August 8, 2005

BY BOBBY REED

Longtime fans of Alan Jackson know what to expect at his concerts. The lanky superstar positions himself behind a microphone stand, strums an acoustic guitar and sings his finely crafted compositions in a stoic yet elegant manner. Onstage, Jackson is a living jukebox who efficiently reprises many of the best -- and biggest -- country hits of the past 15 years.

Jackson is so consistent that he might be considered too predictable. His performance Saturday night at the Tweeter Center was very similar to a concert he gave at the Allstate Arena in January 2004.

Backed by his nine-piece band, the Strayhorns, Jackson delivered engaging renditions of "Gone Country'' "Drive (For Daddy Gene),'' "Remember When'' and "Little Bitty,'' each of which reached the top slot on Billboard's country singles chart.

Unlike many of his peers, Jackson doesn't run around the stage or entreat the crowd to cheer. He flipped guitar picks to fans during the barn burner "I Don't Even Know Your Name,'' and he kicked up a cowboy-booted heel during the party anthem "Chattahoochee,'' but Jackson seemed hesitant to move, perhaps because he fiercely favors musicality over theatricality.

Indeed, the use of a smoke machine during an extended version of "The Blues Man'' was incongruous with the rest of the show, but that staging misstep was counterbalanced by a remarkably fluid, emotionally arresting solo from lead guitarist Danny Groah.

The set design made masterful use of video montages and footage from Jackson's music video catalog. As Jackson sang "Too Much of a Good Thing'' (the opening cut on his most recent album "What I Do''), giant video screens projected images of the singer socializing backstage at Grand Ole Opry alongside Bill Anderson, Little Jimmy Dickens and Porter Wagoner.

And Jackson's music provides a link to the work of these country pioneers. When the sun finally sets on his career, Jackson will leave a legacy that will rank alongside theirs.

Also on the bill was Sara Evans, an athletic belter who (like Martina McBride) can hold a note for a long time and isn't shy about showing off that talent. Although her set mainly consisted of bland country-pop, Evans' ability as a vocal powerhouse was certainly impressive.

In addition to a winning take on her current top 10 hit, "A Real Fine Place to Start,'' Evans sang other material from her forthcoming album, due in October.

The new song, "Cheatin','' is a humorous look at the consequences of a man's infidelity. Evans isn't known for singing funny lyrics, but this tune is a knee-slapper: "How do you like that paper plate / And those pork and beans you're eatin' / Maybe you should have thought about that / When you were cheatin'.''

Opening the show with a brief set was the Wrights. The husband-and-wife duo's performance featured finely woven harmonies and a galloping interpretation of the classic George Jones hit "The Race Is On.''

Bobby Reed is a Chicago free-lance writer.