Live Review: Dolly Parton

When Dolly Parton last bussed around these parts in 2011 what we got was more Dolly Vegas than Dollywood (her country and western theme park back home). Having waited three decades between visits, Parton felt obliged to put on a show bursting with all the hits we had been deprived of - and that meant everything from Disco Dolly to Femcee Dolly. But that tour did feature a short set of pared-down bluegrass songs amidst the cross-genre extravaganza. The mini-set was that evening's standout and served as a long lead tease for this year's Blue Smoke tour. There are still some pop hits (slotted in late, between a medley of non-crossover fan favourites and the encore) but at least there is no rap this time. 

The Blue Smoke roadshow is all Grand Ole Opry (Parton has recorded, and now performs live, a version of Banks Of The Ohio that stands tall amongst the greats who have gone there before) with the updated swagger that Nashville's Rayna James learnt is needed in the country market these days (there's a Bon Jovi cover and even a nod to Nine Inch Nails and Queens Of The Stone Age). But there's also some old-fashioned storytelling and jokes straight from the Hee Haw handbook (fans are polite enough not to groan when she makes an “I'm Too Saxy" quip when bringing out her saxophone - and when she makes the QOTSA reference, she calls them Stone Age Queens. Aw shucks.) 

The show's first part is almost conceptual country. Parton is dwarfed by a giant butterfly-shaped screen behind her (although some thought it was an artistic representation of a bra) as it flashes images to compliment her life story (though some footage is more suited to karaoke pub night). Parton tells as many anecdotes as she sings songs and weaves them both together to retrace her path from impoverished hill dweller to stadium superstar. The selected songs illustrate the various stages of Parton's chronological refections on her life. Parton also makes use of a variety of musical props to tie the strands of her story together - organ for her gospel period, autoharp for the songs her grandpa taught her, and so on.

A few cuts off the Blue Smoke album have made it into the set - from the shamelessly rollicking title track (its lyrics “clickety, clickety, clickety clack… choo choo, choo choo, woo woo woo” are matched with train-like dance moves that only Parton could pull off) and the 9-To-5-ish Lover Du Jour to her very Tennessee take on Dylan's Don't Think Twice. Songs are plucked from her back catalogue to carefully suit the show's roots-esque aesthetic - of course, there was Jolene, Two Doors Down and Here You Come Again but we were also treated to Coat Of Many Colours, Love Is Like A Butterfly, Smoky Mountain Memories and, the evening's high point, an a cappella rendition of Little Sparrow.

However, opening with Baby, I'm Burning was an ill-advised choice as bush fires were still raging at our city's edges as she took to the stage. But, then again, Parton is as much about escapism as she is about down-home sensibilities and for a few hours we got as close to Dollywood as most of us will ever get.