POP MUSIC REVIEW : McBride Weds Country, Values : The singer, who embraces the theme of assertive women, blends modern approaches with roots principles.
SANTA ANA — Martina isn’t a name that’s often mentioned along with Trisha, Patty, Suzy, et al. in the young guard of female country singers. But with a new single knocking at the top of the country charts, and with the live show she delivered on Monday at the Crazy Horse, Martina McBride has to be added to the list of contenders.
A lot of her music is generic, radio-ready ‘90s country, and when she doesn’t exercise restraint her vocal power can overwhelm a trite lyric--ironically, her big hit “My Baby Loves Me†is the most glaring example, a filmy celebration of a supernaturally understanding man.
But the same writer, Gretchen Peters, also contributes the set’s most powerful song: “Independence Day,†an empowerment anthem that describes a woman’s drastic response to an abusive husband.
Obviously, McBride--her long-hair-and-antique-dresses image scrapped in favor of a smart, tailored look--eagerly embraces the new assertiveness of country’s women, and though there are plenty of conventional love lyrics in her repertoire, that theme kept surfacing--notably in Bill Lloyd and Pam Tillis’ “Goin’ to Work,†in which the singer’s occupation supplies the meaning and substance that a man just won’t provide.
In her music, McBride, who grew up in the small town of Sharon, Kan., blends contemporary country approaches with roots values.
She sang some Hank and Patsy (an absorbing version of “Crazy†showcased her fine, versatile voice), and her current material carries echoes of tradition--â€Strangers†is an Orbison-esque ballad, “Cheap Whiskey†is struck from an old Anglo-American ballad template, “Heart Trouble†runs on the same tracks as Elvis’ “Mystery Train.â€
McBride’s main drawback as a performer was exemplified in her her preamble to “Independence Day,†when she told the audience to pay attention to the lyrics because they tell a story. Instead of something so obvious, she needs to compel that interest in a different way--ideally by summoning an intensity that unmistakably says this is important.
McBride has the tools to create that kind of moment, but she’s still unfocused on stage, and she seems random and frantic as she tries to entertain and to say something meaningful and to bond with the audience and to strike star poses all at once.
If she settles down and lets herself be more genuine, she might tap the inner resources that are obviously there.
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