But in Magnolia the movie itself provided the context, and the idea that Mann's music was so well-known that its characters (whom we had become invested in over the previous 2.5 hours) all know it and sing along when they hear it on the radio, was a sleight of hand that worked to "popularize" the music of an artist who thrives in smaller venues and is rarely heard on radio.
An Academy Award nomination later and Mann, whose career was thought on the brink after her nasty break-up with Geffen Records, has not only carved out a nice niche for her cerebral lyrics and haunting voice, but she has her own record label.
You're on your Honor/ 'Cause I'm a Goner
Mann's new music is more along the Forgotten Arm variety than the Lost in Space Bachelor # 2 camp, more concerned with the disappointment of lasting commitment than with the realities of addiction.
Aimee wrapped up the cozy evening with an encore featuring a trilogy of favorites that even the most casual, isn't-she-the-one-from-that-one-movie with the frogs falling from the sky? fans would enjoy: "Save Me," "Wise Up," and "Deathly," three songs never too far out of sight or out of mind. She likely would've emerged for a double encore if the hometown crowd would have insisted — but they didn't, which is why they're the hometown crowd, and why they were graced with a gem of a show that won't be seen anywhere else until the release of Smilers.
The oldies brought us there. The new classics challenged us. Before long they'll all be forgotten, by the artist if not her fans — out-of-sight, and out-of-mind, and all in the name of newness and innovation.
Article comments
1 - James Dickson
This piece was picked up in Syndication by Reuters (click my URL, I dare you). Pretty cool!
2 - Aimee
I saw Aimee Mann in London recently and had a very similar experience. She couldn't hear herself singing but proclaimed, "I'm so f*cking drunk" which made everyone laugh. What a performer. Great post.