Dolly Parton live!

Dolly Parton
Chicago Theatre, Chicago
Friday, May 9, 2008

Those hoping to catch country-pop crossover queen Dolly Parton on her Backwoods Barbie tour had to wait just a little longer, thanks to a back injury. “I’m mending very nicely and will be fit as a fiddle soon,” the singer-songwriter said at the time. “And I’ll not only have the fiddle, but the rest of the band as well.”

When she finally pulled up to the Chicago Theatre for the second of two sold-out shows, the entertainer also exposed her larger-than-life personality, a couple costume changes (starting with a yellow-and-white-checkered dress with silver sequins), an eight-piece band, and two-act show that’s likely to go down in the genre’s history as one of the most colorful and outrageous, if not downright over-the-top.

But it’s all part of Parton’s charm, who was quick to quip “I’m just a backwoods Barbie in a push-up bra and heels/I might look artificial, but where it counts I’m real” in her latest CD’s title cut, while also giving props to every plastic surgeon who could “nip, tuck and suck.” She may be 62, but the headliner could have passed for at least 20 years younger, giving commercial country stars of today a run for their money with the endearing enthusiasm from “Two Doors Down,” “Jolene,” and “Thank God, I’m A Country Girl.”

Though Parton could’ve easily cashed in on nostalgia, she sprinkled a handful of new tracks that followed a similar format as the golden oldies, but updated with the Southern-tinged sonics of today. “Better Get To Livin'” was a joyously positive sing-along in the making, the aforementioned “Backwoods Barbie” was loaded with self-deprecating comedy, while “Jesus & Gravity” provided an inspirational take on life’s roller coaster ride. Yet Parton seemed even more at home covering several spiritual standards throughout an extensive medley (including “I’ll Fly Away” and “When The Saints Go Marching In”) possessing a rootsy, Appalachian appeal.

Even with all those endearing qualities, Parton’s stage banter seemed trite and overly scripted at times, confirmed by assistance from a teleprompter hung just below the balcony. Musically the show could’ve also done without her covers medley (“Great Balls Of Fire,” “Johnny B. Goode” and “Respect” to name a few) that highlighted her background singers, especially considering the 40 years of original material she had at her disposal.

Of course, no experience would be complete without her three most famous songs, which were sequenced back-to-back-to-back and helped iron out some of the earlier wrinkles. Even without Kenny Rogers, “Islands In The Stream” was still full of dreamy (though slightly dated) romantic bliss; “9 To 5” transformed into a gleeful hoedown; and “I Will Always Love You” was reclaimed as a timeless country ballad that’s likely to endure well beyond Whitney Houston’s *Bodyguard* rendition. As Parton took her final bows, she recognized the fans as her number-one priority, and despite the foils along the way, still lived up to the trademark qualities over which they’ve fallen in love.

— Andy Argyrakis

Category: Live Reviews, Weekly