Natalie Merchant's Wizened "Ladybird" Embodies Grace

Today I'd like to enter the creative force that is Natalie Merchant. What an intelligent spokeswoman. You'd fit right in having coffee house conversations with her. Unlike a lot of people you encounter day to day you actually come away having learned something profound. Her self-titled album of entirely new compositions brings with it "Ladybird". To most Texans that word applies to former president LBJ's environmentally conscious wife for whom the former Town Lake is named. She'd have approved of the song. That's because it's graceful from first note to last. Natalie gives the avian creature room to grow into its wings. As dishes go you're not going to taste heavily flavored notes. You'll enjoy the quiet aftertaste but it's not likely to leave you bloated, groping for antacid pills due to overindulging yourself. Natalie has never shied away from global perspective topics. As lead loon from 10,000 Maniacs part of her claim to fame comes from having been participant in excellent standing on "What's The Matter Here?" an uncompromising glimpse into child abuse and the excuses both casual observers and abusers make for why it should have to continue existing. "Trouble Me" was stately, dignified, and fit for enjoyable high tea pleasantries in one package. Let's not forget how amazing her band was in executing reverent covers of Cat Stevens' "Peace Train" as well as Patti Smith's "Because The Night". The definition of a marvelous cover song is that you have no idea someone else thought of it first. These artists leave an imprint that respects of those before them. "Ladybird" dives beak first into love long since extinguished. A clean break isn't an option because, as Nat puts so tersely, there's much to lose. Many mouths need feeding. Ah, the heavy weight of caring for and raising a family to become responsible socially aware citizens. Despite the tethers, flying away from such a hot mess hasn't lost its allure. The subject matter is Jack Frost icy. Because of that I give credit where it's due to Natalie for bathing her artistic statement in stabilizing warmth. Listen carefully to the musicians who have her back. Not one of them bolts out in front of the pack. Each puzzle piece is measured delicately. Slow, faithful unified front allows "Ladybird" to fly above a fray that for other winged warriors could be too much to overcome. You do hear guitar strumming now and again but it's only a companion piece not the featured oil on canvas. You'll also be able to pick out soulful background songbirds. Again, they know not to overstep their bounds and, what's more, they're serene about that. Serenity preceding emotional quandary. That's Natalie Merchant's key toolbox talent. She gets what "say it, don't spray it" is about. Dignified storytelling may not move product but it does give way to reveal an even bigger reward...a clearer sense of what makes someone else tick. Unlike a great many songs, "Ladybird" doesn't have a clearly mapped out bridge enabling listeners to catch their breath. Late in "Ladybird" the investment grows larger. We who buy into the premise come away from the card table richer in substance if not in pocketbook. Flying away from an interpersonal situation that's lost its zip represents a fork in the road moment not to be entered into lightly. Even so, Natalie never fails to insist through her characterizations that something needs to be done before whatever dignity was brought to the love match skitters away on the breeze. Sometimes a self-titled album may mean a new artistic beginning is in the works. For example Heart's self-titled project arose when the Wilson sisters were at the vertigo inducing corner of do or die time in their band's career. The result was an album spawning four top ten hits ("What About Love?", "Never", "These Dreams", and "Nothin' at All", and the banished to the ashes insinuation that Heart needed to fold at that time. Natalie's last album of brand spanking new material was brought to the world stage in 2001. 13 years is a lifetime and then some in the music business. Whatever prompted her to eschew fresh creative visions for such a long time it's wonderful that she's returned to the roost. "Ladybird" won't tell eager fans or first-timers anything that might not already know about her style but it goes a long way towards reminding us why any week with new Natalie Merchant music is a week that wasn't lived through for nothing. "Ladybird" is out of its cage and deserves the chance to fly as high as her broken wings can carry her.