Lyle Lovett And His Large Band rein in a great time at OKC’s Criterion
Lyle Lovett And His Large Band keep an attentive Criterion audience on their toes this past Wednesday evening, with their fascinating and quirky blend of Texas swing, gospel, country, jazz, R&B and storytelling. I moved to Oklahoma from Texas in 2005, and this was the first time I recall Lovett performing in Oklahoma City, at least musically since then. A member of the National Reining Horse Association, Lovett has shown and ridden his reining and quarter horses here plenty of times. Tonight, though, he had finally brought along the legendary Large Band, who took their place on stage before launching into a rollicking run through “Blues Walk” that serves both to shake the rust off, as well as set the stage for Lovett’s entrance. Tonight though, there was a special introduction on tap first.
University of Oklahoma and Dallas Cowboy coaching legend Barry Switzer introduced Lovett with obvious affection, recanting their friendship and a brief tale of meeting Lovett in his tiny trailer following his 1986 performance at the State Fairgrounds, which Lovett humorously footnoted with his perspective a bit later in the evening. Over the course of nearly two and a half hours, Lovett and His Large Band ran through a career illuminating set that while leaning heavy on his most recent 2022 release 12th of June also left plenty of room for the “hits.” I loved that Lovett is still essentially touring on this album. It’s a wonderful album that provides a glimpse into Lovett’s current world. Particularly into his world of fatherhood. The songs are at times utterly ridiculous and also achingly sweet. Lovett’s the father of two eight year-old twins, a girl and a boy, and they seem the source of constant lyrical and anecdotal inspiration. Tonight’s set included the yet unreleased “Naked Party” with a tale of naked children (his) running about wreaking naked havoc about the bus. “Are We Dancing” and a story of a bacon loving vegetarian that introduced “Pig Meat Man.” Then there was the child inspired matter-of-fact suggestion before “Pants is Overrated” that “clothes are a man-made construct that we impose upon one another.”
Thankfully or disappointingly, I don’t judge, Lovett and His Large Band didn’t follow that suggestion, and rather dressed like one would think a proper Large Band should. Looking dapper and refined in suits, ties and the occasional hat, the band of thirteen understandably made full use of the Criterion stage, with several upon risers in front of a simple backdrop. No pyrotechnics, no video screens in case you were wondering. Lovett occupied center stage, neatly flanked on his right by pedal steel extraordinaire Buck Reid, the legendary Jim Cox on piano, and the Large Band’s formidable, less than secret weapons on backing vocals, Amy Keys, Lamont Van Hook and baritone Willie Green Jr. Starting to Lovett’s left, we start with Russ Kunkel on drums and Leland Sklar on bass, who together or apart are two of the most recorded musicians in history. When pressed by Lovett during their introductions, on how much they’d played together during their careers, both agreed on a solid 80%. You won’t find a more firm foundation upon which to build a Large Band than that. Continuing to Lovett’s left, there was Grammy award winner Mace Hibbard on tenor saxophone, Brad Leali on alto saxophone, with Muscle Shoals Horns alumni, Steve Herrman on trumpet and flugel horn and Charlie Rose on trombone rounding out the Large Band horns. Guitarist and mandolin player Jeff White and guitarist James Harrah completed the ensemble, and that my friends is how you do a Large Band. At one point a fan inquired about longtime Large Band member Francine Reed’s absence. Lovett polietly explained that Reed lives in the Phoenix area now, and joins them there when able, but no longer wants to be “on he bus”, before adding, “I’ll let her know you asked about her. She’ll like that.”
The playing itself was exceptional, just as you’d expect. Lovett much like a circus ringmaster led the Large Band through songs past to present. Or maybe they led him? Of that I’m not completely sure, but I am sure of the intense mutual respect among the ensemble that was obvious throughout the evening. Nearly each song presented an opportunity for one or more member to take the spotlight with an extended solo or showcase if you will. While this happened, each member including Lovett would turn to face that musician, listening attentively and then celebrating with smiles and applause or a nod of the head. In addition to the title track and other songs from 12th of June. Lovett and the Large Band revisited songs such as “Cowboy Man,” “Here I Am,” the poignant “North Dakota,” “Give Me Back My Heart,” “If I Had a Boat,” the gospel feels of “Pass Me Not (O Gentle Savior)” and “Church,” a particular favorite of mine.
Lovett and His Large Band wrapped things up with a one/two punch of “My Baby Don’t Tolerate” and “That’s Right (You’re Not From Texas)” before sending the OKC audience homeward and the Large Band on down the road. It was truly a special evening of music, songs and wry humor that I’ve long missed. I hope Mr. Lovett finds his way back this way sooner than later.
Lyle Lovett and His Large Band will be continuing their Summer 2025 tour across the United States into October, with a handful of UK dates in August. You can find out dates and more information by visiting here: https://www.lylelovett.com
Enjoy our previous coverage here: Show Review: Robert Earl Keen and Lyle Lovett Telling Stories Without a Setlist at the Birchmere in VA