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Kacey Musgraves makes crossing easier. Two-thirds of her show at the Beacon Theater in New York on January 26, the second of her two sold-out evenings, brought together her group of black men in front of the stage. The disconnected segment has become almost de rigueur for pop bands, but Musgraves has added a revealing twist. Halfway through Love Is a Wild Thing, her band picked up their electro-electric instrument while still playing the song. Before anyone knew it, Musgraves and his band were in a completely connected mode, literally without wasting time.
This effortlessly, the way Musgraves badociates the country with the most atmospheric electro arms, permeate its emission of almost two hours. At each successive record, culminating in velvety and confident Gold hourMusgraves has expanded his sonics and fan base. The latter was particularly evident at the Beacon, where she was greeted with repeated shouts of joy that one would badociate with a huge pop act. The crowd has also continually sung with her, both of them Gold hour songs and "Merry Go 'Round" (from Same fleet of different vehicles), one of the few songs in the catalog.
The broadcast of nearly two hours, about two weeks after the start of his long program "Oh What a World: Tour," focused on Gold hour – which is up for four Grammys, including the year album. His band, which combined banjo and pedal steel with double keyboards, reproduced the mix of retro and chill-out sounds of songs from this album, such as "Lonely Weekend" and "Wonder Woman."
Combined with her Grammy nods, the show and her entire tour are moments of celebration for her. But as Beacon shows, no one will say that Musgraves is a spectator. The show started with her figure standing at the back of the stage, near her drummer, and she remained there for all the opening number titled "Slow Burn". Even when she has shifted to the front of the stage for the rest of the show, Musgraves is minimizing movement. At times she seemed almost overwhelmed by the outpouring of public interest in her direction, and she preferred to stay close to the mic, only projecting a decided force even when a hint of wounded beat emerged from his voice.
Her most brilliant gesture was the glittering headband she wore all night; just like her one-piece leisure outfit, she managed to be stylish in the retro-seventies style without giving it an extra look. Saturday night fever. From time to time, she was walking on one side of the stage and addressing the crowd telling them that they were going to organize a "great party." But the next song and a determined performance and no frills are just a beating.
As the show continued, these firm but never overwhelming disco rhythms slowly built up, perhaps making it inevitable when she saw a revival of Gloria Gaynor's Studio 54 anthem, "I Will Survive »go around). But even as the rhythms became more and more pronounced, Musgraves remained focused – no choreography, no supporting dancers, little background of projected scenes. During a joyous and climactic version of "High Horse", huge inflated balloons fell on the public, transforming the Beacon into a party at the inner beach. Musgraves shivered but kept her voice and manners under control, just as she likes him.
Complete list
"Slow combustion"
"Wonder Woman"
"Butterflies"
"Solitary weekend"
"Happy Sad"
"Happy"
"Wester J – High Time"
"Gold hour"
"Die Fun"
"Mother"
"Owaw"
"Family"
"Love is a wild thing"
"Velvet Elvis"
"Space Cowboy"
"I will Survive"
"Arrow"
"Rainbow"
"Neon Moon"
"High horse"
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