Sometimes it’s hard to argue with success, and an artist chooses to keep the winning formula intact. Other times restlessness takes over. Such is the case, a decade into her career with outlaw country singer-songwriter Nikki Lane and her new offering, Denim & Diamonds. You hear a heavier, almost throwback rock sound from inception on the opening “First High” with its insistent snare beats and an industrial-sounding guitar backdrop. Lane comes out firing at her full throttle, defiant best. She’s not here to tease (that comes later), initially she’s taking no prisoners. So, yes, the brash outlaw country persona is front and center. It’s what’s behind it that’s changed. She’s recruited a studio band consisting of Queens of the Stone Age collaborators, guitarist Alain Johanna,=es organist Dean Fertita, and bassist Michael Shuman. Those thumping drums come courtesy of Matt Helders of Artic Monkeys and Carla Azar of Autolux. Frontman Joshua Homme of Queens of the Stone Age produced this wide-ranging sound that incorporates classic rock, psychedelia, as well as Lane’s classic country influences – a mashup of new and old.
The staccato, punchy title track, like many of her songs, celebrates independence. Lane, dubbed “The Highway Queen” is the epitome of the rebellious type but one who has it together, marrying her story songs and outlaw persona with a successful fashion line, captured perfectly in the song and album title. “Faded” brings in the psychedelia with its heavy reverb while the single “Born Tough” is an autobiographical expose over infectious hooks that speak to her escape from a deeply religious upbringing, the tale of a high school dropout made good. The anthemic “Try Harder,” a bit lighter instrumentally, along with rambling, and jangling “Good Enough” are also about lessons learned along the way.
“Live/Love,” with its ambient intro is yet another departure from the heavy sound and it has Lane imparting more earned wisdom in a teasing kind of way that harkens back more toward earlier material. Standout track and single “Black Widow” has a catchy, danceable hook as Lane turns rebel again, reveling in youthful bliss. Lane’s layered vocals in “Pass It Down” along with a retro-sounding organ give it a singalong quality. She closes, rather surprisingly with the flamenco guitar-driven acoustic tune, “Chimayo,” revealing the nuances of her vocals, which can go almost instantly from sultry seductive tones to window-rattling power. It’s a surprisingly great touch, and at least for this writer, is the kind of tune we’d like to have heard more of on this eclectic effort.
The restless and rebellious Lane may have changed, or better said, altered her sound but she has retained her singular personality and still stands well apart from any other female “country” or “outlaw” artist. An artist of her ilk refuses to be easily pigeonholed. She just reinforces that notion here.
