A country gentleman took the stage Tuesday night and he was wearing a straw cowboy hat, something often seen at country music concerts. Except that this man was Vince Gill (not one of Nashville's "hat pack"), and the hat stayed on for only two songs. Maybe Vince was "funnin" with us, or maybe it was his way of paying tribute to the Cheyenne Frontier Days venue. Whatever made him do it, the crowd loved his new look.

The stage show was a celebration of the power and beauty of live music, a triumph for Patty Loveless certainly, but even more so for Vince Gill. Gill has said, "When people are critical of what I do, they usually say, ‘His records are not quite like what he does live.' Live there's a lot of guitar playing and different feels that I never had on a record." Gill is exactly right, his live show was nothing like what one would expect. For one thing, in a live show, there is a closeness and intensity to the music that can't be duplicated on a recording. In addition, the songs are performed by the artist's road band instead of studio session players. Seeing IS believing. Watching an artist's expressions and movements as he or she sings can give new meaning to a well-worn song. The communal listening experience, as always, magnifies the power of a performance. Overfamiliarity with a particular song is no longer a problem because it is presented to the listener in new ways each night.

Patty Loveless appeared on stage in a pair of black leggings and a cropped white lace top. The very simplicity of her clothing showed that her singing needed no embellishments. Her set was about 50 minutes long but seemed so much shorter. Loveless’ voice resonates with an emotional fullness and clarity that can plumb the depths of despair like few other female artists today. She has said, "I'm a very wide open book. You have to be, especially in country music, if you want the songs to connect."

She certainly connected with the audience Tuesday night. Patty Loveless sings with pride and confidence in her music and supplements her voice with animated gestures. She mixed it up well, balancing the tearjerkers such as “You Don't Seem to Miss Me,” originally a duet with George Jones, “A Thousand Times a Day,” and “You Don't Even Know Who I Am” with the more upbeat, fun songs, like “Think About Elvis,” “You Can Feel Bad” and “Blame it on Your Heart." It would have been nice to hear even more.

Vince Gill took the stage a little after 10:00. The full show lasted almost two hours. Gill's stage artistry quickly cast a spell and, like Alice, who fell through the looking glass, listeners could slip into an enchanted place from which there would be no easy escape. Gill "rocked" the audience with “What the Cowgirls Do,” “Liza Jane,” and “One More Last Chance.” He kept it mid-tempo with hits such as “Don't Let Our Love Start Slippin' Away,” and slowed it way down with songs such as “Pretty Little Adrianna,” “I Still Believe in You,” “Whenever you Come Around” and “Look at Us.”

Overall, a lonesome bluegrass sound pervaded the arena, settling comfortably on the stage for most of the evening. Sometimes the sound dominated during such pieces as, naturally, “High Lonesome Sound” and “When I Call Your Name.” At other times it receded into the background, but it was always there, like a faithful companion, waiting for Gill to find his way back to it.

Gill readily established an intimacy with the audience with songs he'd written to mark important events in his life. He sang about the passing away of his father (the song will be on the forthcoming CD, The Key) and the death of his brother (“Go Rest High on That Mountain”). He so easily lost himself in the music, that at one point, during the latter song, he appeared to wipe away a tear.

His artistry with the guitar was magical. Gill often stepped to the front of the stage, closed his eyes and let his fingers fly over the guitar strings, picking the daylights out of a song. The extended guitar solos were enthralling.

Toward the end of the evening, Gill invited Loveless to join him on stage. They performed a 3-song set, starting it off with Gill’s first hit single from nine years ago, “When I Call your Name.” Loveless sang on the original recording and it was a special treat to hear her share the vocals again. Loveless also stayed on stage for “Go Rest High on That Mountain,” another song in which she'd had a part. At one point during her stay on stage, Gill took Loveless by the hand and they gently danced across the stage. It was a tender moment until, at the end of the interlude, Loveless patted (grabbed?) Gill on the backside and the whole audience just roared.

Vince Gill is one of Nashville’s universally acclaimed good guys. He is multi-talented, involved in numerous charitable causes, and has grace, compassion, and a well-developed, self-deprecating sense of humor. At one point, near the beginning of the evening he remarked that the food smells from the fairgrounds were overwhelming and would be difficult for a "fat boy" like himself to overcome. "Fat boy" or not, he captivated everyone. This reviewer won’t be planning any early exits next time.

Vince Gill CD Review
Vince Gill Photo Album

Mountain West Music 2002