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Thread: Review: Carrie Underwood at American Airlines Center (Dallas)

  1. #21
    Carrie Fans Legend teesharky's Avatar
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    Apr 2005
    Saratoga NY
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    This is a good review guys. How can people not see that? lol
    carrieguy2 and pgk like this.

  • #22
    Insane Carrie Fan carrieguy2's Avatar
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    May 2007
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    good discussion of this review here:

  • #23
    Ultimate Carrie Fan Farawayhills's Avatar
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    Jan 2009
    As sco says, few reviewers are going to write a fan letter, with nothing but praise. They're going to see a mixture of praise and criticism as part of their job.
    The good points are actually pretty good - "few could scale the heights she has (practically every industry accolade you can name) and remain an approachable figure." - "become a confident, polished performer in the years since winning Idol in 2005" - "a top touring artist" - "that most potent of special effects, Underwood's voice." - "one of her generation's most formidable vocalists"
    Those are key commendations, which go further than some other reviews in placing her in the context of a dominant figure in the genre. Also, this reviewer picks out more subtle points to emphasize - that she "blessedly, sings her songs live, embracing the small hiccups and momentary flaws that can color the human voice." that she's " capable of making Randy Travis's I Told You So a tender, breathtaking moment", and that she could contemplate making "an album of classic country sides" (And believe me, a lot of us would baulk at saying that about many of today's top performing artists)

    Nevertheless, there is also a side of this review that I do find a little worrying. This is, I think, the second review that has made a major point about saying that Carrie remains detached from her songs, a figure who remains in some ways an image, removed from what she's singing - good, as an interpretive vocalist, but somehow falling short on belief. Although some will say that critics' gripes and expectations don't matter, and that what does matter is fan reaction, charting and sales - I must admit, I personally find Carrie's place in the assessment of the genre important. I want her to be seen as primarily an artist. I see the "believable" aspect in the way she fought for "Just A Dream" and "Blown Away"; the way she released as a lead single what is arguably the most innovative, musically complex, and vocallly challenging song on this album, "Good Girl" (and may yet follow it with "Two Black Cadillacs); in the emotion she puts into "I Know You Won't" and "How Great You , in the way she's said she cried over "Forever Changed". I see a singer committed to pushing the boundaries of her art, and involved in her songs.

    So why is it reviewers don't always see this? Some of her best songs aren't included in the concert set (not everything can be). Some of the emotion (as in "Blown Away", for example), comes out in the videos, and that element can't easily be added to a concert. Two other points that may be worth considering are, firstly, that it's often easier to appear "involved" in your songs if you perform them in a more intimate, "stripped down" setting. Early in her career, for example, she breathed new life into the old Nitty Gritty Dirt Band song "Bless the Broken Road", and, recently, she performed very successfully on a smaller scale in London. The fans want the big concerts, but in a big arena, with full effects, it's hard not to seem a little "unreal" It may be hard to fit in intimate appearances on a punishing tour schedule (though there was one, not filmed, in Los Angeles). Maybe she could think of releasing more small scale material to the internet, to show the "close up" side of her work. A second point could concern the songs themselves. They often seem "epic" in scale. This fits the "story" tradition of Country Music, but, again, can result in an "unreal" perception. Personally, I like those songs - but maybe Carrie should also consider supplementing them with some more personal, or confessional songs. Her first known co-write, IAICA, was personal (and although Morgane Hayes was the lead writer on DFTRM, it was still a "confessional" song, which Carrie handled in a believable way). "Mama's Song" is regarded by some fans as a less successful experiment, but there's no reason why Carrie shouldn't develop other songwriting in a more personal direction.

    In the end, no artist can hope to please everyone, or win every imaginable accolade - but I think there is good ground to hope that Carrie can lay to rest this claim that it's hard to believe what she puts into her songs.
    jaylee50 likes this.

  • #24
    Carrie Follower
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    Oct 2012
    Not here

    The best reviews I have seen written for Carrie's concerts are the filled up seats that are mostly not sat in. They stand, stand some more & still stand all the way through. That to me speaks volumes.

  • #25
    Insane Carrie Fan judes's Avatar
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    Jan 2006
    new york
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    Emotional attachment a singer has to a song when singing involves some emotional spending on the listeners part.

  • #26
    Huge Carrie Follower lilangel's Avatar
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    Oct 2010
    The Netherlands
    Quote Originally Posted by sco View Post
    "There was a funny moment when one of the roadies hopped the railing on the floating stage just as it was taking off, presumably to fix something, then he was stuck. He sat in the corner trying to be unobtrusive until Carrie tossed a lei over his head."
    Didn't noticed the guy till you pointed him out At 4:14 you see him sitting in the corner, just sitting haaha! And at 5:06 she gives him an orange lei.

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