I saw Lydia Loveless play a street fest this summer and I was wowed by her presence and power. She’s a complete force of nature, synthesizing sorta-country with sorta-punk but maintaining an edge found in only the most classic singer-songwriters. There is not a whole lot like that.
That feeling of Loveless’s power extends with her records – she has always seemed older and wiser beyond her 25 years. She sings with the strength and world-wearniness of a veteran performer. Just listen to “Crazy” from 2011’s “Indestructible Machine”. There’s some decades-old heartbreak in a song by someone who had just turned 21. That’s continued with 2014’s “Somewhere Else” and with “Real”, due Friday.
“Same to You”, full of crashing chords is a propulsive, arresting opener, and the first single “Longer”, with its power-pop leanings is equally memorable. They’re two great songs back to back. “Heaven” with its dry drum hits and dancing bass lines feel unlike anything in Loveless’s catalog – it feels almost something like you’d hear on 80’s pop radio. This is a good thing.
Still, with these early bright spots, something about this collection feels like it’s a portrait of an artist in transition. “Out On Love” with its atmospheric guitars never really seems to leave the ground, “Bilbao” feels a bit like it plods and has an almost saccharine refrain. These complaints are small, but definitely noticeable.
Loveless has worked with the same producer, Joe Veirs on her last three releases, and while he’s done an admirable job serving her songs thus far, “Real” feels less like a step forward and more like an artist that’s maintaining the status quo. That’s okay for now – but after two back-to-back classics, it feels like a deliberate attempt to not shake too much up. Perhaps she’ll paint with a new sonic palette next time. Regardless, she remains one of the most gifted young artists of her time, and that alone is reason to pay close attention.