasons. For one
thing, the man is 60 years old. While he might tour again in the future, he is
as good now as he will ever be and he’s still kind of in his prime. I want to
remember him the way that he is. I know it sounds silly, but there are some
artists I love so much that I find myself having trouble seeing them do shows
in their 70s and 80s because their voices aren’t the same, their stage presence
isn’t the same…it just makes me sad. There are exceptions to this, like Don
Williams and Kris Kristofferson. But they have always kind of been older men to
me for most of my life anyway. I knew George in his younger years. He got his
start in 1981 and I remember that. I have lived throughout the duration of his
popularity and musical career.
At any rate, the show opened with Martina McBride, whom I have mixed feelings about. I don’t dislike her but I don’t love her. I
rarely keep the station on when she comes on but she doesn’t have the effect on
me like, oh say, Kenny Chesney or Jason Aldean do.
Martina probably has one of the strongest voices in country
music. Unfortunately, the industry has never quite known what to do with that
voice. When she first started rising in the country music world, she had the
misfortune to do so at the same time that artists Shania Twain, Lisa Stewart,
and Ronna Reeves came about. The misfortune lay in the fact that all four of
these singers had long brown hair. Record companies were afraid that people
wouldn’t be able to tell them apart. (Because, clearly, Shania’s voice sounds
identical to Martina’s.) Lisa Stewart had to dye her hair blond, Martina had to
hack all of hers off, Shania got to keep hers, and Ronna Reeves faded off into
oblivion.
Then, what to do with Martina? She was never marketed as a
sex symbol, although she’s a very attractive woman. She wasn’t marketed to
teenagers because she was too old (gasp, she had to be in her late twenties at
least). So who WAS she? Her early music was some of her best since she was so
directionless. “Cheap Whiskey” might have been covered by Patty Loveless or one
of the other soulful women of the 1980s, it was that traditional sounding. “Two
More Bottles of Wine” WAS covered by Emmylou Harris although I find myself
liking Martina’s better.
Then, she recorded and released “Independence Day” which
turned out to be a monstrous success that I highly doubt anyone saw coming.
About a woman who kills herself and her abusive husband by setting the house on
fire, the video and song raced up the charts. She had a bonafide hit! Now, what
to do with it?
What followed over the course of the next 20 years was a mix
of other songs trying to recapture that hit status. Some might call them “issue
songs.” I call them “emotionally manipulative” songs. Neither well written or
tuneful, they identified Martina as the type of singer who understood real pain
and real issues like abusive husbands, cancer, child abuse, neglect, teenage dramas,
childhood cancer (not to be confused with the adult cancer which she also sang
about), etc. etc. Songs like “God’s Will”, “Concrete Angel”, “I’m Gonna Love
You Through This”, “Love’s the Only House”, and so on might have sent messages and
been played to death at the time but are largely forgettable.
When she released a song from the “Runaway Bride” soundtrack
called “Baby I Love You” she hit gold again. It was played to death. It was
also really, really bad. I’m sorry, but I am approximately the same age she was
at the time and I can’t sing a line like “baby you’re so cool” and keep a
straight face. Other songs ran along the same line. (To be fair, “Happy Girl”
was on a previous album, but it’s just as bad.) I blame this on the Shania
Factor. Shania was making tons of money singing inane songs with simple lyrics.
Others were bound to follow.
I have always secretly suspected that when she wasn’t
singing songs that were being marketed to teenagers or emotionally manipulative
ones, she was probably pretty good. There have been a few standouts in her
career for me: Cry on the Shoulder of the Road, Whatever You Say, There You
Are, Anyway, Wrong Again, and Beyond the Blue.
So then we get to the Martina part of the show.
First of all, girlfriend is frighteningly skinny. (Note to
self: send Martina cheesecake or two for Easter.) Although she’s showing her
age now, she is still a beautiful woman.
There is a reason why I have never tried to sign any of her
songs-I can’t hit those notes. Well, neither can she, as it turns out. While
her voice is powerful, it’s incredibly hard to use that much power and still go
that high without going flat. She let her band and her back-up singer (Carolyn
Dawn Johnson and where the hell has SHE been for the past 10 years?) carry her.
A lot. But that was okay.
And it turns out I was probably right about her music. She
only sang one of those emotionally manipulative songs (I’m Gonna Love You
through This) and that’s probably because it’s off her new album. And not one
of the inane teenager things. She stuck to the GOOD stuff and even threw in a
few classics. I should say that my side of the arena did not sing along with
her until halfway through when she belted out Lynn Anderson’s “Rose Garden.”
