Post by Kallie on Jul 19, 2011 14:43:24 GMT -8
I found this while looking for photos of past shows. It's not a great review but thought some ppl might want to read it. I'm sorry I couldn't help but laugh at what they say about Nat..sorry.
This band is soon to be known in some circles as “the two prettier Dixie Chicks without that bigmouth bitch what treasonized our President.” The saner of us, however, might fear that Natalie Maines (who unfortunately probably doesn’t have the vocal range to take the kd lang escape route from “disgraced” country music stardom) provided not only the hick growl but the freethinking personality that made the Chicks so damn popular with the kind of women to whom Faith Hill and Taylor Swift remain sad, sad jokes. The Hounds opener, “Skyline” with its worn out descriptions of “Blue skies, green water, and white birds in the air” confirms most of those fears, but “April’s Love,” which Emily Robinson describes as the “cornerstone” of their upcoming album, and the song that convinced her that made her confident that she and Martie Maguire could “make a sound for [them]selves” is a little better, and the instantly likeable “Then Again,” which describes “flipping off hippies at the river” and biting “my tongue until I could taste the blood” has potential for the same sort of popularity that “Wide Open Spaces” and “Goodbye Earl” enjoyed for the same reason: Unlike most country (and admittedly every other kind of music) it admits that women have complex contradictory inner selves, and they exist independently of men.
This band is soon to be known in some circles as “the two prettier Dixie Chicks without that bigmouth bitch what treasonized our President.” The saner of us, however, might fear that Natalie Maines (who unfortunately probably doesn’t have the vocal range to take the kd lang escape route from “disgraced” country music stardom) provided not only the hick growl but the freethinking personality that made the Chicks so damn popular with the kind of women to whom Faith Hill and Taylor Swift remain sad, sad jokes. The Hounds opener, “Skyline” with its worn out descriptions of “Blue skies, green water, and white birds in the air” confirms most of those fears, but “April’s Love,” which Emily Robinson describes as the “cornerstone” of their upcoming album, and the song that convinced her that made her confident that she and Martie Maguire could “make a sound for [them]selves” is a little better, and the instantly likeable “Then Again,” which describes “flipping off hippies at the river” and biting “my tongue until I could taste the blood” has potential for the same sort of popularity that “Wide Open Spaces” and “Goodbye Earl” enjoyed for the same reason: Unlike most country (and admittedly every other kind of music) it admits that women have complex contradictory inner selves, and they exist independently of men.