Unassuming Krauss Puts On a Captivating Show

Alison Krauss, whose extraordinary mix of bluegrass spirit and country torch songs stands as a musical cross between Bill Monroe and Patsy Cline, may be the most unassuming star in all of pop.

The young Illinois native was so gracious Thursday night at the Wiltern Theatre that she not only came on stage to introduce her opening act, singer-songwriter Michael Johnson, she also returned later to sing a song with him.

When it was her turn on stage, Krauss walked out carrying a fiddle and looking as if she were simply another member of Union Station, her outstanding bluegrass group.

During her 90-minute set, Krauss seemed content to linger in the background--playing the fiddle (marvelously) while guitarist Dan Tyminski sang lead on a few numbers and mandolin player Adam Steffey served as host between songs, telling folksy, even goofy stories.

When Krauss began singing, however, there was no question about who was the evening’s star--and that she is a major, major talent. She doesn’t write her own songs, but the purity of her voice and the gentle twists in her phrasing enable her to turn whatever she touches seemingly into gems.

Most remarkable is how she can go from a song about romantic disillusionment in a way that is as moving as anything in country style (say, George Jones’ recording of “He Stopped Loving Her Today”) and then express romantic joy with a vocal that is as endearing as anything in that tradition (say, Vince Gill’s “Look at Us”).

The only time that Krauss’ ambition fell short was in the range of her music. She could add several layers of emotional tone by reaching out, like Emmylou Harris, to material from an array of folk and rock writers.

Given the quality of Union Station (which also includes Barry Bales on bass and Ron Block on banjo), Krauss’ performance could be brightened by turning more frequently to the instrumental bluegrass sound she so clearly loves.

Even though her latest Rounder Records album, “Now That I’ve Found You,” has sold more than 2 million copies, she seems to have only scratched the surface of both her art and her popularity. At 24, she has lots of time--and, clearly, the talent--to expand both.