I believe she was a little surprised when she got a standing
ovation for “Broken Wing” before the song had even finished. I wasn’t surprised
it happened. Heck, people were probably just relieved to finally hear a woman
in country music who could sing. Have you heard the radio these days?
And, I had the audacity to tear up during her high-powered
version of “Anyway.” I know, it’s not like me to be so weepy but it’s actually
a good message (better than the messages of the “issue” songs as if that
weren’t ironic enough) and she did well with it. I wasn’t the only one.
A funny moment: Martina was singing "This One's For the Girls" and the camera was scanning the audience, looking for people to put on the big screen. The last shot got tons of cheers, which I am sure Martina thought were for her. I have a sneaking suspicion, though, it was for the dancing woman with the "Damn Strait" T-shirt on.
Now, on to George.
As mentioned before, I grew up with George. I remember the
early stuff like it was yesterday. There is literally a George Strait album and
song to represent every period of my life. From the early “A Fire I Can’t Put
Out” (age 4 watching Hee Haw) to the “Pure Country” soundtrack (ah, the teenage
years) to the rollicking Elvis-inspired “We Really Shouldn’t Be Doing This”
(living in Nashville and trying to be a singer myself) and beyond. George has
been there with me for a long, long time. He’s been a constant.
The stage was in the middle of the arena and it tickled me
to see that off to the side there was a cluster of director’s chairs set up
bearing the names of his wife, son, and daughter-in-law. After 30 years I like
the fact that Norma still tours with him.
The audience was a mix of ages, genders, and income brackets.
There were high heeled cowboy boots, fur coats (it was COLD outside), mini
dresses (never let the weather be a reason for not dressing up), sequins,
cowboy hats, and more blue plaid shirts than I ever seen at one time. There
must have been a sale going on somewhere. (Pete sat outside in the hallway
during the concert. He said the people watching was spectacular.)
I sat between two couples who were nice, quiet, and polite
concert goers. They clapped where they should, stood at the appropriate times,
and sang along at levels that were appropriate to the ears of those around them.
I wish I could say the same about the woman who sat behind me. As she as she
sat down she bellowed, “Why do our tickets have to be in ‘Old People Ville?’” I
should mention that the couples on either side of me were probably in their
early 20s.
She proceed to scream at ear popping decibels throughout the
entire show. She talked just as loudly and had to narrate the entire concert. “I
hope he sings ‘Marina del Rey’. I will go crazy if he sings ‘Marina del Rey.’
Oh God, I LOVE ‘Marina del Rey.’” So when he went into the first few notes of
that song I braced myself. Sure enough, it was a screaming fit like we hadn’t
heard yet and it culminated with, “If I have a daughter, I’m going to name her
MARINA DEL REY!” Poor kid.
George looked fine, as always, and sang for at least two
solid hours. He started with material from his early years and took on some
obscure songs and some that were never released. I was happy that when he made
it to the “Pure Country” soundtrack he chose “The King of Broken Hearts” and “Where
the Sidewalk Ends” instead of going with the obvious “Heartland” or “I Cross My
Heart.” He probably figures that on his last tour he’s going to just sing
whatever he wants to because after 30 years of touring I am sure he’s tired of
the same material every single night.
George brought Martina back on stage for “Jackson” and “Golden
Rings.” He also stopped midway for a ceremony in which he bestowed a mortgage
free house and $6,000 worth of groceries to an injured vet and his family.
With the stage in the center, he did his best to play to all
four sides. He generally did about two songs per side and then rotated on to the
other. Without running around in circles, I guess that was the best way to it.
Of course, the big screens above the stage captured his every move, too, but I
hate watching those because it makes me feel like I am just at home watching
television.
I teared up for the second time during the night when he
broke into “Troubadour” and flashes of the younger George appeared on those
screens. I can’t think of George as being gone. When George Strait dies, it
will feel like a chapter of my life has closed. When he came back for the
encore and did “The Cowboy Rides Away” (also the name of his tour) I couldn’t
even stay for the last few notes. That song has meant a lot to me over the
years. During one of my worst teenage breakups I played it over and over every
night so that I could cry myself to sleep. Not to mention the fact that I love
the line “my heart is sinking like the setting sun” because I love
alliterations.
It was an emotional night. It was a fun night. The chick
behind me screamed so much that by the end MY throat hurt. I got drunk off the
fumes of the people around me. And I am pretty sure that even though I was
sitting in a section of approximately 1,000 people and was in row “o” George
saw me and smiled at least once.