Indigo Girls

Come On Now Social

Their 15-year Career is like a Math Theorem

Review Score:

(8/10)
The fifteen-year career of the Indigo Girls is like a math theorem. From clear and stripped-down acoustic guitar beginnings, their seven full-length releases present a logical progression of musical growth, culminating in the realm of Come On Now Social. But just as a calculus proof might stump a student who skips the middle steps, jumping into Social from the campfire days of "Closer to Fine," one would hardly recognize this band as the inspiration for broken-twig marshmallow roasting sessions. Depending on the audience's ability to grow, tolerate, and adapt to the duo's organic experiments, some older fans may sense the threshhold of alienation on their latest. Amy Ray and Emily Saliers continue their evolutionary path on Social, all but abandoning their former band in favor of Sinead O'Connor's former British tourmates. The results are initially intriguing, like the Girls' previous Swamp Ophelia effort with subtle world-beat additives for a smoother ride. Amy Ray's punkish "Go" opens, an unusually aggressive move for a band that just two albums ago seemed headed for the fading void of adult contemporary rock. Following is Emily Salier's most poignant and crafted acoustic offering to the project, "Soon Be To Nothing." With a natural lyrical flair, Saliers touches hearts in the face of inevitable heartache: "You tell me it's temporary it's just a matter of time/By God don't you think I know what's in my mind/It's right over left and healing and then/I'll soon be to nothing but I don't know when."

After just three songs, Ray throws an alt.country loop, twanging away on "Gone Again" like so many former Uncle Tupelo vocalists. While irresitably charming with her southern twang, the songwriter surprisingly uses Australia's Kakadu National Park and various big-city landmarks down under as the backdrop to amorous adventures (for anyone familiar with Kakadu, it fails to rank among the word's most romantic locations). The song also marks longtime prolific drummer Jerry Marotta's only appearance. Other significant numbers are Saliers' feel-good "Peace Tonight," simultaneously appealing and forgettable (and the first single), and the punk rock-fest feel of "Compromise," where Ray musically exposes her lifelong love for Husker Du. In fact, if not for Ray balancing Saliers' contemporary adult tendencies, Social would hardly leave an impression to first-time fans.

A few differences from previous efforts: the Girls' characteristic harmonizing vocals take a backseat to the new collaborative band sound, as does Saliers' masterful guitar solo, which on past efforts substantiates some of the more profound moments of her work. Social also features a rotating panel of guest vocalists, including Sheryl Crow, Joan Osborne, and Me'Shell Ndegeocello, among others, though none leave a significant impression with their presence.

The Atlanta-based group has unquestionably evolved artistically over their decade in the spotlight, and while Social logically follows the evolution from previous studio release Swamp Ophelia, those left off the loop for a couple of years may be surprised at the manifestation of Amy Ray's punk influences. These are not your camp counselor's Indigo Girls, but a fine effort for longtime fans. ...

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